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Voices of Shekhinah Heard
By Eileen Wingard
San Diego Jewish Times, December 16, 2005
The centerpiece of the Tifereth Israel Community Orchestra’s Nov. 25 concert in the Cohen Social Hall was Valarie Morris’ Voices Of Shekhinah — Four Illuminations, a remarkable work featuring four women’s voices accompanied by orchestra. This composition, commissioned by Tifereth Israel Synagogue to commemorate its 100th anniversary, depicts four Jewish women. Three are historical figures: Sarah, the first matriarch mentioned in Genesis, Beruriah, a 2nd century Talmudic scholar from the Galilee, and Gracia Nasi, the Sephardic business genius who rescued kinsmen from the Inquisition. The fourth woman, Lila, symbolizes the Jewish woman of today. Morris, through her choice of instruments and modes, suggests the era of each character.
The Prologue opens with a shofar call, using text from The Forgotten Book of Common Prayer for Jewish Women .The four voices sing in chorus to describe the Shekhinah, the feminine aspect of God. Harp, flute, bells and cymbals convey the ancient biblical era.
"Sarah," beautifully intoned by mezzo-soprano Sylvia Lorraine Hartman, sings with Semitic-style ornamentation. "Beruriah," with coloratura passages, was rendered by silver-voiced Anna Bjarnson-Carson. The orchestration includes an accordion, suggestive of an ancient organ. Introduced by brass fanfares and accompanied by amplified guitar, giving a Ladino flavor to the movement,
Contralto Ava Baker Liss was convincing as the strong, queenly "Gracia."
Morris wrote the text for the final section,
"Lila," based on interviews with girls at Temple Sinai in Oakland.
Sung by sweet-voiced Julienne McWhirter, "Lila" has a contemporary
sound and the text reflects the thoughts and ideals of the young modern American
Jewish woman:
"My
generation’s strong,
My generation is
bright, healthy, and honest.
We can
do it all. We must!
With
the help of our mothers before us,
The
Voices of the Shekhinah call to us. "
Morris has done scholarly research for her textual and musical material. As a result, the words, instrumentation, melody and harmony come across with authenticity. Conductor David Amos, the soloists and TICO are to be commended for their outstanding performance of Morris’ opus.
Another dimension of the presentation was local artist Viviana Lombrozo’s brilliant visual versions of the four illuminations. These large paintings adorned the back wall during the concert and were for sale as a fundraiser for TICO.
Opening the program were two short Israeli works. Paul Ben-Haim’s Fanfare to Israel, a good choice to begin the celebratory concert, and Ariel Avraham Blumenthal’s Rabin. Ben-Haim, considered the dean of Israeli composers, opened his Fanfare with the military sound of brass instruments. However, that was soon followed by lyrical string passages reflecting the sensitive aspects of Israel.
Blumenthal’s Rabin was characterized by harsh dissonance and foreboding melody, telling through music the tragic story of the assassination of one of Israel’s greatest leaders, Prime Minister Itzhak Rabin. The 31-year-old Blumenthal is distinguishing himself as a contemporary cutting-edge composer exploring electronics and digital techniques combined with traditional art music.
Blumenthal won the Chicago Symphony’s 2001composition prize with Rabin, which was performed in Chicago’s Symphony Hall and later, by the Jerusalem Symphony Orchestra. His music will be featured in San Diego next May in a collaborative work with the Malashock Dance Company.
The TICO concert concluded with violin soloist Ben Dominitz performing the Beethoven Violin Concerto. Dominitz, gray-haired and distinguished-looking, played the concerto with a sweet sound and secure technique. There were some magic moments, such as the pizzicato accompaniment under the soaring violin solo line in the slow movement. Although precise ensemble in rapid passages proved somewhat elusive, nevertheless, the soloist and orchestra elicited a standing ovation from an appreciative audience.