Tag: sacred

The Platt Brothers | Ahavat Olam

Broadway Buzz reports that “Ben Platt won a 2017 Tony Award for his breakout performance in Dear Evan Hansen. He got his start in a national tour of Caroline, or Change at age 11 before snagging the breakout role of Benji in Pitch Perfect and its sequel. After starring in the national tour of The Book of Mormon, Platt made his Broadway debut as Elder Cunningham in 2014. His solo album, Sing To Me Instead, was released in March of 2019. He currently stars on the Netflix’s The Politician.”

Turns out that Ben is not the only musically inclined member of his family. Here, he performs the Ahavat Olam with his brothers Jonah and Henry; this setting is by Gabe Mann and Piper Rutman. The Ahavat Olam is the second prayer of Maariv, a prayer service held in the evening or during night time in the Jewish tradition.

Starting in an uncomplicated, peaceful Bb major, a spirited bridge brings a huge change at 2:07: the text shifts from Hebrew to English and Bb minor chords ring out before the section ends in what turns out to be a false modulation to Eb major. But Bb major returns, as does the original Hebrew, at 2:42. Many thanks to our Facebook follower Elizabeth Moore for this submission!

Jean Berger | The Eyes of All Wait Upon Thee

According to the Milken Archive of Jewish Music, composer Jean Berger was born Arthur Schlossberg in Germany in 1909. After earning a Ph.D. in musicology in 1931, he moved to Paris and changed his name to Jean Berger as the Nazis came to power in Germany. He later moved to the United States, became an American citizen, and enlisted in the US Army in 1942. After the war, he became an arranger for CBS and NBC and toured as a concert accompanist. During the latter part of his career, he taught for decades at several American colleges and universities while continuing to compose.

Choral works were very much the central focus of Berger’s composition. “The Eyes of All Wait Upon Thee” (1959), one of Berger’s best known pieces, is based on text from Psalm 145. This performance, taken from a 2012 collection entitled Worthy to Be Praised, is by the Messiah University Choirs’ Chamber Singers.

After starting in E minor, the piece features a mid-section (0:49 – 1:18) which shifts across several keys. The third section partially mirrors the first, with the substantial difference of closing the piece in E major.

Flash Mob, Turin, Italy | Mozart’s “Ave Verum Corpus”

Of all the things we’re missing now, the feeling of participating in a flash mob (as a planful participant or an unwitting audience member) might be among the most difficult to recall. This 2013 a cappella performance of Mozart’s “Ave Verum Corpus” (1791), nothing less than a pillar of the choral repertoire, resounds beautifully in the setting of a soaring Italian atrium.

Dr. Jimbob’s Mozart page (written by Dr. James Chi-Shin Liu, an internist with a specialty in performing arts medicine as well as an extensive scholarship of music!) has this to say about the piece: “Mozart’s setting is far from pedestrian or undistinguished…Artur Schnabel famously described as too simple for children and too difficult for adults (after all, simple music like this exposes any lapses of rhythm, intonation, or ensemble). And the music seems to encompass a universe of feeling in forty-six short bars.”

This rendition begins with an extended D major drone as the shoppers gradually figure out that a performance is afoot; the performance itself begins at 2:18. At 3:23, the piece’s dominant key of D major gives way to F major, returning to D major at 3:57. The choir returns to the D major drone, gradually tapering down to nothing and transitioning to applause, before the shoppers go on about their day.

Nathaniel Dett Chorale | Abide With Me

The Nathaniel Dett Chorale, based in Canada, specializes in Afrocentric music of all styles, including classical, spirituals, gospel, jazz, folk and blues. Founded in 1998 by Brainerd Blyden-Taylor (who continues to serve as director), the group has performed across the US and in Canada, and was featured at the 2009 inauguration of Barack Obama. From their website:

“The Chorale’s vision is to be a premier performer of Afrocentric composers — past, present, and future — and to be a touchstone for the education for audiences and communities regarding the full spectrum of Afrocentric choral music. The Nathaniel Dett Chorale’s mission is to build bridges of understanding, appreciation, and acceptance between communities of people, both Afrocentric and other, through the medium of music. The Chorale seeks to dissolve the barriers of stereotype, to empower humans in general, and those of African descent in particular.”

“Abide With Me,” a 19th century hymn, is featured on one of their live performance DVDs. Key change at 2:47.

Seals + Crofts | Hummingbird

“Hummingbird” by the 70s soft-rock duo Seals and Crofts reached #20 (US Pop), #3 (Canada Pop) and #12 (Adult Contemporary) in 1973. According to AllMusic.com, the lyrics quote from the scriptures of the Baha’i faith which the duo shared and features a “segmented structure, with a chant-like opening and a sharp change in tempo, which didn’t stop it from becoming a hit…for all of its beauty, the soaring orchestral accompaniment (highlighted by lofty strings and a gorgeous horn part) never eclipses the core sound of the duo’s singing and their acoustic guitar/mandolin combination.”

An intro in 3/4 transitions between E minor and E major, ending with keening chromatic melody over A major. After transitioning to 4/4 for verses and a chorus alternating between D minor and D major, 3:20 brings a sweeping extended outro, with myriad chords floating over a consistent D pedal-point in the bass. At 3:45, a progression of C Maj | F Min | : E major | A Major : | wraps up the tune as it heads for the horizon.

Have You Seen a Child (from “Amahl + the Night Visitors”)

Weekend bonus mod: thanks to frequent contributor JB! Written by Gian Carlo Menotti, an Italian-American composer and librettist, Amahl and the Night Visitors first aired on NBC on Christmas Eve, 1951; it was the first opera written specifically for television and was intended to be children’s programming.

According to Opera Magazine, Menotti was challenged by deadlines; he was assisted by his composition colleague Samuel Barber in completing the orchestrations, which were first performed under the baton of NBC Symphony Orchestra conductor Arturo Toscanini. The production, later staged by many opera companies, was aired on national TV for eleven years straight; sporadic performances have continued over the years.

The main theme is repeated in several keys; the first modulation is at 0:33.