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A MESSAGE FROM THE MILKEN ARCHIVE FOUNDERDispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its hostcultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecutionand seeking to take part in a visionary democratic society, their experiences found voice in their music. Thesacred and secular body of work that has developed over the three centuries since Jews first arrived on theseshores provides a powerful means of expressing the multilayered saga of American Jewry.While much of this music had become a vital force in American and world culture, even more musicof specifically Jewish content had been created, perhaps performed, and then lost to current and futuregenerations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collectivememory contained within this music, I founded the Milken Archive of American Jewish Music in 1990.The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen yearshas created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The MilkenArchive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts ofthis richly varied musical repertoire.A MESSAGE FROM THE ARTISTIC DIRECTORLowell MilkenThe quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewishlife in America is one of the least acknowledged achievements of modern Western culture. The time is ripefor a wider awareness and appreciation of these various repertoires—which may be designated appropriatelyas an aggregate “American Jewish music.” The Milken Archive is a musical voyage of discovery encompassingmore than 600 original pieces by some 200 composers—symphonies, operas, cantorial masterpieces, completesynagogue services, concertos, Yiddish theater, and folk and popular music. The music in the Archive—all bornof the American Jewish experience or fashioned for uniquely American institutions—has been created bynative American or immigrant composers. The repertoire is chosen by a panel of leading musical and Judaicauthorities who have selected works based on or inspired by traditional Jewish melodies or modes, liturgicaland life-cycle functions and celebrations, sacred texts, and Jewish history and secular literature—withintrinsic artistic value always of paramount consideration for each genre. These CDs will be supplemented later by rare historicreference recordings.The Milken Archive is music of AMERICA—a part of American culture in all its diversity; it is JEWISH, as an expression of Jewishtradition and culture enhanced and enriched by the American environment; and perhaps above all, it is MUSIC—music thattranscends its boundaries of origin and invites sharing, music that has the power to speak to all of us.Neil W. LevinNeil W. Levin is an internationally recognized scholar and authority on Jewish music history, a professorof Jewish music at the Jewish Theological Seminary of America, music director of Schola Hebraeica, andauthor of various articles, books, and monographs on Jewish music.

About the ComposerWhile still in her teen years, before deciding todevote herself principally to composition, Zaimontformed a duo-piano team with her sister, Doris (nowan accomplished opera director, Doris Kosloff). Theytoured the United States, recording and appearingon radio and television—including performances onMitch Miller’s popular television show, Sing Alongwith Mitch.JUDITH LANG ZAIMONT (b. 1945) was born inMemphis, Tennessee, into a musical family. She grewup in New York City, began piano studies at the ageof five, and at age eleven was accepted into thepreparatory division of The Juilliard School. There, asshe has since recalled, she first realized that she was“born to be a composer.” During her teen years shewon several composition competitions, including thatof the National Federation of Music Clubs; and at ageeighteen she was awarded the BMI (Broadcast Music,Inc.) Young Composer Award.Zaimont studied piano at Juilliard with LelandThompson (1958–64), and composition at QueensCollege with Hugo Weisgall and at ColumbiaUniversity with Otto Luening and Jack Beeson. Afterreceiving her master’s degree, she went to Paris tostudy orchestration with André Jolivet on a DebussyFellowship from the Alliance Française.Zaimont’s earlier works—written for the most partprior to 1980—are mainly vocal or for solo piano. Inaddition to the works recorded here, her Judaicallyrelated pieces from that period also include Man’sImage and His Cry (1968), for contralto and baritonesoloists, chorus, and orchestra. General vocal worksfrom that time frame include choral and solo settingsof poems by Shakespeare, Shelley, Herrick, Gay, Auden,Cummings, Byron, Baudelaire, Verlaine, Rimbaud,Blake, and others. Her piano works from those yearsinclude a concerto (1972) and numerous solo pieces,such as A Calendar Set (1972–78); Two Rags (1974); thenocturne La Fin de siecle (1978); and the four-handSnazzy Sonata (1972).More recent works in Zaimont’s oeuvre of nearly 100compositions—many of which have been awardedimportant prizes and have received performancesabroad as well as in the United States—include threesymphonies; a chamber opera for children, Goldilocksand the Three Bears; and oratorios and cantatas. Shehas also written a number of works on AmericanIndian themes, such as The Magic World (Ritual Musicfor Three), as well as music for wind ensembles, vocalchamber pieces for various combinations, instrumentalchamber works, and solo music for string and windinstruments, piano, organ, and voice.Zaimont’s many composition awards include aGuggenheim Fellowship (1983–84); a Maryland3 8.559444

State Arts Council creative fellowship (1986–87); andcommission grants from the National Endowmentfor the Arts (1982), the American ComposersForum (1993), and the international 1995 McCollinCompetition for Composers—for her first symphony,which was performed by the Philadelphia Orchestrain 1996. She was “composer of the year” at AlabamaUniversity in 1994, the featured composer at theSociety of Composers International American meetingin 1995, artist-in-residence for the 1996–97 academicyear at Skidmore College, composer-in-residence atthe University of Wisconsin (River Falls) in 1999, thehonored composer in 2001 at the Eleventh Van CliburnInternational Piano Competition—where the goldmedalists performed her music—and the featuredcomposer in 2002 at the annual conference of theNational Federation of Music Clubs.A distinguished teacher who has served on thefaculty of Queens College, the Peabody Conservatory,and Adelphi University, Zaimont was a professor ofcomposition from 1992 until 2005 at the Universityof Minnesota in Minneapolis. She is also the founderand codirector of the performing ensemble AmericanAccent, based in New York, and the creator and editorin chief of the acclaimed series of books The MusicalWoman: An International Perspective. Her music hasbeen the subject of twelve doctoral dissertations.Zaimont’s works have been performed by theBaltimore, Jacksonville, Greenville (South Carolina),and Harrisburg symphony orchestras; the Czech RadioOrchestra; the Berlin Radio Orchestra; the KharkovPhilharmonic (Ukraine); and the Pro Arte ChamberOrchestras in New York and Boston.The composer with students at the University of MinnesotaProgram NotesSACRED SERVICE FOR THE SABBATH EVENINGCommissioned in 1976 by the Great Neck Choral Society(New York) in honor of the American Bicentennial,Zaimont’s Sacred Service for the Sabbath Evening is,despite its title, primarily a concert work rather thanan actual synagogue worship service. It is a cohesive,astutely arched, and musically integrated series ofsixteen artistic settings—mostly of English prose orquasi-poetic texts taken from the Union Prayerbookfor Jewish Worship. As the creation and publicationof the rabbinical organ of the American Reformmovement (the Central Conference of AmericanRabbis), this was—for much of the 20th century, untilat least the 1980s—the preponderant prayerbook ofReform congregations in the United States.8.559444 4Quite a few 20th-century composers—including someof the most recognizable names in the classical music

world (Ernest Bloch, Darius Milhaud, David Diamond,and Mario Castelnuovo-Tedesco, to cite only a few)—have created sophisticated artistic settings of Sabbathservices, with a view toward blurring the distinctionbetween functional prayer experience and concertorientedexpression. Indeed, some of these works havesucceeded admirably within both formats: as formalworship, particularly at unconventional services orcelebrations in modern or progressive nonorthodoxcongregations that were receptive to the notionof expanding liturgical aesthetics in the context ofWestern musical perspectives; and, independently, onthe concert stage. Zaimont’s work, however, which isbased largely on texts that fall outside the liturgy perse, appears to transcend the functional boundariesof synagogue ritual altogether. By turns dramaticand meditative in its reflection of the various moodssuggested by the words, it relates to its texts as poetryand poetic prose that—in keeping with the spirit andworldview embraced by the authors of the UnionPrayerbook itself—can resonate on universal planes.Three choral numbers that were extracted from thework and issued separately in folio publications aresuitable for rendition within worship services. Thesehave in fact been performed widely—in synagoguesas well as concert venues, and even in Christianchurches. Yet apart from these individual pieces, thisSacred Service is, in its entirety, essentially a religiouslyoriented—but extra-liturgical—extended cantata forbaritone solo, mixed chorus, and symphony orchestra.The texts selected by the composer comprise liberalEnglish translations and paraphrases of Hebrewprayers, as well as original meditative, supplicatory, orinspirational English readings that were intended bythe Union Prayerbook’s authors for spoken deliveryfrom the pulpit by the rabbi or other ministerialofficiant, or for responsorial articulation betweenreader and congregation. Those para-liturgical readingswere in turn based loosely on—or drawnfrom—traditional liturgical and biblical passages andsentiments, which were often recast to resonate withcontemporary sensibilities, aesthetics, and concerns.Although the aggregate American Reform musicalliterature contains numerous practical settings ofactual prayer texts and hymns in English versions,dating as far back as the 19th century, Zaimont wasprobably the first composer to intuit artistic possibilitiesin the eloquent language of those supplementaryoratorical readings and to set them musically asoratorio-like arias, ariosos, accompanied recitatives,and contrapuntal choral pieces. The original Hebrewof the most familiar succinct liturgical or biblicalpronouncements is maintained—followed by theEnglish versions—in only a few instances in the score.In their effort to streamline and abbreviate the liturgyfor Sabbath services, as well as to provide week-toweekvariety within the new format, the editorsof the Union Prayerbook divided the Sabbath evesection (which also incorporates excerpted elementsof the traditionally separate preliminary kabbalatshabbat—“welcoming the Sabbath”—liturgy) intofive distinct alternative services. Each service wasbased on extracted elements of the traditional liturgy,albeit often abridged or reordered, surrounded bythe newly fashioned English readings. Congregationswere then able to select one of those services for anyparticular Sabbath. Zaimont based her work on thethird such Sabbath eve service as it appeared in the1947 edition.The sixteen movements of Zaimont’s Sacred Serviceappear in three large sections of five pieces each,with an epilogue following Part Three. Parts One andTwo exhibit a dramatic approach, each concludingwith an impressive choral movement. Part Three5 8.559444

(not represented in the recorded excerpts here) hasa more sustained, meditative character. Throughoutthe work, the chorus, which is never relegated to anaccompanying role, functions as an equal partnerwith the baritone solo. Textural variety is providedby occasional alternation between full chorus and adouble quartet of choral soloists.The Excerpts Recorded Here1Part OneI. The opening choral movement of the service, TheLord Reigneth, is the Union Prayerbook’s Englishversion of Psalm 97. Also commonly known by itsHebrew incipit, adonai malakh, it is the third Psalmat the beginning of the traditional kabbalat shabbatliturgy. But in the third alternate Sabbath eve servicein the Union Prayerbook, it is the introductory Psalm.The principal musical motive of this setting serves asa kind of leitmotif, which recurs in the concludingpassages of all three parts of the work.2II. God and Father, a baritone solo recitative, is asetting of the English reading that follows Psalm 97 inthe Union Prayerbook. Although this text is not liturgyper se, its content is a pastiche of Sabbath-relatedthoughts and noble sentiments that touch uponethical obligations and social conscience.3IV. Why Do We Deal Treacherously? This setting isdrawn from the English responsive reading in theUnion Prayerbook that, in its third Sabbath eveservice, serves as a preamble to the proclamation ofworship with which the principal liturgy of all prayerservices commences: bar’khu et adonai ham’vorakh(Worship the Lord to whom all worship is due). The8.559444 6alternation between baritone solo and choir reflectsthat between the reader and the congregation in theresponsorial format of the text, which incorporatesbiblical verses. Jazzlike syncopations give the settingan agitated quality, reinforced by the choral repetitionof the question posed by the opening line. Effectiveshouts and whispers in the choir are punctuated by thesoloist’s gentle but firm response.4Part TwoVI. The opening movement of the second sectionbegins with this meditation, introduced by the wordsO Lord, How Can We Know Thee? This da capo aria is asetting of the English reading in the Union Prayerbookthat serves as a prelude to the pronouncement ofJudaism’s central creed of monotheism, sh’ma yisra’eladonai eloheinu adonai eḥad (Listen, Israel! Adonai—the Lord—is our God; the Lord is the only God—Hisunity is His essence).This proclamation of God’s eternal oneness anduniversality, together with its continuing paragraphthat affirms the requirement of unequivocal devotionto God, constitutes the first of three biblical passagesthat are known collectively as k’ri’at sh’ma (the readingor pronouncement of sh’ma …). As a unit, these threepassages form the oldest and most essential part ofthe Hebrew liturgy (Deuteronomy 6:4–9; 11:13–21;and Numbers 15:37–41). It is the core of every morningand evening prayer service, and its recitation isobligatory for all adult Jews—more so than any otherprayer text.5VII. This second movement of Part Two containsthe actual sung pronouncement of the openingstatement of k’ri’at sh’ma (sh’ma yisra’el)—first in itsfamiliar Hebrew, and then according to the standard

translation found in most American prayerbooks. (Themore probing and meaningful translation by RabbiMorton M. Leifman, above, avoids the ambiguity andhollowness of the phrase “The Lord is One” and moreaccurately captures the significance and implication ofthe statement.) This is followed here by the nonbiblicalresponse, barukh shem k’vod malkhuto l’olam va’ed(Worshipped be His Name whose glorious kingdom isforever and unto all time)—a liturgical formula that isnonetheless biblically based (Nehemiah 9:5).Talmudic sources (Tosef.Ber. 7:22) assert that theresponse barukh shem . . . was employed daily inconnection with the blessings pronounced by thepriests in the ancient Temple in Jerusalem—in themanner of, or in place of, “amen.” And on Yom Kippur,the priests and others who stood in the Temple courtare said to have uttered this phrase upon hearing thetetragram of God’s Name—the pronouncement ofwhich was forbidden at all other times and by all butthe High Priest, who articulated it annually in his publicconfessions on that holiest and most solemn of days.(Since the destruction of the Second Temple resultedin the suspension of the priestly ritual, the tetragramis therefore prohibited altogether by anyone, at anytime, and under any circumstances.)part of k’ri’at sh’ma, just as other parts of the Templeritual are reenacted on the Day of Atonement. Intraditional practice of the Ashkenazi rite, this formulais also pronounced aloud three times at the close ofthe concluding service of Yom Kippur (n’ila)—a customthat has been explained both as a final, resoluteaffirmation of faith following the day of intense selfexaminationand renewal, and as a declaration ofoptimism for the ultimate universal embrace of God’seternal and exclusive sovereignty.At the end of the 19th century, however, the authorsof the Union Prayerbook felt neither historically northeologicially bound by the issues of ancient Templeritual in this case. Nor were they constrained byliturgical custom (even though their revisions andreforms, no matter how liberal, were usually groundedin tradition). Their new format, some of which alsodrew on features of earlier American Reform-orientedprayerbooks, established the vocal rendition of thebarukh shem response as standard practice for allservices of the Reform movement in America. Virtuallyall musical settings of sh’ma yisra’el for Reformservices—Sabbath, Festival, and Rosh Hashana aswell as Yom Kippur—have therefore included it as anintegral part of those compositions.It is only in the Reform worship format that thisresponse (barukh shem …) is sung or said aloudat all services throughout the year. In traditionalworship, except for Yom Kippur, it is uttered only in anundertone or whisper—which distinguishes it from theactual biblical verses. (Another suggested rationale forthe establishment of this custom in the developmentof the liturgy is the deliberate differentiation fromTemple practice in memory of its destruction, andthere are also various midrashic explanations rootedin biblically related mythical lore and legend.) Only onYom Kippur is barukh shem recited or sung aloud asThe composer has used the most ubiquitous Americancongregational tune for the opening proclamation,sh’ma yisra’el, with subtle rhythmic alterations. (Thetune, whose origin is unknown, is often erroneouslyand annoyingly attributed to the great 19th-centurycantor and composer Salomon Sulzer, for which thereis no basis whatsoever apart from a similar threetonemelodic incipit and a cadential cliché (mediantsupertonic-tonic,with an implied V-I progression,which could apply to thousands of Western-typetunes). The tune—or, more accurately, the referenceto the tune—is given mildly abrasive and rhythmically7 8.559444

emphatic context, and the tension is heightened bythe modal alteration in the choral repetition of theHebrew. Further original development and extensionaccompany the sung Hebrew translation in an interplaybetween the baritone soloist and the choir.6VIII. This movement is the continuation of the first ofthe three sections of k’ri’at sh’ma in English translation(“Thou Shalt Love the Lord Thy God …”), as it appearsin abbreviated form in the Union Prayerbook. At itsconclusion, Zaimont’s setting adds the opening line(also in English translation) of a separate prayer, thetraditional post–k’ri’at sh’ma prayer and benediction:“Eternal truth it is that Thou alone art God and thereis none else” (emet ve’emuna . . .), even thoughthose words would normally be the beginning of anindependent setting. While the Union Prayerbook’sexclusively English version and paraphrase of thispost–k’ri’at sh’ma prayer is given as a responsorialreading, creatively infused with extraneous biblicalverses and ethical and moral sentiments, it does retainthat original opening line.This setting’s gently flowing and simple melodystands in contrast to the dramatic forcefulness ofthe preceding movement and its hints of dissonance.It builds gradually in intensity, with choral and solorepetitions of the opening words; and it concludes withgrandeur to the vehement reiteration of the words“There is none else” (i.e., there is no other God).A WOMAN OF VALOR (ESHET ḤAYIL)A Woman of Valor, described by its composer as atone poem for mezzo-soprano and string quartet, isa setting of selected and reordered verses from the8.559444 8concluding alphabetical acrostic poem in the Book ofProverbs (31:10–31). Commonly known by its incipit,eshet ḥayil, the poem is essentially an ode to the ideal(or idealized) wife in both conventional and timelessterms. As part of the domestic Sabbath eve ritual, itis customarily recited or sung at the Sabbath table onFriday evenings—upon return from the synagogue—along with other songs, prayers, and liturgicalpronouncements that precede the festive Sabbatheve meal.Although the term eshet ḥayil has most often beentranslated literally as “a woman of valor,” thatterminology has always been troublesome and lessthan satisfactory—not least because of its military andother inapplicable connotations. “A woman of virtue”and “a virtuous woman”—alternate translations thatappear in a number of sources—also present semanticdifficulties in terms of sexually-related associations,even though the poem does indeed enumerate ahost of virtues that, quite apart from (assumed)sexual fidelity, constitute an aggregate desideratafrom biblical-era perspectives. Other, more discerningtranslations include “a woman [wife] of true value”;a woman of true [i.e., inner] strength”; “a woman ofaccomplishment”; “a woman of true worth”; or “anideal wife.” But however the words may be renderedin English for the sake of a succinct phrase, they arewidely understood to describe a woman who is thepillar of strength of her family and household. Thus themost ubiquitous translation of eshet ḥayil might alsowork in the sense of a metaphor for valor in the dailystruggle to balance with equilibrium all the aspectspertaining to her multiple roles within a traditionalsociety—or, in 20th/21st–century lingo, to “be allthings to all people in her family” while maintainingher own identity and sense of self-fulfillment.

The succeeding line in the Proverb, “for her priceis far above rubies [or other jewels],” can also beproblematic, for it risks an objectionable comparisonof a woman’s worth with monetary considerations.(Some modern-era scholars have preferred thetranslation “corals”—stones that were found in theSea of Reeds and in India.) Obviously, this referenceto precious stones is simply a literary device used toindicate that a good wife is of inestimable worth toher family.repertoire. This setting, however, is a sophisticatedconcert work in which the mezzo-soprano soloistcalmly but resolutely probes the inner significanceof the words and images, and in which the intricateand inventive gestures of the strings play an equallyimportant role.PARABLE: A TALE OF ABRAM AND ISAACThe phrase “Who can find [an eshet ḥayil]?” shouldnot be construed as an actual question. It is betterunderstood idiomatically to mean “[she] is precious”—i.e., rare, in the sense of “as if difficult to find,” andtherefore to be respected, appreciated, honored,and revered.The catalogue of household activities and obligationsmust of course be understood in the context ofpremodern sensibilities, and these references canalso be reinterpreted in less literal terms as symbolicimages. At its core the text describes a compositedesiderata of a woman in whom her husband placesunqualified trust—who is respected and admired byall in her household; who is kind to the less fortunateand gentle to all; who is self-assured and dignified;who is praised by her entire family; who upholdsreligious precepts and moral values; and who is Godfearing.“A man who is fortunate enough to havefound a good wife,” observed a 14th-century rabbinicscholar with regard to this Proverb, “will lack fornothing. Even if he is poor, he must consider himselfrich…. He must treat his wife with love and sympathy”(M’norat hammaor).In its functional rendition at the Sabbath table, eshetḥayil is either spoken or sung to any one of manyfolklike tunes that have accumulated in the aggregateThe biblical account of Abraham and Isaac atMount Moriah (Genesis 22:1–19) is one of the chiefcornerstones of Judaic theology as well as a principalfoundation pin of Jewish national birth. This story isknown as the akeda (binding), or akedat yitzhak (thebinding of Isaac [for sacrifice]). In it, the patriarchAbraham is told directly by God to prepare hisprecious son—his only son by his wife Sarah—forritual sacrifice. Unbeknownst to Abraham, this ismerely a trial of his faith and of his willingness to obeywithout questioning.This Divine command contains no specific instructionactually to accomplish the act of slaughter andsacrifice. However, Abraham apparently assumes thatit is implied by the directive to “offer him there.”Even so, the mere suggestion of desired humansacrifice from a Divine authority—which embodiesthe essence of truth and righteousness—must beunderstood within its historical context, as mustAbraham’s blind acceptance of even the possibilitythat God would ever sanction, much less desire, suchan act. The hideous practice of child sacrifice wasprevalent among neighboring peoples and primitivereligions throughout much of that part of the ancientworld. Among some tribes, sacrifice of the firstbornwas considered especially meritorious and pleasingto their gods. Child sacrifice is mentioned specifically9 8.559444

in the Torah (“for even their sons and daughters dothey burn in fire to their heathen gods,” Deuteronomy12:31), and heathen enthusiasm for the practice is citedin other biblical passages (e.g., Micah 6:7 and II Kings3:27). This Divine command to Abraham, therefore,might not necessarily have seemed inconsistent withthe normative behavior of the age.Abraham is instructed to take Isaac to Moriah and tooffer him there in sacrifice (lit., to lift him up, i.e., onan altar of sacrifice):And it happened . . . that God tested Abraham.And He said to him . . . “Take, pray, your son,your only one, whom you love, Isaac, and goforth to the land of Moriah and offer him up asa burnt offering. . . .”Abraham—who is considered the founder of Westernmonotheism (his father, Terah, had been an idolworshipper in the pre-monotheistic mold)—neitherremonstrates nor hesitates, but proceeds immediatelyto comply. Without revealing to Isaac the real purposeof their journey, he cuts wood for the burnt offeringand takes his son to a designated mount in Moriah(Jewish tradition identifies the locale as the later site ofthe First and Second Temples in Jerusalem, II Chronicles3:1). He builds an altar there, restrains Isaac by bindinghim, and lays him upon that altar. Isaac does not resist,even when he realizes what is happening. At the lastmoment, just as Abraham takes the slaughtering knifein his hand and positions himself to complete whathe believes to be God’s instruction, God intervenes toprevent it. Through His messenger (angel) comes thefollowing admonition “from the heavens”:“Abraham, Abraham . . . Do not reach out yourhand against the lad, and do nothing to him,for now I know that you fear God and youhave not held back your son, your only one,from Me.”8.559444 10Abraham notices a ram caught by its horns in a nearbythicket, and he offers it instead as an appropriatesacrifice.Assured beyond doubt of Abraham’s faith and loyaltythrough this supreme test, God fixes and reconfirms—in the form of a promise—the proposal that He hadset forth earlier (Genesis 17) regarding the perpetualcovenant with the patriarch and his descendants:And the Lord’s messenger called out to Abrahamonce again from the heavens and said, “By Myown self I swear, declares the Lord, that becauseyou have done this thing and have not heldback your son, your only one, I will greatlybless you and will greatly multiply your seed,as the stars in the heavens and as the sand onthe shore of the sea. . . . And all the nationsof the earth will be blessed through yourseed because you have listened to My voice.”(Genesis 22:15–18)The akedat yitzhak, which is referenced numeroustimes throughout Hebrew liturgy, is thus consideredone of the central narratives of Judaism—for tworeasons. It confirms Abraham’s unswerving belief inGod’s singular authority and supreme righteousness—even if Divine motives are not comprehensible to manor open to human understanding—and it therebyconfirms Abraham’s worthiness to be the founderof the people that will establish monotheism for theworld. The akedat yitzhak is cited in rabbinic literatureand commentary as the tenth and greatest of the trialsAbraham faced to earn this merit. (By extension, thestory is also said to illustrate Isaac’s faith and devotionas the second patriarch.) At the same time, throughGod’s staying of Abraham’s hand, the entire incidentteaches and underscores for all time the Judaicabhorrence and unequivocal prohibition of human

sacrifice, a significant departure from surroundingnorms. Indeed, the innovation lay in God’s interventionto prevent it.Numerous Christian as well as Jewish commentatorsand theologians have observed that this storyrepresents a major step forward in the history ofhuman progress. Not only does it contain an implicitproclamation that the prohibition against humansacrifice should apply to all mankind, but it also clarifiesthat God requires only man’s spiritual surrender toHis will.Throughout the centuries, interpretations andexplications of the akedat yitzhak, including thosein the Talmud and the Midrash, have stressed thatthe Divine request was confined to “preparing Isaacfor sacrifice.” Hence, the word by which the incidentis known—binding—rather than any reference tosacrifice or death. Rav Saadia Gaon (882–942), oneof the greatest scholars and authors, and leader ofBabylonian Jewry in the Geonic period, explained thatGod’s intervention does not constitute His abrogationof His own earlier instruction, since no intention ofactual sacrifice was ever part of it. And Rav Saadiafurther amplified on the intervention to give it themeaning “Enough! More than this I did not desire ofyou” (Emunot v’De’ot, 3:9).war—is ignored; and in which Abraham does indeedsacrifice his son, defiant of God’s admonition.The poet refers to the patriarch by his original name,Abram [Avram], rather than the more familiar nameby which he is remembered—Abraham [Avraham]. Inthe Bible he bears the shorter name only until Godbestows on him the similar but new one—with theadditional letter and the resulting additional syllable.This is in connection with the covenant wherebyAbraham is designated as the father of a “multitudeof nations” (Genesis 17:4–7), which occurs beforethe akedat yitzhak incident. Popular etymology andtradition, supported by standard rabbinic commentary,has assigned to the new name the specific meaningof “father of a multitude,” which would have beengiven to Abraham to mark this watershed event in hislife with respect to his new role. Some scholars haveproposed that the new name might contain withinit an obsolete Hebrew cognate of the Arabic ruham(numerous); other proponents of modern biblicalcriticism have viewed the name Avraham merely as adialectic variant of Avram. Still, there is no consensusamong scholars, since there appears to be no definitiveHebrew derivation for the name or word Avraham.In any case, Owen’s rationale for retaining theunaltered form, Abram, is not readily apparent. Yet* * * * *it cannot have been inadvertent, since his biblicalsource was undoubtedly the Authorized (King James)The poem “The Parable of the Old Man and the Young,”Version, in which the three-syllable name Abrahamby the English-Welsh poet Wilfred Owen (1893–1918),is also established in connection with the Covenant.which forms the basis for Zaimont’s cantata, however,One possible explanation may lie in the poet’s wishoffers an imaginative new twist to the akedat yitzhak,to emphasize that the Abram of his inventive parablewhich becomes a metaphor for the senselessness andshows himself unworthy—by virtue of his refusal tobarbarism of the First World War. Owen imagines aheed the angel’s admonition—to be the father of thescenario in which Divine intervention is unsuccessful;multitude of nations that will, through their embracein which the angel’s exhortation to sacrifice insteadof monotheism, exemplify and promote God’s moralthe ram—which represents, as the “ram of pride,”and ethical teachings.the false and deadly pride of the Great Powers in the11 8.559444

On one level, Owen appears to be posing a questionwith which historians frequently toy for academicsport with reference to critical incidents, episodes,and events—ranging from wars to elections tonatural occurrences: What if the outcome of aseminal confrontation had been entirely different,even opposite? What would be the implications forhistory and for all that followed? With regard to theakedat yitzhak, what if human sacrifice had not beenforbidden or ended, even among the so-called civilizedworld? Would anything in history have been different?Would it have been materially different if the akedahad not occurred—had Judaism not established theDivine abhorrence of human sacrifice? And would thehistory of peoples and their interactions have beendifferent had they heeded this lesson?Owen’s poem is not so much a deliberation on theakedat yitzhak as an allegory of the carnage thatwas known once as the Great War. The poet revisitedthe akedat yitzhak in the context of that blooddrenchedconflagration, which took the lives of tenmillion soldiers and sailors, the limbs and spirits ofmillions more, and perhaps as many as another tenmillion civilians, and which turned out to be, for thebelligerents on all sides, an unimaginably colossalsacrifice of an entire generation of youth—in manyrespects for nothing. And yet, like Abram in Owen’sversion of the akeda, the Allied and Central Powersalike had been willing enthusiastically to sacrifice the“flower of their youth” on the altar of imperial power,Wilfred Owencolonial ambition, political arrogance, ultimatums, andnational pride. At stake was preserving or restoringperceived balances of power, not (as in only a handfulof confrontations throughout history) upholding anyultimate high ideals or deterring any inherent evil.All sides had anticipated a swift victory for imaginednoble causes, in which the sacrifices would be minimalcompared with the supposed benefits. “The boys willa way out:8.559444 12be home by Christmas” was the prediction in Englandas the British army and navy went off to war in August1914. But euphoric optimism and a perceived missionof righteousness pervaded the Central Powers as well:“A great flood of enthusiasm arose,” described EugenFuchs (1856–1923), cofounder of the Central Associationof German Citizens of the Jewish Faith, “a tremendouswave that swept up everyone in its path. Our heartsthumped and our eyes shone with anticipation….Everyone was filled with the irrepressible hope thatwe would win—we had to win.”The Kaiser, whose cousins included the English KingGeorge V as well as Czar Nicholas II—his adversaries onthe Allied side—had warned that a united Germanyhad never been defeated. “United we were indeed,”proclaimed Fuchs and his fellow leaders. But by thetime Owen wrote this poem from the trenches inFrance in the spring of 1918(probably no later than earlyJune), the estimated wardead on battlefields alonewas already more than sevenmillion, with no end in sight.Owen was killed in actionduring the crossing of theSambre-Oise Canal, only aweek before the end of thewar. His mother receivedthe telegram on the day thearmistice was signed—onNovember 11, 1918.In Owen’s poem, the land of Moriah becomes ametaphor for the Western Front in Europe, and“parapets and trenches”—the accompaniments towarfare then—are added to the binding materialsin the biblical story. Abram becomes an advocate forwar, and for no real purpose—even when he is shown

But the old man would not do so [offer the raminstead], but slew his son,And half the seed of Europe, one by one.In the Bible, Abraham’s willingness to obey God’s initialcommand—to prepare and offer Isaac for sacrifice—isjustified because it involves his obedience to Divineauthority and his deference to God’s wisdom andincomprehensible righteousness. But once God clarifiesHis command, forbids the sacrifice, and provides asubstitute in the form of the ram, nothing but sheersavagery and evil could have motivated Abraham togo through with the sacrifice in defiance of God’sadmonition concerning humane behavior. Similarly,whatever justification for war in terms of legitimategrievances the Great Powers might have had withregard to one another would, in Owen’s perception,have evaporated in the face of alternative paths toresolution and negotiated settlements.God is nearly peripheral to the poet’s consideration.Owen’s condemnation is directed at mankind and itsleadership, whom he charges with the crime of humansacrifice. If, through the vehicle of the akedat yitzhakstory, God has long ago forbidden human sacrificeand deliberate bloodshed to no purpose—and offeredreason instead—then Owen’s implication is clearin this allegory: Even civilized mankind has indeedlearned nothing from that lesson, even by the dawnof the 20th century.Zaimont has interwoven Owen’s poem with another,much older text about the akeda: an anonymous 15thcenturyEnglish mystery play, Abraham and Isaac, calledBrome for the hall in Suffolk where the manuscriptappears to have been kept until recent years. At theconclusion of the cantata, even though Abraham hasalready sacrificed Isaac by then, there is an echo of theopening scene—to the words from that mystery play—recalling the initial command to offer Isaac whilehe is yet alive. The audience is free to interpret thesignificance of this recapitulation. Perhaps it suggeststhat the story is beginning again, or that it can beginagain and therefore end differently—that theremay yet be a second chance for mankind to revertto the biblical conclusion of the story in terms of itsown morality.The composer has also added the original Aramaic andHebrew text of the kaddish yatom, the special variantof the Judaic doxology that is recited to honor thememory of parents and siblings—and, optionally, ofother close relatives. That memorial kaddish recitationmay be for Isaac or for Abraham, for the slaughteredin Europe, or for all mankind in future if it does notheed the lesson of the akedat yitzhak.The composer has offered the following comments onthe musical parameters of Parable:Musically, the work is dramatic, with considerabletext-painting, and it is tightly knit motivically.Musical materials are derived throughout fromtwo sources: a rising and then falling half-step(part of the angel’s command, “Abram, wiltthou rest?”), and a lyrical progression associatedwith Isaac. Contrasting with the highly forceful,narrative choral sections are lyric solos forAbram and Isaac in accompanied recitativestyle. Abram is given music that underlines theenormity of his quandary. His mood is mercurial,shifting between the desire to reassure his sonand the knowledge that he must be the agentof his son’s death.There are two versions of Parable: one for voicesand organ; and the one recorded here, for voices,five strings, and harpsichord. It was commissioned13 8.559444

y Florilegium, an amateur chorus in New York City,through a grant from the New York State Council onthe Arts in 1986. Its world premiere occurred at MerkinHall in June of that year, and it has been performednumerous times throughout the United States,including a performance by the New York VirtuosoSingers in 2004.MEDITATIONS AT THE TIME OF THE NEW YEARThe texts of the two movements of Meditations at theTime of the New Year are drawn from parts of variouscreative silent meditations that typically supplementthe Rosh Hashana liturgy in many Reform synagogueservices. The first movement, Dawn, is basicallycontemplative in its overall mood. Renewal—one ofthe principal spiritual themes in the liturgy of RoshHashana—is expressed with transparent but judiciouslylayered textures. The second movement, Hope, is moreforceful, progressing from dense clusters to upliftingchords, especially at the words “Glory to those whohope.” This spirit of optimism, too, is one of the JewishNew Year’s dominant liturgical sentiments. The piececoncludes with a calm coda that recalls the ambienceof reverential prayer, its words taken from a wellknownEnglish translation in classical Reform liturgy:“May the words of my mouth and the meditations ofmy heart be acceptable to Thee, O Lord.”A subtle and sparsely scored percussion accompanimentfeatures bell sounds on glockenspiel and chimes.Meditations was commissioned by the Concert Choir ofSkidmore College and was composed in 1997.—Neil W. Levinand Father.8.559444 14Texts and TranslationsSACRED SERVICE FOR THE SABBATH EVENING(excerpts)Sung in English1I. “THE LORD REIGNETH”The Lord reigneth; let the earth rejoice; let themultitudes of isles be glad. Clouds and darknessare around Him; righteousness and justice are thefoundations of His throne. The heavens declare Hisrighteousness, let the earth rejoice, and all the peoplesbehold His glory. Zion heareth and is glad, and thedaughters of Judah rejoice; because of Thy judgments,O Lord. O ye that love the Lord, hate evil. He preserveththe souls of His saints; He delivereth them out of thehand of the wicked. Light is sown for the righteous,and gladness for the upright in heart. Be glad in theLord, ye righteous; and give thanks to His holy Name.2II. “GOD AND FATHER”God and Father, we have entered Thy sanctuary onthis Sabbath to hallow Thy Name and to offer untoThee prayers of thanksgiving. The week of toil isended, the day of rest is come. Thou, Creator of all,has given us the blessing of labor, so that by our workwe may fashion things of use and beauty. May thefruit of our labor be acceptable unto Thee. May eachnew Sabbath find us going from strength to strength,so that by Thy grace we may be helped to an evenworthier work. Make us conscious of our obligation toThee and of opportunities for service which Thou hastput within our reach. Help us to use our powers forthe betterment of our fellowmen so that Thy childrenmay be gladdened by the work of our hands, God

3IV. “WHY DO WE DEAL TREACHEROUSLY?”Why do we deal treacherously brother against brother?Why do we deal treacherously—why do we, why?Seek good, not evil, that ye may live.4VI. “O LORD, HOW CAN WE KNOW THEE?”thou liest down, and when thou risest up. Thou shaltbind them for a sign upon thy hand, and they shall bebetween thine eyes. Thou shalt write them upon thedoorposts of thy house and upon thy gates. That yemay remember and do all my commandments, and beholy unto your God.Eternal truth it is that Thou alone art God and thereis none else.O Lord, how can we know Thee? Where can we findThee, O Lord? Thou art as close to us as breathing andyet art farther than the farthermost star. Thou artmysterious as the vast solitudes of the night and yetfamiliar as the sun. Lord, O Lord, how can we knowThee? Where can we find Thee, O Lord? Thou livestwithin our hearts, as Thou dost pervade the world,and we through righteousness behold Thy presence.We behold Thy presence.5VII. SH’MA YISRA’ELSung in Hebrew and EnglishSh’ma yisra’el adonai eloheinu adonai eḥadHear, O Israel, the Lord our God, the Lord is one.Barukh shem k’vod malkhuto l’olam va’edPraised be His Name whose glorious kingdom is foreverand evermore.6VIII. “THOU SHALT LOVE THE LORD”Thou shalt love the Lord, thy God, with all thy heart,with all thy soul, and with all thy might. And thesewords, which I command thee this day, shall be uponthy heart. Thou shalt teach them diligently unto thychildren, and shalt speak of them when thou sittestin thy house, when thou walkest by the way, when7A WOMAN OF VALOR (ESHET ḤAYIL)Based on the English translation from The Holy Scriptures,The Jewish Publication Society, 1955Eshet ḥayil mi yimtza?A woman of valor who can find? —for her price is farabove rubies.She looks well to the ways of her household, and eatsnot the bread of idleness.The heart of her husband trusts safely in her.She does him good, she does him no evil.She girds her loins with strength,She strengthens her arms, stretches out her hands,Yea, she reaches forth her hands to the needy.Strength and honor clothe her, and she shall rejoicein time to come.She opens her mouth with wisdom; and in her tongueis the law of kindness.She stretches out her hand to the poor; yea, shereaches forth to the needy.Her children call her blessed.Grace is deceitful and beauty is vain,But the woman who fears the Lord shall be praised.Many daughters have done valiantly,But you excel them all.15 8.559444

8PARABLE: A Tale of Abram and IsaacISAACYea, father, but my heart shiv’rethTo see thy drawn sword so.Tell me, father,Bear ye your sword drawn for me?Texts adapted from the medieval mystery play Abraham andIsaac; “The Parable of the Old Man and the Young” by WilfredOwen; and the Aramaic and Hebrew prayer Mourners’ Kaddish.ANGELAbram, Abram wilt thou rest?The Lord commandeth thee,Thy Lord commandeth thee for to takeIsaac, thy young son, that thou lovest best,And with his blood make sacrifice.Go! Go thou into the Land of VisionAnd offer thy child unto the Lord;I shall lead thee and show also.Unto God’s hest, Abram, accord!CHORUSSo Abram rose, and clave the wood, and went,And took the fire with him, and a knife.And as they sojourned both of them together,Isaac the firstborn spake and said:ISAACFather, my Father,Behold the preparations, fire and iron,But where the lamb for this burnt offering?Where the quicke beast that ye should kill?ABRAMDread thee not, my child,Our Lord will send me and show here in this placeSome manere of beast for to take,Through His sweet sand [messenger].8.559444 16ABRAMAh, Isaac, sweet son, peace! Peace!Peace, dear child,In all thy life thou grieved me never.Sweet son, my sweetest child in earth,In all thy life thou grieved me never once;I love thee best of all.Isaac, thou hast been to me child full good.But child, though I mourn ne’er so fast,Yet must I hereIn this place shed all thy blood.ISAACMercy!ABRAMAh, Isaac, sweet son, peace! Peace!ISAACMercy, father!ABRAMPeace, dear child, leave off thy moans!Isaac, thou break’st my heart in three.ISAACMercy! Ah, mercy father, mourn no more!Your weeping maketh my heart soreAs mine own death.

CHORUSThen Abram bound the youth with belts and straps,And builded parapets and trenches there,And stretched forth the knife to slay his son.(The Lord commandeth thee.)ISAACFather, have mercy, turn down my face.Would I the stroke were done!CHORUSWhen lo! An angel called him out of heaven,Saying:ANGELLay not thy hand upon the lad,Neither do anything to him. Behold,A ram, caught in a thicket by its horns;Offer the Ram of Pride instead of him.ISAACFather! Why smite ye nought?O, would I the stroke were done!ANGELLo! Abram!Offer the Ram of Pride instead of him.CHORUSBut the old man would not so, but slew his son,And half the seed of Europe, one by one.ANGELAbram, Abram wilt thou rest?The Lord commandeth thee to takeThy son for sacrifice.ISAACMercy, father.MOURNERS’ KADDISHSung in HebrewTranslation from the Hebrew by Rabbi Morton M. Leifmanyitgaddal v’yitkaddash sh’me rabbab’alma div’ra khirutev’yamlikh malkhuteb’ḥayyeikhon uv’yomeikhonuv’ḥayyei d’khol beit yisra’elba’agala uvizman karivv’imru: amen.y’he sh’me rabba m’varakh l’alam ul’almei almayayitbarakh v’yishtabbaḥ v’yitpa’ar v’yitromamv’yitnasse v’yithaddar v’yitalle v’yithallalsh’m d’kud’shab’rikh hu.l’ella ul’ella min kol birkhata v’shiratatushb’ḥata v’neḥemata da’amiran b’almav’imru: amen.y’he sh’lama rabba min sh’mayyav’ḥayyim aleinu v’al kol yisra’elv’imru: amen.ose shalom bimromavhu ya’ase shalom aleinuv’al kol yisra’elv’imru: amen.[May God’s great Name be even more exaltedand sanctified in the world that He createdaccording to His own will;and may He fully establish His kingdomin your lifetime,in your own days,and in the life of all thoseof the House of Israel—17 8.559444

soon, indeed without delay.Those praying here signal assentand say, “amen.”May His great Name be praised forever,for all time,for all eternity.Worshipped, praised, glorified, exalted, elevated,adored, uplifted, and acclaimed be the Name of theHoly One,blessed be He—over and beyond all the words of blessing and song,praise and consolation ever beforeuttered in this world.Those praying here signal assentand say, “amen.”May there be abundant peace for usand for all Israel;and those praying here signal assentand say, “amen.”May He who establishes peace in His high placeestablish peace for us and for all Israel;and those praying here signal assentand say, “amen.”]MEDITATIONS AT THE TIME OF THE NEW YEAR9I. DAWNEvery dawn renews.Vast radiance and secret wonder fill the worldThe stars of heaven,The elements, arrayed in perfection,These are awesome in their majesty—marvels,yet never greater than the mind who beholdsthem.Just as the hand, held before the eye, can hide thetallest mountain,This miracle, matter, begets a wonder:the body thinks;insight comes from flesh;the soul is born of dust to build towers of hope,to open within us doors of love.Vast radiance and secret wonder fill the world.Space, ... Time, without end—eternity.There is a grace that every dawn renews,A loveliness in every morning fresh ...every morning, every ...The world is not mere fate....(Every dawn renews.)8.559444 18

0II. HOPEAbout the PerformersGlory to those who hope!For the future is theirs;... Hear the sound of joy and gladness; let us exult!Glory to those who hope!For the future is theirs;We love dawn as a promise....We rejoice in the light, we rejoice in the day.We rejoice in the beauty of the earthIn the love of family we rejoice.We rejoice, and shall rejoice for evermore.—Glory to those who hope!Join hands, trust in creation—Forge, then, a vision of things to come.A great hope shall be fulfilled.There will be peace in the land, we shall be unafraid.There will be peace in the land.(Glory to those who hope! )* * * * *May the words of my mouth and themeditation of my heart be acceptable unto Thee,O Lord, my Rock and my Redeemer. Amen.[Texts from Gates of Repentance: The New UnionPrayerbook for the Days of Awe.Central Conference of American Rabbis, New York, 1978.Concept and assemblage by the composer.]Born in 1954 in Lynn, Massachusetts, baritone JAMESMADDALENA is a graduate of the New EnglandConservatory. He made his debut with the Boston PopsOrchestra in 1974 and in 1981 began an associationwith director Peter Sellars, appearing in his productionsof operas by Mozart, Haydn, and Handel. Maddalenafirst gained international recognition in 1987 for hisportrayal of Richard Nixon in the Houston GrandOpera premiere of John Adams’s Nixon in China,directed by Peter Sellars, and he sang the part againin London in 2000 when that production was mountedby the English National Opera. Maddalena has createda number of other notable operatic roles, and as anactive concert artist, he sings a repertoire rangingfrom Bach and Handel to Mozart, Brahms, Orff,and Hindemith.19 8.559444

The ERNST SENFF CHOIR has become an institutionin Berlin’s cultural life. At the beginning of the 1960sProfessor Ernst Senff directed a choir at Berlin’s musicconservatory (Hochschule) in addition to his duties aschorusmaster of the Municipal Opera (now DeutscheOper). The choir’s accomplishments soon led toconcerts with the Berlin Philharmonic, the Berlin RadioSymphony (now Deutsches Symphonie-Orchester), andother orchestras, and provided the opportunity towork with internationally prominent conductors. Allchoir members are trained musicians. The ensemble’srepertoire ranges across the entire choral-symphonicliterature of the 18th to 20th centuries, with aspecial emphasis on contemporary works. On Senff’sretirement, in 1990, Sigurd Brauns was appointed bythe choir as his successor.The RUNDFUNK-SINFONIEORCHESTER BERLIN (BerlinRadio Symphony Orchestra) was founded in 1923 as thefirst radio orchestra in Germany. Its chief conductorshave included Bruno Seidler-Winkler, Eugen Jochum,Sergiu Celibidache, and Hermann Abendroth. Amongits guests have been such illustrious names as OttoKlemperer, Bruno Walter, Erich Kleiber, Herbert vonKarajan, and George Szell. Many of the greatestcomposers of the 20th century have performed theirown music with this orchestra, either as conductors orsoloists, among them Hindemith, Honegger, Milhaud,Prokofiev, Strauss, Schoenberg, Stravinsky, Weill, andZemlinsky—and more recently Krzysztof Penderecki,Sir Peter Maxwell Davies, Berthold Goldschmidt,and Udo Zimmermann. Since 1956 the orchestra hasperformed in twenty countries, including China andJapan. It also records extensively for DeutschlandRadio,founded in 1994, and many of its recordings have beenawarded the German Record Critics’ Prize. In 2002Marek Janowski succeeded Rafael Frühbeck de Burgosas the orchestra’s principal music director.GERARD SCHWARZ, oneof the leading Americanconductors, was born inWeehawken, New Jersey,in 1947. He earned hisbachelor’s and master’sdegrees at The JuilliardSchool, during which timehe also played with theAmerican Brass Quintetand then joined theNew York Philharmonic,succeeding his formerteacher, William Vacchiano,as co–principal trumpet.Increasingly attracted to conducting, he resigned fromthe Philharmonic in 1977 to pursue a full-time podiumcareer. In 1977 he cofounded the New York ChamberSymphony (originally the “Y” Chamber Symphony),serving as its music director for twenty-five seasons.In 1982, he became director of Lincoln Center’s MostlyMozart Festival, and in 2002 he became its emeritusconductor. In 1985 Schwarz was named music directorof the Seattle Symphony, and in 2001 he also becamemusic director of the Royal Liverpool Philharmonic. In2000 he was made an honorary fellow of John MooresUniversity in Liverpool, and in 2002 he receivedthe ASCAP award for his outstanding contributionto American contemporary music. Schwarz was afounding member of Music of Remembrance, anorganization dedicated to remembering Holocaustvictim musicians. In 2004 he was nominated byPresident Bush to serve on the National Council on theArts, the advisory body of the National Endowmentfor the Arts.8.559444 20

Alaska-born sopranoMARGARET KOHLER,who earned hercollege tuition byfishing commerciallyfor crab and halibut,was the first-prizewinner in the 2002International OperaSingers Competitionin New York. Sheearned her masterof music degree atthe Eastman School of Music and her B.M. and B.A.at Oberlin Conservatory and College. In 2004 shemade her New York recital debut, and she debuted inGermany as soprano soloist with Bachchor Mannheim,premiering Samuel Adler’s Jona.The EVEREST STRING QUARTET was composed ofa group of students at the Eastman School of Musicduring the early 1990s. The musicians, who have allgone on to illustrious careers, were Stephen Rose,first violin; Jeanne Preucil Rose, second violin; JoanDerHovsepian, viola; and Brant Taylor, cello. Stephenand Jeanne Rose now play in the Cleveland Orchestra,DerHovsepian plays in the Houston Symphony, andTaylor plays in the Chicago Symphony.Conductor SAMUEL ADLER was born in 1928 inMannheim, Germany. He studied composition withAaron Copland, Paul Hindemith, Walter Piston,and Randall Thompson, and conducting with SergeKoussevitzky, and he holds degrees from BostonUniversity and Harvard. In 1966 he became professorof composition (and later department chairman) atthe Eastman School of Music. Adler has served onthe faculty of The Juilliard School since 1997, whileremaining professor emeritus at Eastman.Soprano FRANCES LUCEYstudied in her nativeDublin. Engaged at firstby the Bavarian StateOpera in Munich, she isnow leading soprano atMunich’s Staatstheater amGärtnerplatz, where shehas performed the rolesof Sandrina in La Fintagiardiniera and Maria inWest Side Story. Her otherstage appearances havetaken her to opera housesthroughout Europe and tothe United States, where she made an acclaimed NorthAmerican recital debut at New York’s Frick Collection,gave several concerts with Leon Botstein and theAmerican Symphony Orchestra, and sang in Handel’sMessiah with the Philadelphia Orchestra. In Ireland,she has won critical praise in opera appearances at theWexford Festival. Her many engagements with Dublin’sRTE Orchestra include a televised Carmina Burana andan acclaimed recording of C. V. Stanford’s Requiem.Her first solo CD, Off to Philadelphia, features Irishfolksongs, songs by Gershwin and Cole Porter, as wellas spirituals.JOHN ALER was born inBaltimore, Maryland, in1949. He studied at theCatholic University ofAmerica in Washington,D.C., at the American OperaCenter at The Juilliard Schoolin New York (1972–76),and at the Berkshire MusicCenter in Tanglewood. In1977 he made his opera21 8.559444

debut as Ernesto in Donizetti’s Don Pasquale at theAmerican Opera Center, and he won two first prizesat the Concours International de Chant in Paris. Hehas earned a reputation as one of the world’s finestlyric tenors. His European stage appearances includeCovent Garden; the Deutsche Oper of Berlin; theVienna, Hamburg, and Bavarian state operas; theSalzburg Festival; and the Geneva, Madrid, Lyon, andBrussels operas.Baritone RANDALL SCARLATAstudied at the Eastman Schoolof Music and in Vienna, andat The Juilliard School, wherehe earned his master’s degreeand was a member of theJuilliard Opera Center. Hewon first prize at the YoungConcert Artists InternationalAuditions (1999) as well as theDiallo Prize, the LindemannVocal Chair, and the WalkerFund Prize, which sponsoredhis Washington, D.C., debut at the Kennedy Center in2000. In the United States, he has sung at New York’sAlice Tully and Merkin Concert halls, Boston’s GardnerMuseum, and at the Cleveland Art Song, Marlboro,and Ravinia festivals; and he has appeared as soloistwith the Minnesota, Philadelphia, National Symphony,and California Symphony orchestras. In Europe, he hasgiven recitals in Vienna, Salzburg, Hamburg, and Nice.RABBI RODNEY MARINER was born in Australia in 1941and graduated from Monash University Melbourne. Hestudied for the rabbinate at Hebrew Union College inJerusalem, and in London at Leo Baeck College. Since1982 he has been the senior rabbi at Belsize SquareSynagogue, an independent London congregationestablished by German and Central European GermanspeakingJews in 1938. This synagogue maintainsthe unique blend of the timely and the timeless thatcharacterized the Liberale Judaism of the middleand late 19th century in western Europe, especiallyin Germany, continuing up until its destruction bythe end of the 1930s. In 2005 Rabbi Mariner wasawarded an honorary doctorate by the JewishTheological Seminary.London-born HAROLD LESTER studied music atTrinity College of Music, specializing in all aspects ofkeyboard work. He has been principal pianist with theLondon Symphony Orchestra, the Royal PhilharmonicOrchestra, the New Philharmonia Orchestra, theLondon Philharmonic Orchestra, and the LondonSinfonietta, frequently as a soloist. He touredthe world as an accompanist with the late CathyBerberian for some ten years, performing the worldpremiere of Berio’s Recital 1 and playing in majorfestivals. He has worked alongside contemporarycomposers including Berio, Stockhausen, Ligeti, andMessiaen. He is a specialist in Baroque music andhas toured internationally as a solo harpsichordist.As a continuo player, he has played and recordedwith leading chamber orchestras and many Baroquechamber groups. He is professor of harpsichord andBaroque music at Kingston University, and has workedextensively in the world of opera as a répétiteur.Audiences often remark about the special interactionamong the players of the RUSKIN ENSEMBLE, whichwas formed in London by a group of friends, alltalented musicians. The Ensemble has given concertsthroughout the British Isles and regularly performsat National Trust houses and gardens. Named afterthe Victorian writer and critic John Ruskin, theEnsemble has also created programs combiningmusic with art or literature and performed in periodcostume, including Jane Austen—A Regency Soirée;8.559444 22

The Brontës Encountered; and There Is No Wealthbut Life, about the life and times of John Ruskin.The group is particularly committed to taking musicinto the community, performing to audiences thatnormally do not have access to live classical music. Themusical director, JANE GOMM (violin), studied at theRoyal Academy of Music and the Guildhall School ofMusic. She has toured Europe, Nigeria, Australia, andSouth America with different chamber orchestras,including the London Mozart Players and the LondonFestival Orchestra.He has twice won the worldwide competition Let thePeoples Sing. Brewer has been the music director atChethams, Britain’s largest music school for giftedchildren. He is known for his choral workshops, whichhe offers annually throughout Australia, New Zealand,and Great Britain.Laudibus, with conductor Michael BrewerFounded near the end of the 1990s, the chamber choirLAUDIBUS is known for its blend and flexibility, for the Michael Brewerbreadth of its programming, and for its willingnessSoprano MARTHA COWAN is active as a musicianto tackle difficult new works. It has given severalin concert, film, and recording throughout the Losworld premieres, including works by Gavin Bryars,Angeles area, and she has prepared, produced, andGiles Swayne, and Richard Allain. The twenty-twoperformed programs at home and abroad, frommembers of this dynamic ensemble are selected byBeethoven in Bonn to Bach in Carmel, California. Aaudition from the 130-voice National Youth Choirspecialist in early music, with an abiding interest inof Great Britain. MICHAEL BREWER, musical director17th-century repertoire, she also enjoys the challengeof Laudibus as well as of the National Youth Choirof singing contemporary works with their composersof Great Britain, has directed the World Youth Choirpresent, as she has with, among others, Boulez, Ligeti,and the National Youth Chamber Choir, and he makesAdams, and Zaimont.frequent guest appearances with prominent choirs.23 8.559444

Mezzo-soprano KIMBALL WHEELER made her 1982New York Philharmonic debut under the direction ofZubin Mehta, marking the start of an internationalcareer that includes world-premiere performancesat the Rome Opera and Teatro La Fenice, as wellas performances with major orchestras and operacompanies internationally. Her repertoire rangesfrom Monteverdi to Berio, Lees, and Zaimont,and she collaborates frequently with composers,appearing in film, television, and recordings. Winnerof the Liederkranz Award for Wagnerian singers andthe Pro Musica Award, she has appeared at majorhalls throughout the United States and at manyEuropean festivals.world’s greatest conductors, including Zubin Mehta,Michael Tilson Thomas, and Erich Leinsdorf. Strimpleis author of the critically acclaimed book Choral Musicin the Twentieth Century and co-author of Music inthe Holocaust: Survival, Resistance and Response. Heis recognized internationally for his work with Shoahmusic and has served for ten years as a consultant to theLos Angeles Museum of the Holocaust. As a respectedcomposer, Strimple has written concert and liturgicalworks as well as film and television scores, and has alsoserved as arranger (mostly choral arranger) for suchentertainers as Frank Sinatra, Rod Stewart, Lou Rawls,and Air Supply.The CHORAL SOCIETY OF SOUTHERN CALIFORNIA,formed in 1982, has earned praise both at home andabroad for its performances of American music andof neglected masterworks by composers of othernationalities. The ensemble has toured Europe,appearing with such orchestras as the Philharmoniaof London, the Munich Philharmonic, and the AthensState Orchestra, and at festivals in Vienna, Prague, andVilnius. At home, under the direction of Nick Strimple,it has performed with the Los Angeles Philharmonicand the Los Angeles Jewish Symphony.Texas-born NICK STRIMPLE,music director of theChoral Society of SouthernCalifornia and the LosAngeles Zimriyah Chorale,was educated at BaylorUniversity and the Universityof Southern California. Hehas been a guest conductorwith orchestras throughoutthe world and has preparedchoruses for some of the8.559444 24

CREDITSJudith Lang Zaimont (b. 1945)Sacred Service for the Sabbath Evening (excerpts) (1976)Publisher: Galaxy Music Corporation (E. C. Schirmer)Recording: Jesus Christus Kirche, Berlin, Germany, April 2000Recording Producer: Wolfram NehlsRecording Engineer: Henri ThaonAssistant Recording Engineer: Susanne BeyerRecording Project Manager: Paul SchwendenerA Woman of Valor (eshet ḥayil) (1977)Publisher: Judith Lang ZaimontRecording: Eastman School of Music, Rochester, NY, August 1992Recording Producer: Michael IsaacsonRecording Engineer: David DusmanRecording Project Manager: Michael IsaacsonParable: A Tale of Abram and Isaac (1986)Publisher: Hildegard Publishing Co.Recording: The Warehouse, London, UK, July 2000Recording Producer: Simon WeirRecording Engineer: Campbell HughesRecording Project Manager: Neil LevinMeditations at the Time of the New Year (1997)Publisher: Judith Lang ZaimontRecording: Beverly Hills Presbyterian Church, Beverly Hills, CA, May 1999Recording Producer: Judith Lang ZaimontRecording Engineer: Tony Beecher25 8.559444

CreditsThe Milken Family Foundation was established by brothers Lowell and Michael Milken in 1982 with the missionto discover and advance inventive, effective ways of helping people help themselves and those around them leadproductive and satisfying lives. The Foundation advances this mission primarily through its work in education andmedical research. For more information, visit www.milkenarchive.orgMILKEN ARCHIVELowell Milken, FounderNeil W. Levin, Artistic Director; Editor in ChiefRichard V. Sandler, Executive DirectorPaul W. Schwendener, C.O.O., Advisor, and Director of MarketingLawrence Lesser, Production DirectorRebecca Rona, Administrative DirectorGina Genova, Associate Director of Research; Associate EditorBonnie Somers, Communications DirectorJules Lesner, Archive CommitteeEliyahu Mishulovin, Research AssociateArmin Rafiee, Product ManagementEditorial Consultants:Maxine Bartow, Richard EvidonMILKEN ARCHIVE EDITORIAL BOARDNeil W. LevinPaul W. SchwendenerSamuel AdlerOfer Ben-AmotsMartin BookspanCantor Charles DavidsonHenry FogelLukas FossRabbi Morton M. LeifmanGerard SchwarzEdwin SeroussiThe Milken Archive of American Jewish Music would not be possible without the contributions of hundreds ofgifted and talented individuals. With a project of this scope and size it is diffcult to adequately recognize thevalued contribution of each individual and organization. Omissions in the following list are inadvertent. Particulargratitude is expressed to: Gayl Abbey, Paul Bliese, Johnny Cho, Cammie Cohen, Jacob Garchik, Ben Gerstein, JeffGust, Scott Horton, Jeffrey Ignarro, Brenda Koplin, Richard Lee, Joshua Lesser, Malena Luongo, Tom Magallanes,Todd Mitsuda, Gary Panas, Nikki Parker, Jill Riseborough, Maria Rossi, Carol Starr, Matthew Stork, Brad Syttenand Anita Yarbery.PHOTO CREDITS: Page 3, Michael Kuller. Page 4, courtesy of the University of Minnesota College of Liberal Arts.Page 21 (left), Beck and Company Photography; (top right), Wilfried Hoesl; (bottom right),Jack Mitchell. Page 22, Richard McMichael. Page 24, Glenn Campbell.For purchasers of this CD, these liner notes are available in a large page format. Address requests tolinernotes@musicarc.org8.559444 26

Five CDs Recognizedin the 47th AnnualGRAMMY ® AwardsCongratulations to David FrostGRAMMY ® Award-Winning “Producer of the Year, Classical”for his work on five Milken Archive CDs8559414 8559442 8559423“Splendid new offerings”“Outstanding liner notes”- American Record Guidewww.milkenarchive.org8559413 855942427 8.559444

PlayingTime66:12All rights in this sound recording, artwork, texts andtranslations reserved. Unauthorized public performance,broadcasting and copying of this compact disc prohibited.© & p 2005 Milken Family FoundationMade inCanadaDDD8.559444Judith Lang Zaimont (b. 1945)Sacred Service for the Sabbath Evening (excerpts) (1976)1. I. “The Lord Reigneth” 5:432. II. “God and Father” 4:423. IV. “Why Do We Deal Treacherously?” 3:284. VI. “O Lord, How Can We Know Thee?” 5:365. VII. Sh’ma yisra’el 2:456. VIII. “Thou Shalt Love the Lord” 7:15James Maddalena, baritoneErnst Senff Choir (Sigurd Brauns, chorusmaster)Rundfunk-Sinfonieorchester Berlin*Gerard Schwarz, conductor7. A Woman of Valor (eshet ḥayil) (1977) 6:39Margaret Kohler, sopranoEverest String QuartetStephen Rose, violinJeanne Preucil Rose, violinJoan DerHovsepian, violaBrant Taylor, celloSamuel Adler, conductor8. Parable: A Tale of Abram and Isaac (1986) 16:35Frances Lucey, sopranoJohn Aler, tenorRandall Scarlata, baritoneRabbi Rodney Mariner, speakerHarold Lester, harpsichordThe Ruskin EnsembleLaudibus ChoirMichael Brewer, conductorMeditations at the Time of the New Year (1997)9. I. Dawn 5:5810. II. Hope 7:07Martha Cowan, sopranoKimball Wheeler, mezzo-sopranoTheresa Diamond, glockenspielTimm Boatman, tubular bellsChoral Society of Southern CaliforniaNick Strimple, conductor*Coproduction with Deutschland Radio and the ROC Berlin-GmbHJudith Lang Zaimont is internationallyrecognized for her distinctive style, whichis characterized by its expressive strengthand dynamism. The works featured on thisCD, spanning a creative period of twentyyears, attest to the composer’s breadth ofmusical vision. Her Sacred Service for theSabbath Evening, for soloist, chorus, andsymphony orchestra, is a beautiful concertsetting of great liturgical and poetic texts.In a very different vein, Parable: A Tale ofAbram and Isaac is a compact music-dramathat fuses an archetypal biblical story withthe World War I–inspired poetry of WilfredOwen to offer a startling and thoughtprovokingvision. A setting of the belovedpoem “A Woman of Valor” and two upliftingMeditations at the Time of the New Yearcomplete this musical portrait of a uniquelygifted composer.AMERICAN CLASSICSwww.milkenarchive.orgwww.naxos.com6 36943 94442 4