Choral–orchestral · 2005/2017
Hebrew Magnificat
SATB choir and symphony orchestra · 36 min
This oratorio for choir and symphony orchestra offers a Jewishly rooted, emotionally layered response to the long-standing tradition of Magnificat settings in Western classical music. It brings together the traditional Latin Magnificat text with a range of Jewish sources that reflect on the theme of maternity — both sacred and personal. The work weaves excerpts from the biblical promise to Eve, King David's lament over his son Absalom, a brief reflection by Rainer Maria Rilke, a well-known Israeli poem by Rachel about the longing to become a mother, and Yona Wallach's raw poem about miscarriage. These diverse voices explore maternity not only through joy and fulfilment, but also through pain, loss, and complexity. Each movement casts light on a different aspect of maternity and parenthood, forming a dramatically unified and emotionally varied oratorio. The theme holds deep personal significance for me as a mother who has experienced the complex emotional terrain surrounding motherhood.
One may distinguish echoes of Jewish prayer, mostly as the group-chanting so popular in synagogues, but also reminiscences of Christian liturgy; something of Russian folksong, as this kind of melody formed Jewish musical culture in the first half of the 20th century, when Rachel wrote "Barren." Dodecaphonic music and rock music became part of Jewish culture too since the founding of the State of Israel. None of these streams is quoted, copied or mocked. Since for historic and cultural reasons Jewish instrumental music could not independently develop as canonic music, and since the feelings expressed here are mostly universal, I found the overlapping and layering between Jewish and Christian cultures inevitable.
Movements
- Magnificat — Overture
- In Sorrow Thou Shalt Bring Forth Children — densely layered heterophonic choral writing, mixing languages, modes and fragments of text, inspired by the traditional Jewish synagogue, where each person prays along their own melodic path.
- Barren — after the poem "עקרה" by Rachel (Rachel Bluwstein)
- Quia respexit
- Verkündigung / Annunciation — after Rainer Maria Rilke
- Absalom — after the poem "אבשלום" by Yona Wallach. Sharp textures and a twelve-tone theme, exposed and modern, to carry the raw emotional weight of miscarriage.
- Lament — a dark five-part fugue beginning in the low strings, built over a chaconne-like vibraphone motif. The choir speaks Latin and Hebrew texts simultaneously, gradually rising to an intense climax.
Texts used
- Latin Magnificat (Luke 1:46–55)
- Genesis 3:16 — the promise to Eve
- Rachel (Bluwstein) — "Barren" / "עקרה"
- Rainer Maria Rilke — "Verkündigung"
- Yona Wallach — "Absalom" / "אבשלום"
- 2 Samuel 19:1 — David's lament over Absalom
Commissioned by the Tel Aviv Chamber Choir, at the suggestion of Michael Shani.