SABBATH MEDITATION
Ordering information is on the poster at the bottom of page. Quotes and comments from reviewer Jennifer Chou, composer William (Bill) Buck and Musical Director and Cantor Judy Campbell are just above the poster. But first (and because it's interesting) ...
A BRIEF BACKGROUND TO THE CD
For most non-Jews around the world, one of the defining characteristics of Jewish music is that it tends to be vocal, perhaps mixed with portable instruments such as the violin, clarinet or guitar and/or accordion, but the organ is usually notably absent from the list. The organ has been used in the Christian church for so many centuries, at least in the West, that instrument and institution are highly linked in the public mind. Organists, also, tend to consider the organ as a “Christian” instrument, if they assign a religious factor to it at all, simply because churches are generally where instruments are to be found, unless one lives in a city with a large concert hall or a school of music. Much of the literature played in recitals has a Christian basis, in terms of usage of liturgical melodies, whether they be hymn tunes, plainsong or more current song-forms.
But this is not the whole story. With the development of the Reform (Progressive) movement in Jewry during the 19th century, organs (many quite large) began to appear in synagogues in Germany and Hungary as well as in the United States. Over time, Jewish composers began to use the organ as an accompanimental instrument, both for cantors and choirs, and later for congregational singing. Most of the works on this disc derive from this tradition. Many of the composers were European-born, but removed to the US, bringing their traditions with them. The use of traditional chants, primarily passed down through oral tradition, creates interesting notational and interpretational issues for both composer and performer, as cantillations are often highly ornamented and rhythmically flexible. Folk melodies are usually easier to deal with.
Amongst the works presented here are the equivalent of chorale preludes (especially those by Fromm, which serve much the same function as the Orgelbüchlein of Bach) as well as concert works of some difficulty. Many will transport across the religious divide and be useful within the Christian tradition; some will not. And the tradition is changing again, where organs are no longer the only or even the main instruments employed in Progressive worship. Orthodox worship still uses only the human voice, but it is to be hoped that members of all the traditions within Judaism will find here something which speaks to them.
For organists and other music lovers, this repertoire is a by-way on the musical road but one worthy of exploration. There is much to enjoy from purely artistic point of view. And while most of these works are short, compared to Bach or Franck, that makes them no less deserving of our attention.
THE ORGAN
The present organ is the fourth instrument in the life of the parish. It was purchased from the English firm of Wm Hill and Son in 1886 (installed in 1888) through a bequest from Miss Harriet Lewis, in whose memory a plaque has been placed in the chancel. After an arson attempt in 2008, the organ has been restored to its original glory by the South Island Organ Co of Timaru, thanks in part to a generous grant from the Heritage and Environment division of the Lotteries Grants Board and the assistance of the Roskill Foundation in addition to the insurance settlement and local benefactors. The organ was rededicated early in 2011, and is used regularly for worship and for concerts and recordings.
THE PERFORMER
Dianne G Halliday came to NZ from her native USA in 1983. She has been Director of Music at St Peter’s Church since 1997. A graduate of the Eastman School of Music of the University of Rochester, where she studied with David Craighead, she is also a Fellow of the American Guild of Organists and holds the Choirmaster certificate. Her interest in Jewish organ music stems from both St Peters’ close links with Temple Sinai (the Wellington Liberal community) and family links with Moriah College. (For non-commonwealth readers, a college is not a tertiary institution but a school for either primary or secondary students). In addition to her role at St Peter’s, Dianne is active in the Wellington Organists’ Association and a former chairman of the Wellington Branch of the Royal School of Church Music.
FROM A REVIEW BY JENNIFER CHOU, (St John's Church, Camberwell, Melbourne and freelance reviewer for Organ Australia)
On offer is Jewish organ music that is charming and delightful, solemn and peaceful, powerful and captivating. This CD contains organ music written by Jewish composers mostly European¬born but were later removed to the US. Included on this CD is William Buck who is now a resident in New Zealand.
Dianne Halliday has absolutely captured her audience in this CD by her impeccable execution on all the pieces showing the numerous colours available on the 1887 William Hill and Son organ of St Peter's Church Willis Street Wellington. Sabbath Meditation by Jacob Beimel is intimate, melodious and peaceful. Two preludes from Four Preludes on Jewish Melodies by American composer William Bolcom are most refreshing and delightful to listen to, simple and beautiful.
FROM WILLIAM (BILL) BUCK, composer of Candlelighting (the second piece on the cd) ".. in particular I had not heard the Fromm pieces before.The quality and clarity of sound (and playing!) is excellent and I am delighted in the inclusion of 'Candlelighting'. Congratulations on this CD of Jewish music."
FROM JUDY CAMPBELL (Musical Director, North Shore Temple Emmanuel, Sydney, Australia)
"Congratulations to Dianne on a real tour de force! "
