Cover Art Beveridge

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1 88/5/05/5/05 3:03:313:03:31 PMPM A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER

Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews fi rst arrived on these shores 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 music of specifi cally Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory 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 years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire.

Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR

The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture. The time is ripe for a wider awareness and appreciation of these various repertoires—which may be designated appropriately as an aggregate “American Jewish music.” The Milken Archive is a musical voyage of discovery encompassing more than 600 original pieces by some 200 composers—symphonies, operas, cantorial masterpieces, complete synagogue services, concertos, Yiddish theater, and folk and popular music. The music in the Archive—all born of the American Jewish experience or fashioned for uniquely American institutions—has been created by native American or immigrant composers. The repertoire is chosen by a panel of leading musical and Judaic authorities who have selected works based on or inspired by traditional Jewish melodies or modes, liturgical and life-cycle functions and celebrations, sacred texts, and Jewish history and secular literature—with intrinsic artistic value always of paramount consideration for each genre. These CDs will be supplemented later by rare historic reference recordings.

The Milken Archive is music of AMERICA—a part of American culture in all its diversity; it is JEWISH, as an expression of Jewish tradition and culture enhanced and enriched by the American environment; and perhaps above all, it is MUSIC—music that transcends its boundaries of origin and invites sharing, music that has the power to speak to all of us.

Neil W. Levin

Neil W. Levin is an internationally recognized scholar and authority on Jewish music history, a professor of Jewish music at the Jewish Theological Seminary of America, music director of Schola Hebraeica, and author of various articles, books, and monographs on Jewish music.

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 2 88/5/05/5/05 3:03:333:03:33 PMPM teacher, and conductor, in addition to his pursuit of About the Composer composition throughout much of his life Beveridge has been most active as an oratorio and recital singer. His engagements have brought him to music festivals in England and Europe and to concert stages throughout the United States. In Washington, D.C., he presented three programs of his own songs at the National Gallery of Art. He is also a retired master sergeant in the United States Army, and he sang for twenty years in the U.S. Army Chorus—including a number of solo roles.

Beveridge has become increasingly visible as a choral conductor in the Washington area. He is the artistic director and conductor of the New Dominion Chorale, a 175-voice ensemble that he formed in 1991, and he has served as director of choral activities at George Mason University and as chorusmaster of the Washington Opera at the Kennedy Center, where he has also appeared as guest conductor of the Washington Chamber Symphony and the Messiah Sing-Along. He is the founder and director of the National Men’s Chorus, a fi fty-voice ensemble devoted to the adult male voice choral tradition. Formerly, he conducted THOMAS BEVERIDGE (b. 1938) was born in New the Washington Men’s Camerata. York City. He began piano studies at the age of six, and during his teen years he mastered the oboe. He Beveridge has received commissions from Harvard also began composing at the age of eleven, and by University, the Harvard Divinity School, Union the time he entered Harvard as an undergraduate, in Theological Seminary, the Choral Arts Society of 1955, he had already written some seventy-fi ve pieces. Washington, and the Elizabeth Sprague Coolidge He studied composition with Randall Thompson and Foundation at the Library of Congress. Among his Walter Piston, choral conducting with G. Wallace large-scale works in addition to Yizkor Requiem are Woodworth, and voice at the Longy School of Music Once: In Memoriam Martin Luther King, Jr., which with Olga Averino and Mascia Predit. While at Harvard has been recorded by the Choral Arts Society; and he met Nadia Boulanger, the celebrated composition Symphony of Peace, a cantata for vocal soloists, teacher and mentor to many of the 20th century’s most chorus, and orchestra. He has written nearly 500 choral accomplished composers, who invited him to join her arrangements, about 100 of which are for male voice composition and conducting class in Paris. chorus; and he has arranged a number of settings of Hanukka songs. Although he went on to enjoy a multifaceted musical career as an oboist, keyboard player, arranger, 3 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 3 88/5/05/5/05 3:03:343:03:34 PMPM there, he began to explore in greater depth some Program Note of the parallel concepts in Judaism and Christianity, and he focused upon some of the shared liturgical derivations. He became especially absorbed with his Yizkor Requiem interest in Judaism. “If I had not [already] made so many changes in my life,” he mused to his son at one Thomas Beveridge was inspired to compose Yizkor point, “I think I might become a Jew.” Requiem: A Quest for Spiritual Roots initially as a memorial to his father, Lowell Beveridge, who was for The Genesis of Yizkor Requiem many years the organist and choirmaster at Columbia The artistic conception for this work was born in University’s St. Paul’s Chapel. A distinctly ecumenical Thomas Beveridge’s imagination almost immediately and interfaith concert work that touches on some of upon his father’s death, in 1991. “The words of the parallel features and common ground between Requiem aeternam came to me,” he recalled a decade Christianity and Judaism, Yizkor Requiem combines, later (although, like his father, his Christian affi liation integrates, and juxtaposes elements of Roman is Episcopal, not Roman Catholic). “I began to think of Catholic and Judaic liturgies. These elements have a way of memorializing my father by writing a piece been interrelated creatively in the twin contexts of a that would bring together and draw upon some of his universal petition for “eternal rest” and a monotheistic ideas in terms of religious philosophy—the theological- acknowledgment of Divine supremacy and holiness. historical connections between Judaism and Christianity, Lowell Beveridge was personally fascinated by and the Judaic roots of certain Christian liturgies.” Christianity’s liturgical and theological roots in Judaism. His intention, as he has since emphasized, was not to During his years at St. Paul’s, he was drawn increasingly demonstrate similarities among the musical parameters to the Episcopal priesthood, and eventually he left that attend the two liturgical traditions, in spite of the his university post to pursue seminary studies. After fact that his father’s interest had also been piqued by the becoming ordained as a priest, he taught music and emerging scholarly exploration of musicological issues “speech liturgics” at Virginia Theological Seminary, concerning the reliance of the early Church on ancient in Alexandria. Meanwhile, he continued his lifelong synagogue and Temple practices. (Lowell Beveridge endeavor to assemble and examine writings on the had been introduced to that area of inquiry in 1959, subject of “music and the soul,” which he called with the publication of Eric Werner’s groundbreaking his Pythagoras Project, for which he mined the study, The Sacred Bridge.) However, notwithstanding philosophical literature on comparative concepts of a degree of subconscious traditional melodic imprint the soul. and stylistic vocal infl uences, and perhaps an echo of received religious aural ambience in some passages, the Upon his retirement, Lowell Beveridge studied and music of Yizkor Requiem is entirely original. “I tried to lived for two years at Tantur Ecumenical Institute in write a piece that suggests one standing on the bridge Jerusalem, an institution established and maintained of the Judeo and Christian religions,” the composer under the auspices of the Vatican to promote dialogue has explained, “and which suggests how parts of the among Christian, Jewish, and Moslem thinkers. While Jewish memorial service—together with other parts

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 4 88/5/05/5/05 3:03:353:03:35 PMPM of the Hebrew liturgy—and the Requiem Mass can be Beveridge deliberately omitted sections of the Requiem brought together in some way.” Mass that refer to the Christologically conditioned view of the “Day of Judgment,” with the agonies that are This work uses not only concrete elements of the believed to await the damned: the entire Dies Irae memorial liturgies of Roman Catholic and Judaic and parts of the Domine Jesu Christe, or offertorium. traditions, but also additional extracts and quotations There is no corresponding concept or image in Judaic from synagogue prayers in the annual liturgical cycle. theology, where, notwithstanding individual talmudic This further illustrates, in the composer’s perception, and other references to judgment after death, the the nexus between the two religions. primary focus concerns life and the annual day of Divine As he proceeded to compose Yizkor Requiem, judgment: yom hadin. This is linked to Rosh Hashana— Beveridge focused in particular on the relationship of as one of the New Year’s multiple designations—as well specifi c words in the Latin Mass to Hebrew sources, as to Yom Kippur. In this Judaic conception, hopeful counterparts, and equivalents. The following examples petitions for Divine pardon are bound to sincere triggered his exploration of linguistic parallels between repentance, return to God’s teachings and mandated the liturgies and fueled his musical interpretation: ways, prayer, and acts of righteousness—all of which have the collective power to “avert the severe decree” HEBREW / and are inextricable from the Judgment Day scenario. LATIN ARAMAIC ENGLISH requiem m’nuh. a rest The Requiem Mass lux or light The Requiem Mass is a service of the Roman Catholic Sion tzion Zion Church offered or celebrated in memory of—as well omnis caro kol h. ai all that lives as on behalf of —the souls of the dead (viz., those eleison (Greek) s’lah. lanu Forgive us (i.e., out who were baptized into the Church). It also occurs in of mercy) the Roman Church’s Eastern Rite and, in variant and Abraham avraham Abraham sometimes freer non-fi xed forms, in other Christian recordare zokhrenu Remember us denominations or branches where the celebration of sanctus kadosh holy Mass appertains. The Latin title (lit., rest) derives from benedictus barukh worshipped; the phrase Requiem aeternam dona eis, Domine (May praised God grant them eternal rest ...), which is the beginning in pace b’shalom in peace of the Introit of this special Mass. The Requiem Mass pater noster avinu our father text is believed to have taken form by the 8th or 9th regnum malkhut kingdom; century, with antecedents that may extend as far back kingship as the period between the 2nd and 4th centuries. The rex melekh king text and the order of its subsections derive directly from nomen shem name the Latin Missa pro Defunctis (Mass for those who have animae nishmat souls completed this life). But the latter title fell into disuse sanctifi cetur yitkaddash sanctifi ed; with the Church’s refocused emphasis on resurrection hallowed and eternal life—rather than death itself—following (May it/He be ...) the Second Vatican Council. 5 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 5 88/5/05/5/05 3:03:353:03:35 PMPM A Requiem Mass may be celebrated on the day The title, requiem, can also apply even more broadly of burial, on other specifi c days within the month and more generically simply to any large-scale following burial, on succeeding anniversaries, and on cantata (or even to a programmatic but exclusively other annual occasions as well. Its liturgical components instrumental work) that is conceived as a memorial— can include texts from both the Ordinary (Ordinarium or which addresses related themes of death and missae, the invariable parts of a Mass) and the Proper remembrance. Such works may or may not be based (Proprium missae, the variable texts that change on, or refer to, texts from the actual Requiem Mass. according to seasons or dates of particular feasts or They may include alternative sacred or quasi-sacred as commemorations), although texts from the Proper are well as completely secular literary texts that have been found mostly in artistic requiems from the 18th century selected or written by the composer. Brahms’s German on. Typically, these comprise the following sections, Requiem, for example (1857–68), is based entirely on including the special insertions: German translations from the Hebrew Bible rather than on any liturgy, and it is not considered a religious INTROIT (Requiem aeternam) service. Benjamin Britten’s War Requiem (1961), on KYRIE the other hand—also a nonliturgical concert work— GRADUAL (Requiem aeternam) nonetheless incorporates some parts of the Latin Mass TRACT along with 20th-century poetry by Wilfred Owen. And SEQUENCE (Dies Irae, dies illa) Hans Werner Henze’s Requiem—a chamber orchestral OFFERTORIUM (Domine Jesu Christe) work (1990–92)—contains no vocal element, but the SANCTUS and BENEDICTUS instrumental movements (with the exception of the AGNUS DEI third one) are titled after sections of the Latin Requiem COMMUNION (Lux aeterna) Mass. Beveridge’s Yizkor Requiem, despite its deeply The Responsory, Libera me, Domine (Deliver me, O Lord), spiritual genesis and its exploration of sacred texts, is sometimes also included. The Credo and Gloria from falls into this category. It is not a religious service, but the Ordinary, however, are omitted in a requiem. a concert work based on religious sentiments. It is, by its very ecumenical character, a manifestly humanistic In musical terms, a requiem may refer to an artistic work of universal perspectives in Western cultural setting of the text—in whole or in part—for actual terms. It might be perceived as “religious,” however, if liturgical use in a service or for concert performance in one accepts that characterization on its transcendental, a secular (non-worship) context. Or—as with requiems nonparochial plane. by important composers in virtually every period in the course of Western music, such as Mozart (although his The Yizkor Service was uncompleted at his death), Verdi, Berlioz, Dvorˇák, or Fauré—they can serve both functions. But requiems In Judaic practice, the term yizkor (May He [God] on these scales, which transcend the boundaries of remember) does not refer to the liturgy that religious service altogether, are more commonly accompanies funerals or burials. Rather, it signifi es the associated with the classical canon of concert music formal memorial service for specifi c relatives (hazkarat and with universal humanistic sensibilities than with n’shamot—remembrance of souls). It is conducted the genre of sacred music per se. communally, but recited individually among Ashkenazi

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 6 88/5/05/5/05 3:03:363:03:36 PMPM Jews on four occasions on the liturgical calendar— this practice gained special signifi cance during the usually within the morning Torah service, before Crusades and the waves of persecution in Europe in the returning the scrolls to the ark. Those four occasions following centuries, and by the 17th or 18th century, are Yom Kippur and the last days of each of the Three hazkarat n’shamot, or yizkor, had become a fi rmly Festivals (Sukkot, Pesah, and Shavuot). rooted part of the Ashkenazi synagogue ritual for the Three Festivals as well as for Yom Kippur. Traditionally, yizkor has been observed chiefl y with respect to one’s parents, often in conjunction with The word yizkor is derived from the text incipit of the pledges of charitable donations to honor their principal prayer of the service: yizkor elohim nishmat ... memory. But one may elect to recite yizkor in memory (May God remember the soul of ...). The individual of others as well. Indeed, many 20th- and 21st-century private recitations of yizkor may be preceded by prayerbooks, including some with traditional formats, optional Psalm verses and readings. Following those provide for such additional yizkor recitations for yizkor recitations, the service concludes, in many if not children, siblings, spouses, other relatives, and even most Ashkenazi synagogues, with the prayer el male friends. There are also memorial prayers for collectively rah. amim (God, who is full of mercy), which is intoned martyred fellow Jews (viz., those who were murdered by the cantor or prayer leader. In the Sephardi rites, because they were Jews), especially, since the second each of those who are accorded the honor of being half of the 20th century, those who were slain by the called up to the Torah—to recite the benedictions in Germans during the Holocaust. Soldiers who have connection with its reading—recites a memorial prayer given their lives on behalf of the State of Israel are for his relatives after pronouncing the benedictions. also sometimes remembered within contemporary yizkor services. Musical Symbolism

Originally, the yizkor service was confi ned to Yom Although Beveridge did not quote any specific Kippur. Its introduction on that holiest of days may traditional tunes, motives, or other musical properties be linked historically to the opening passage of the from Judaic or Christian sources, he did construct the morning service Torah reading, which refers to the work around certain basic intervallic recurrences. He death of Aaron’s two sons (Leviticus 16). One theory used these as symbols, and even as leitmotifs. He has also holds that it was instituted as a spiritual vehicle to referred to the octave within the piece as the “yizkor induce deeper repentance on the Day of Atonement motif,” which he invokes to represent, through its by invoking the memory of one’s parents and resolving embrace of the same tone in two or more registers, to honor them by mending one’s ways. The custom of the interrelationship between God and mankind. praying for the departed on Yom Kippur and Festivals “Although God is the Highest,” he has explained, “we was opposed by some leading medieval scholars and do partake in the Divinity at a lower level of awareness.” authorities (notably Hai Gaon and Nissim Gaon). They Thus a pitch at the higher register of the octave in this stressed the conviction that only worthy deeds of the work represents God, while the same pitch in a lower departed during their lifetimes—not any deeds or register signifi es humanity. Octave usage permeates words of atonement by their descendants on their the movements, beginning with the opening trumpet behalf—are of consequence before God. Nonetheless, fanfare in octaves and followed by recurrent singing by

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 7 88/5/05/5/05 3:03:363:03:36 PMPM the soprano and alto soloists in octaves. And all forces unparalleled greatness. It is the ultimate expression are heard in octaves at key dramatic moments in the of unqualifi ed glorifi cation, praise, and worship of fi nal two movements. God throughout all eternity. Varying forms of the text are recited at specifi cally assigned points throughout The composer has further explained his use of the the liturgy of every prayer service where a minyan (a interval of the fi fth to symbolize Divine perfection and quorum of ten) is present. glory—for example, in the opening tenor cantorial solo on the word yitgaddal (May God’s great Name be even Originally, kaddish was not related to the liturgy more exalted), and at the climactic moment in the sixth per se, but was recited at the conclusion of rabbinic movement (Sanctifi cation), where brass instruments discourses or lessons, perhaps as a way of dismissing soar above the chorus and the rest of the orchestra. the assembly with an allusion to messianic hope and The upward leap of a fi fth in such passages is, by the supreme faith. Because those discourses were delivered composer’s design, reminiscent of motives typically in Aramaic, the kaddish text, too, was composed in associated with the shofar (ram’s horn) blasts, or calls, that daily language. It developed around its central which today are most commonly associated with Rosh communal response, y’he sh’me rabba m’varakh l’alam Hashana. Beveridge has used the interval of the third, ul’almei almaya (May His great Name be worshipped however, to symbolize the more immediate and more forever, for all time, for all eternity), which derives personal aspect of Divine love—the love inherent in from Daniel 2:20. Later, kaddish was introduced into God’s essence, especially in vocal duet passages. the liturgy to signal the conclusion of sections of a service, to divide such sections, or to conclude biblical Sequence of the Movements readings or talmudic quotations. As the liturgical NB: Liturgical references are cited here in accordance with tradition developed, various forms of kaddish—its full mainstream traditional prayerbooks of the Ashkenazi rite. recitation as well as versions either omitting certain parts or containing alternate passages—were assigned I. READER’S KADDISH to different specifi c roles in the liturgical order. These various kaddish recitations and their individual Following the jubilant introductory brass fanfare, the text variants include kaddish d’rabbanan (scholars’ cantorial or tenor soloist intones one of the several kaddish), recited after the reading of talmudic or basic forms of the kaddish prayer (in this case, h. atzi midrashic passages; kaddish shalem (the full kaddish kaddish, or half kaddish). As an affi rmation of faith, text), recited by the reader or prayer leader at the kaddish may be perceived legitimately as a Judaic end of a major section of a service; h. atzi kaddish doxology. Apart from a congregational response (half kaddish), recited by the prayer leader between and the concluding sentence of the full text, which sections of a service, in which case it also functions as constitutes a petition for Divinely fashioned peace and an introduction to the ensuing section; and kaddish which was introduced at a later date, the language of yatom (mourners’ kaddish), recited by mourners and kaddish is Aramaic—the vernacular spoken by the Jews observers of a yortsayt (anniversary of a death) after a for approximately 1,500 years following the Babylonian service and following recitation of certain Psalms. An captivity (6th–5th century B.C.E). Overall, kaddish expanded form of the mourners’ kaddish is recited at embodies the supreme acknowledgment of God’s the cemetery following a burial (kaddish l’ath. addata).

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 8 88/5/05/5/05 3:03:373:03:37 PMPM In some traditions that version also replaces kaddish Eventually, and without prejudice to the other, wider d’rabbanan (scholars’ kaddish) at the completion of roles of kaddish in regular daily prayer services, the study of a talmudic section. specifi c mourners’ kaddish acquired an identity and raison d’être of its own. Various mystical, poetic, The fi rst known use of the term kaddish to designate and allegorical purposes were attached to its daily this doxological prayer text appears in Sofrim—a recitation during the eleven-month mourning period minor, supplementary tractate of the Talmud (16:12, for parents, and annually on the yortsayt. Although 19:1, 21:6). In a literary-theological conception that was such supernaturally driven interpretative justifi cations crystallized and confi rmed during the Geonic period are for the most part no longer accepted literally (6th–11th centuries), the ten synonyms for praise within the contexts of modern mainstream theological contained in kaddish—glorifying “God’s great Name sensibilities, in earlier periods some believed that throughout the world that He has created according to kaddish recitation had the power to redeem the souls His will”—were shown to correspond to the ten Divine of departed ones, to facilitate their “rescue” from utterances by which, according to a Talmudic passage, suffering in the hereafter, and to mediate punitive it is said that the world was created (Avot 5:1). torments. It has also been proposed that kaddish was Recitation of kaddish (the kaddish yatom version) in adopted as a mourner’s prayer because of a reference memory of parents and siblings is certainly one of its to messianic resurrection, which is found in a passage assigned roles. The oldest evidence of this, however, is near the beginning that was later discarded in versions found no earlier than in a 13th-century prayerbook, other than kaddish l’ath. addata. Another messianic even though the aforementioned Sofrim also contains reference (unrelated to resurrection) remains, however, a reference to the pronouncement of kaddish at in the kaddish text of the Sephardi rite as well as burials (19:12). But the kaddish text itself is in no way among Hassidim (nusah. ari). a “prayer for the dead,” and even kaddish yatom More rationally grounded, sophic, psychologically concerns neither mourning nor death. Nor should that reasoned, and currently acceptable interpretations memorial function be construed as the primary role are generally less tinged with eschatological concerns, among its others. In fact, the direct role of kaddish and can be tied in principle to the concept of tzidduk vis-à-vis mourners may well have arisen as an indirect hadin (justifi cation)— viz., acceptance, of God’s consequence of another, related practice, whereby judgment. In this context, a mourner’s almost defi ant mourners were assigned to study or participate in study pronouncement of kaddish confi rms his steadfast of a sacred text. Such study was deemed an appropriate worship of God and undiminished acknowledgment way of honoring deceased parents, and was fi rst of His ultimately benevolent supremacy even in the mentioned in Sofrim (19:12). In that case, the leader face of death and grief. (not the mourners themselves) would have recited a concluding kaddish—not for the departed ones, but As a divider of sections of the liturgy, the h. atzi kaddish simply to conclude the study session. According to (also known as the reader’s kaddish) precedes the that scenario, memorial recitation of kaddish directly core set of prayers in every service. In the context and by mourners and observers of yortsayt grew from the spirit of the opening movement of Yizkor Requiem, custom of memorial study, and was instituted as an however, kaddish—no version of which is part of the independent obligation only later. 9 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 9 88/5/05/5/05 3:03:373:03:37 PMPM actual yizkor service—functions simply as a preamble to Another linguistic-thematic correspondence between the work, expressing praise and worship of God as the the two liturgies is exploited by the juxtaposition of author of life and death. the phrase from the Latin Mass, Ad te omnis caro veniet (All fl esh—all living beings—shall return to The fi nal chord at the conclusion of this movement You), against the opening sentence of a Hebrew hymn proceeds directly into the opening major chord of of praise for God in the prefatory part of Sabbath, the next movement, and it fades while a bass viol Festival, and High Holy Day morning services—nishmat plays a doleful, chantlike melody underneath it in its kol h. ai t’varekh et shimkha adonai eloheinu (The soul enharmonic minor. The concluding choral statement, of every breathing being shall praise Your Name, Lord, “Blest be the Name of the Lord,” also bridges these our God)—which is sung here immediately after the two movements, with its fi nal word on the downbeat Latin. The most transparent similarity is found in the of the second. parallel literary construction, with the image of the soul—or breath—of all fl esh. And although one may II. REQUIEM AETERNAM interpret and acknowledge a fundamental theological Muted strings take over and develop fugally the minor divergence in emphasis here in terms of earthly life as melody introduced by the bass viol, leading to the opposed to a “life hereafter,” it is possible nonetheless choral pronouncement of the words from the Introit, to intuit some common ground in the jointly held Requiem aeternam dona eis Domine. The octave notion of “returning” to God. leitmotif appears on the operative word, light, and Points of intersection may be contained in the then gradually accumulates all twelve tones of the implied connection between return and worship. The chromatic scale. The word light—sung fi rst in its Latin sentiments from the Mass here focus on the eternal context, Et lux perpetua (perpetual light), and then in life of the soul after death, and its return to the source English—triggers the cantorial tenor solo entrance on of all life. The soul may be presumed then to worship its Hebrew equivalent (or) in a quotation from Psalms and praise God eternally. From Judaic perspectives, (97:11) that also refers to light as an ultimate reward: the link between worship and return is associated or zaru’a latzaddik ul’yishrei lev simh. a (Light is sown for primarily with repentance during one’s lifetime. Ideally, the righteous, and radiance upon the upright in heart). one returns to God by reaffi rming and reaccepting His That verse, which is not part of any memorial service, is supreme righteousness, and therefore worshipping quoted in the liturgy for various other occasions and is Him through acts and deeds as well as thoughts and probably best known to synagogue worshippers from words; and one returns to God in order to engage in its incorporation in the introductory kabbalat shabbat a life of such worship. The concept of t’shuva—which (welcoming the Sabbath) service. Beveridge selected means return to God by returning to His teachings it both to amplify the theme of eternal light and to and stipulated ways—is tethered to repentance and illustrate a Judeo-Christian connection between the making amends. And those acts and resolutions are two thematic images. The original Hebrew and its inextricable from praise-fi lled acknowledgment of English translation are interwoven in the rendition by God’s supreme authority—worship of “His Name.” (In the tenor together with the soprano and alto soloists. modern Hebrew, the word t’shuva translates both as “return” in the ordinary sense and as “repentance.”)

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1010 88/5/05/5/05 3:03:383:03:38 PMPM Although the Mass text refers to a different sense of IV. REMEMBER! return, both manifestations of return are nonetheless This movement joins part of the Offertorium (Domine part of the overall theology of each religion. Jesu Christe) to the opening section of the amida (lit., The phrase Kyrie, eleison (Lord, have mercy!) is one of standing)—the core series of prayers in every service the most recognizable passages of the Ordinary of the that is recited individually and silently while standing. Mass. Toward the end of this movement, Beveridge Its opening section is known as the avot (fathers) relates these words to one of the prayers of the Jewish because of the reference therein to the three biblical weekday service: s’lah. lanu (Forgive us). Those Hebrew patriarchs: Abraham, Isaac, and Jacob. The avot links words, which occur as well in the penitential liturgy God’s continuous protection and generosity to the related to Yom Kippur, are prayed, of course, with patriarchs’ righteousness and devotion to Him, in reliance on God’s mercy rather than on mankind’s remembrance of which God will bring redemption to merits, and they imply humanity’s acknowledgment their descendants out of fatherly love. But reliance on of its own shortcomings. This is underscored in a the patriarchs’ merits alone is not considered suffi cient succeeding phrase in the same prayer: “Because You for each generation—and each individual—to merit do forgive sin and pardon transgression”—viz., out God’s consideration. Some commentators have of mercy and compassion. Even though, once again, viewed the threefold repetition of the word God (i.e., the emphasis of the plea in the Mass concerns the “God of Abraham, God of Isaac, and God of Jacob,” afterlife, whereas the Hebrew prayer involves Divine rather than “God of Abraham, Isaac, and Jacob”) as mercy through forgiveness during one’s earthly life, a reminder that each individual must also search out both petitions may be viewed as appeals for ultimate and communicate with God and establish his own merit redemption. through his own devotion. In the artistic context and license of Beveridge’s work, the words in the amida— III. PSALM 23 ha’el haggadol haggibor v’hannora el elyon (God who is great, mighty, and awesome, supreme Master)—are Although the Twenty-third Psalm is neither a requisite made to correspond to the Latin reference to God as nor an established part of the Requiem Mass or Rex Gloriae (King of Glory). Judaic memorial liturgy, it is one of the most frequent adjuncts to both Christian and Jewish funeral and The Latin Recordare (remember), addressed in the Mass memorial services. Its universal sentiments of comfort to God, is then paired with the High Holy Day amida apply equally to both religious realms. Beveridge has insertion—zokhrenu l’h. ayyim ... (Remember us unto explained that he wrote the only truly agitated musical life ... and inscribe us in the Book of Life)—in accordance passage of the entire work to express the words “Yea, with the theme of remembrance that pervades the though I walk through the valley of the shadow High Holy Day liturgy. Rosh Hashana is in fact known of death ...” But he retained that mood for only a as yom hazikaron (day of memorial and remembrance), moment, to signify that “we do not fear death or evil, the time when historical and theological memory for the Lord is with us and will comfort us.” operates in both directions: between man and God, and between God and the Jewish people. The Christian and Judaic frameworks, however, may differ with respect to the signifi cance and role of memory. The 11 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1111 88/5/05/5/05 3:03:393:03:39 PMPM plea for God’s remembrance in the context of the Latin with praise and worship of God in advance for its Mass here concerns the souls of the departed and their guarantee: “You keep faith with those who sleep in eternal rest, while the primary focus of the text of the dust.” The Latin text petitions God to grant that zokhrenu is upon reprieve and pardon for life in the restoration and redemption, in accordance with the coming year. The Book of Life is the liturgical poetic promise to Abraham for his descendants—even though metaphor for the recorded fate of each individual the actual nature and scenario of eternal life can differ in that coming year, which, according to traditional signifi cantly between the two theological traditions. theological perceptions, is connected to the sincerity of repentance during Rosh Hashana and Yom Kippur. VI. SANCTIFICATION Repentance is believed to be possible and potentially effective until the last possible moment at the end of The Sanctus and the Benedictus, components of the the Day of Atonement, when the “gates of repentance” Ordinary of the Mass, are interwoven throughout this are fi nally closed. The book image is thus extended to movement with corresponding and related phrases encompass the idea that the Book of Life is sealed only from the Hebrew proclamation that is prayed in every during the concluding service (n’ila) of Yom Kippur. In communal morning, afternoon, and mussaf service that fi nal pronouncement of the zokhrenu petition (the additional service following the morning service during n’ila, the word v’khatmenu (Seal us in the Book on Sabbaths, High Holy Days, Festivals, and the New of Life) is substituted for the word v’khatvenu (Inscribe Month): the k’dusha. Clearly, the Sanctus was taken us ...), which occurs in all earlier pronouncements of from the k’dusha and translated nearly verbatim for the same prayer during the preceding High Holy Day the Roman Church ritual. Both the Sanctus and the services. k’dusha affi rm God’s embodiment of ultimate, supreme holiness; both evoke the image of the heavenly angelic hosts who, in their utterances, provide a model for V. OFFERTORY (Hostias) human acknowledgment of Divine holiness and for The composer characterizes this movement, whose worship of God as the “Lord of Hosts”; and both assert text is part of the Proper of the Mass, as an a cappella that the entire world is fi lled with the evidence and motet. The soprano and alto soloists enter on the manifestations of God’s glory. concluding line, in a summary appeal for “perpetual The nucleus of the k’dusha is a pastiche of biblical verses light”—eternal life—for the departed whose memory (I Isaiah 6:3; Ezekiel 3:12; and Psalm 146:10), which the Requiem Mass celebrates. The reference to the most scholars believe were used as liturgical responses patriarch Abraham, and to the biblical promise made during the Second Temple era. Various additions to him and his descendants concerning redemption, and supplementary passages were appended to, and again refl ects the avot. The fi rst benediction of the interpolated within, this nucleus, mostly during the avot refers to God as the King who saves and redeems, fi rst millennium C.E. Some of those additional passages the “shield of Abraham.” The second benediction (if were adopted eventually by all rites, while others translated literally, and apart from thorny theological have remained confi ned to specifi c local or regional issues and modern interpretations) contains the image customs; and there are variant and expanded forms of of God restoring the dead to life. The Hebrew text the k’dusha for certain distinct services. In the process offers assurance of this ultimate redemption, along of liturgical development and evolution, the k’dusha 8.559453 12

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1212 88/5/05/5/05 3:03:393:03:39 PMPM was inserted at the beginning of the third benediction sanctissimus could otherwise have provided the during the repetition of the amida, for those occasions required emphasis. when the cantor or reader repeats aloud the entire Pirkei d’Rabbi Eleazar, an 8th-century Midrash that set of prayers that has fi rst been recited individually echoes this passage from the k’dusha, offers an and silently by the congregation. This occurs only imagined poetic scenario surrounding this heavenly when there is a quorum of ten (minyan) to qualify the pronouncement: service as public worship. The restriction of the k’dusha to communal worship has been ascribed in the Talmud The majestic scene is thus pictured: Two seraphs (Berakhot 21b) to the biblical passage in Leviticus stand one on each side of the Holy One; they cover 22:32—“And I will be sanctifi ed among the children of their faces in reverence and sanctify His great Name. Israel”—which has been interpreted to imply the need One invokes and the other responds, saying, “Holy, for a quorum. Another talmudic reference suggests that holy ...” And the h. ayyot (heavenly beings) stand by, the perpetuation of the entire world depends upon the but not knowing the place of His glory, they answer continual emphasis of holiness, as it is expressed in the by saying, “Wherever His glory is, may the Name words quoted from the Bible in the k’dusha. “Since the of His ...” destruction of the Temple the world has been sustained by the k’dusha of the liturgy....” (Sota 49a). The second basic response of all k’dusha renditions, barukh k’vod adonai mimkomo (God is worshipped Morning and afternoon service renditions of the from His place....), which is a quotation from Ezekiel, is k’dusha begin with the introductory passage, n’kadesh sung here by the two female soloists. The passage adir et shimkha ba’olam (We sanctify Your Holy Name adirenu (God is our strength), which is added to the on earth). This is a summons to the worshippers to k’dusha in the mussaf services on Festivals and High proclaim God’s holiness after the manner in which, Holy Days, is sung here by the tenor cantorial soloist. according to the account in Prophets (I Isaiah), the six- The order of these two passages, however, is reversed winged seraphim, representing the highest spiritual in this work, both for dramatic effect and as a refl ection abode in the universe, are said to have called out to of the variant format in Reform prayerbooks. each other—with the very same words. The words of the Benedictus derive from Psalm 118:26 In that pronouncement, the word kadosh (holy) is (“Praised be he who comes in the Name of the Lord”), stated three times for emphasis, rather than for any and the origin of the concluding phrase, Hosanna special connotation of the number three. This is to in excelsis, is the Hebrew liturgical supplication, signify the ultimate degree of holiness, since biblical hoshana (Save us!). But the Latin derivative hosanna Hebrew contains no suffi x or superlative form to acquired the altered meaning of “praise,” or “glory denote “holiest.” Therefore, any rendition of the [be to God],” an equivalent to halleluya. This apparent sentence should be punctuated as follows: kadosh, discrepancy is the result of a historical fusion of two kadosh, kadosh adonai tz’va’ot (without pausal ceremonial customs—one Roman and the other separation after the third kadosh), which clarifi es the Judaic; one secular and the other religious. The New meaning as “Holy, holy—the Lord of Hosts is Holy!” Testament reports that Jesus entered Jerusalem to The Sanctus retained this threefold articulation from the welcome of crowds waving palm branches, in the its Hebrew source, even though the Latin superlative manner of the customary Roman welcome for heroes, 13 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1313 88/5/05/5/05 3:03:403:03:40 PMPM to the accompaniment of their shouts of hoshana. (This Clearly, then, the adoption of the word hoshana into incident later manifested itself in the Christian ritual of Christian liturgy as Hosanna in excelsis Deo to signify Palm Sunday, prior to Easter.) Since the Roman custom “Praise [glory] to God in the highest” rather than concerned proclamations of praise, the word was “Save us” is a by-product of the mixture of these two interpreted and translated thus into the Christian Bible. separate ceremonial customs. The source of both the confusion and the connection Beveridge punctuates the Benedictus with yet another between the accepted Latin and the original Hebrew section of the k’dusha, this time an insertion for all meanings of the word hoshana or hosanna lies in mussaf services: “Our God is One ...” One of the Divine the annual pilgrimage Festival of Sukkot, which is attributions included in this passage, “He is our Savior,” described in the Torah as the feast of ingathering at is mirrored by the Latin hosanna. (The Sephardi rite the end of the agricultural season, and, in Hebrew contains an additional sentence: “Behold, I have now liturgy, as z’man simh. atenu—the “time [season] of redeemed you in the latter times, as at the beginning, our rejoicing.” During the weekday morning services to be your God.”) But the composer has omitted the of this seven-day Festival (eight days in the Diaspora), Hebrew phrase lih’yot lakhem lelohim (I am your in accordance with a biblical commandment (Leviticus God), substituting a repetition of Hosanna in excelsis, 23:40) whose anthropological antecedents are believed which is followed here by the words of the concluding to lie in pagan agricultural and fertility rites, each statement of the k’dusha (yimlokh adonai....). Jewish worshipper carries and waves the lulav—a palm branch bound with boughs of myrtle and willow. The lulav is waved together with an etrog (a special variety VII. EL MALE RAH. AMIM (God, Full of Compassion) of citrus akin to a lemon) in a prescribed ritual—fi rst The composer selected one of several established text during the recitation of specifi c Psalm verses known variants of this memorial prayer, which entreats God as hallel (Psalms of Praise) and then in a majestic to keep the souls of the departed “under the wings procession. of” His Divine Presence. Life and death are related Hoshana is an abbreviation or contraction of the here—perhaps as part of a single continuum that phrase hoshi’a na (O save us now!), which appears in transcends the boundary between the two. From Psalm 118:25, one verse before that from which the Judaic perspectives, “eternal life” (apart from, or in Benedictus was drawn. This Psalm forms part of the addition to messianic or eschatological considerations) hallel that is recited on Sukkot in connection with the can reside in the preservation of loved ones’ memories, waving of the lulav and etrog. which, as suggested by some interpretations and translations of the concluding line of this prayer, may The processions at the end of the morning services serve as inspirations for the living—and as models for with the lulav and etrog culminate in a series of seven their behavior in life. El male rah. amim, which is also processions on the last day of the Festival, Hoshana recited at funerals, follows the yizkor recitations in Rabba. During these processions the worshippers most mainstream traditional yizkor services. But while recite or sing a series of liturgical poems known as those yizkor recitations are addressed to the memories hoshanot (plural of hoshana)—pleas for deliverance of individuals, this concluding prayer encompasses and liberation. Each of them begins with the incipit collectively all those for whom yizkor has just been hoshana, which can also be sung as a refrain. recited. 8.559453 14

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1414 88/5/05/5/05 3:03:403:03:40 PMPM Beveridge drew attention to the shared image of the X. MOURNERS’ KADDISH and LORD’S PRAYER Garden of Eden (gan eden) as a representation of This concluding movement pairs kaddish yatom with paradise in both religious traditions and liturgies. The what is probably the most widely familiar Christian chorus sings an English translation of that reference liturgical expression in the Western world, even among from In Paradisum (“May they rest in the Garden of non-Christians. The Lord’s Prayer, which is quoted in Eden”), followed by the cantorial continuation of the the New Testament (Matthew 6:9–13) as part of the parallel passage in el male rah. amim; and he has given Sermon on the Mount, is held in Christian belief and this moment special musical emphasis. tradition to have been uttered by Jesus of Nazareth in the course of preaching to a crowd of disciples in VIII. LUX AETERNA (Eternal Light) the Galilee. Because of its powerful simplicity and The fl ute recalls the theme in minor from Requiem its universalistic sensibilities, it is often considered to aeternam, which is now transformed to a melody be among the most ecumenical pronouncements in in major, and which leads directly into the next Christianity. The Lord’s Prayer is nearly always deemed movement. The juxtaposition of this text from the acceptable in nondenominational or interfaith services Proper against the immediately preceding el male that seek to avoid exclusive theological parameters. rahamim illuminates the Latin refl ection of the image . Beveridge was struck by the common theme in the of light, which is also contained in the Hebrew prayer opening words of these two prayers of sanctifying for the souls of the departed. The Mass text reads “Let or hallowing God’s Name, both of which arose in perpetual light shine on them, O Lord, in company with the vernacular of the day. “Hallowed be Thy Name” Your holy ones for all eternity.” The Hebrew prayer in the Lord’s Prayer appears here as a counterpart asks that the souls be kept eternally in God’s presence, of yitkaddash sh’me rabba (May His great Name be “among the holy and pure ones whose light shines as sanctifi ed). the brightness of the fi rmament.” The two expressions and the two metaphorical allusions are nearly identical, Apart from kaddish, other Hebrew liturgical derivations and a common source is obvious. and parallel phraseology can be discerned in the Lord’s Prayer, which is illustrated by the following examples: IX. JUSTORUM ANIMAE (The Souls of the Righteous) Corresponding Passages These words derive from The Wisdom of Solomon and Themes in Hebrew (3:1–4), which is part of the Apocrypha (the books not The Lord’s Prayer Liturgy included in the biblical canon). The soprano soloist intones the text as a simple, chantlike unaccompanied Hallowed be Thy Name. v’kadesh et shimkha al hymn, which the chorus and orchestra repeat phrase makdishei sh’mekha— by phrase in octaves. For the composer personally, Hallow Your Name upon these words encapsulate the essence of both religious those who sanctify it traditions with regard to the eternity of the soul, (High Holy Days mussaf, illustrating a basic view held in common. prior to k’dusha).

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1515 88/5/05/5/05 3:03:413:03:41 PMPM Thy kingdom come, Thy darei ma’la im darei Forgive us [our debts] as s’lah. lanu avinu ki will be done, on earth as mata....—Those who we have forgiven others. h.atanu—Forgive us, it is in heaven. dwell on earth join with our Father, for we have those who reside above transgressed (weekday [in heaven] in glorifying amida; s’lih.ot liturgy). Your kingship (High Holy Lead us not [let us not v’al t’vi’enu lo lidei het, Days mussaf). . be led] into temptation, v’lo lidei avera v’avon, but deliver us from evil v’lo lidei nisayon.... Our Father who [which] Avinu shebashamayim [“the evil one”in some —Let us not be led into art in heaven.... ase imanu h.esed ba’avur versions]. sin, transgression, shimkha haggadol—Our iniquity, temptation.... Father in heaven, deal (preliminary morning kindly with us for the service). sake of Your Great Name (preliminary morning y’hi ratzon milfanekha... shetatzileni hayom service, birkhot hashah.ar). uv’khol yom me’azei Eloheinu shebashamayim fanim ume’ azut panim, yah.ed shimkha v’kayem me’adam ra—May it be malkhut’kha tamid—Our Your will … to deliver God in heaven, reveal me today and every Your unity and establish day from arrogant men Your kingdom forever and arrogance, from an (evening service). evil one.…(preliminary morning service). Give us this day our daily v’sab’einu mituvekha bread. uvarekh sh’natenu For Yours is the kingdom l’kha adonai hag’dula kashanim hatovot—And and the power and the v’hag’vura v’hatiferet satisfy us with Your glory, forever. v’hanetzah. v’hahod— goodness and bless the Yours, O Lord, is the year with Your bounty greatness and the (weekday amida). power, the glory and the victory and the majesty (Chronicles 29; morning Give me neither poverty service—p’sukei d’zimra; nor riches; Feed me with Torah service). Your allotted bread (Proverbs 30:8). ki hamalkhut shelkha hi ul’olmei ad timlokh 8.559453 16

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1616 88/5/05/5/05 3:03:413:03:41 PMPM b’khavod—For the kingdom is Yours and Text and Translation You will reign in glory forever (aleinu—al ken YIZKOR REQUIEM n’kave l’kha: conclusion of all services; Rosh I. READER’S KADDISH Hashana mussaf). Sung in Engish and Aramaic In all rites and practices, kaddish yatom is spoken simply Translation from the Hebrew by Rabbi Morton M. Leifman by the mourners, and the others present join in on the responses; it is never sung or chanted in any manner. CANTOR Its musical parameter here, of course, is appropriate yitgaddal v’yitkaddash May God’s great Name artistic license, inasmuch as this work is a musical- sh’me rabba be even more exalted and sanctifi ed. dramatic expression rather than a religious service. CHORUS The English reading following the fi nal words of Great is the Name of the kaddish here is taken from the service of the classic Lord. American Reform ritual, as it appears in the Union CANTOR Prayerbook—at one time the standard and nearly b’alma div’ra khirute In the world that He exclusive prayerbook of the American Reform created according to movement. His own will. The last sound heard is a distant, offstage fl ute, which CHORUS reprises the melody from Justorum animae that the And great is His glorious orchestra also has reintroduced at the beginning of Creation! this movement. Beveridge attached a dramatic, quasi- CANTOR programmatic role to these fl ute strains: “It is the song v’yamlikh malkhute And may He fully establish of the departed soul,” he has commented. “Now free b’h. ayyeikhon His kingdom in your life- of all encumbrances, it fades away into Eternity.” uv’yomeikhon time, in your own days, ************** uv’h. ayyei d’khol beit and in the life of all those A year and a half after Lowell Beveridge’s death, yisra’el of the House of Israel ... the composer’s mother passed away as well. Yizkor CHORUS Requiem is therefore dedicated to the memory of May His Kingdom come, both parents. The world premiere was given in 1994 by His will be done on earth the New Dominion Chorale, under Beveridge’s baton. as in heaven. Performances followed in Chicago, New York, and at the Kennedy Center in Washington, D.C., with the CANTOR Choral Arts Society of Washington directed by Norman ba’agala uvizman kariv ... soon, indeed without Scribner. v’imru: amen. delay. Those praying here —Neil W. Levin signal assent and say, “amen.” 17 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1717 88/5/05/5/05 3:03:423:03:42 PMPM CHORUS II. REQUIEM AETERNAM y’he sh’me rabba May His great Name be Sung in Hebrew, Latin, and English m’varakh worshipped CHORUS O praised be His holy Requiem aeternam Eternal rest, grant them, Name Dona eis, Domine. Lord, and let perpetual l’alam ul’almei almaya. forever, for all time, for Et lux perpetua luceat eis. light shine on them. Forever and ever. all eternity. Light!

CANTOR CANTOR & SOLI yitbarakh v’yishtabbah. Worshipped, praised, or zaru’a latzaddik Light is sown for the v’yitpa’ar v’yitromam glorifi ed, exalted, Light is sown for the righteous, v’yitnasse v’yithaddar elevated, adored, righteous. v’yitalle v’yithallal sh’me uplifted and acclaimed ul’yishrei lev simh. a Radiance upon the d’kud’sha b’rikh hu. be the Name of the Holy And shall shine upon the upright in heart. one, praised be He ... pure in heart.

CHORUS CHORUS Te decet hymnus, O God, it is fi tting that b’rikh hu Praised be He Deus in Sion, we sing hymns in Zion, O blessed be the Name Et tibi redetur votum in and that we make vows of the Lord, O bless His Jerusalem. to You in Jerusalem. Name, O bless the Name of the Lord. Exaudi orationem meam! Hear my prayer! Ad te omnis caro veniet. All fl esh shall return CANTOR to You. l’ella min kol birkhata over and beyond all CANTOR v’shirata tushb’h. ata the words of worship nishmat kol h. ai t’varekh Every living breath shall v’neh. emata da’amiran and song, praise and et shimkha adonai praise Your Name, Lord b’alma v’imru: amen. consolation ever before eloheinu! our God. uttered in this world. CHORUS Those praying here Kyrie, eleison! Lord, have mercy! signal assent and say, “amen.” SOLI s’lah. lanu! Forgive us! CHORUS CHORUS Blessed be His Name Christe eleison! Christ have mercy! and His glorious creation. Blessed be the Name SOLI Of the Lord. s’lah. lanu! Forgive us!

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1818 88/5/05/5/05 3:03:423:03:42 PMPM CHORUS SOPRANO & ALTO SOLI Lord, have mercy, Domine Jesu Christe, Lord Jesus Christ, And remember us! Rex Gloriae, King of Glory, Libera animas omnium Free the souls of all SOLI Fidelium defunctorum. The faithful who have Remember! died. III. PSALM 23 CHORUS CHORUS barukh ata adonai ... Worshipped are You, Lord ... The Lord is my shepherd, CANTOR I shall not want. gomel h. asadim tovim, You who bestows loving- He lets me lie down in green pastures v’kone hakol, v’zokher kindness. Lord of all that And leads me beside still waters. h. asdei avot. exists, You remember He restores my soul. umevi g’ula livnei the acts of love and He leads me in the paths of righteousness, v’neihem grace performed by For His Name’s sake. l’ma’an sh’mo b’ahava. our forefathers; and Yea, though I walk through the valley You will, in love, for Of the shadow of death, Your Name’s own sake, I shall fear no evil, for You are with me. bring redemption to the With rod and staff You comfort me, children’s children of You feed me in the midst of my enemies, those ancient ancestors. You have anointed my head with oil, SOLI & CHORUS And my cup runneth over. Pie Jesu, dona eis Faithful Jesus, grant them Surely goodness and mercy shall follow me requiem. rest, and let perpetual All the days of my life, Et lux perpetua luceat eis. light shine upon them. And I shall dwell in the House of the Lord forever. Recordare, Jesu Pie! Remember, faithful Jesus! or zaru’a latzaddik. Light is sown for the IV. REMEMBER! zokhrenu l’h. ayyim, righteous. Remember Sung in Hebrew, Latin, and English melekh h. afetz bah. ayyim, us leniently for life! O v’khatvenu b’sefer King who delights in life. CANTOR hahayyim, l’ma’ankha Inscribe us in the Book of barukh ata, adonai Worshipped are You, . elohim hayyim. Life for Your own sake, O eloheinu velohei Lord, our God and God . Living God! avoteinu, elohei of our forefathers, CHORUS avraham, elohei yitzhak,. God of Abraham, God Remember! velohei ya’akov ha’el of Isaac, and God of SOLI haggadol haggibor Jacob; great, mighty, Recordare! v’hannora, el elyon and awesome, supreme Master. CANTOR zokhrenu! 19 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 1919 88/5/05/5/05 3:03:423:03:42 PMPM ALL kakatuv al yad n’vi’ekha And, as did the prophets Remember, remember, v’kara ze el ze v’amar: of old, we cry out, And inscribe us in the saying: CHORUS Book of Life! kadosh! kadosh! kadosh! Holy! Holy! Holy! CANTOR Sanctus! Sanctus! melekh ozer umoshi’a O King who aids, saves, Sanctus! umagen barukh ata and shields, adonai tz’va’ot! Lord God of Hosts! adonai magen avraham. Worshipped are You, Deus Sabaoth! protector of Abraham. m’lo khol ha’aretz The entire world is fi lled k’vodo. with His glory. V. OFFERTORY (Hostias) Pleni sunt coeli et terra Heaven and earth are Text from Requiem Mass Gloria Tua. full of Your glory. Sung in Latin CANTOR CHORUS adir adirenu, adonai Our mightiest One, Lord, Hostias et preces Sacrifi ces and prayers, adoneinu, our God! How glorious tibi, Domine, Laudis O Lord, do we offer to ma adir shimkha b’khol is Your Name in all the offerimus. Tu suscipe pro You in praise. Receive ha’aretz! earth! animabus illis. Quarum them on behalf of the hodie memoriam souls of those whose SOLI facimus. Fac eas de morte memory we now barukh k’vod adonai Blessed indeed is the transpire ad vitam, celebrate. Grant that mim’komo. glory of the Lord Quam olim they may pass from emanating from His Abrahae promisisti Death unto Life, as abiding place. CHORUS Et semini eius Requiem once you did promise Benedictus qui venit aeternam dona eis, to Abraham. And his Praised be he who comes In nomine Domini. Domine. descendants. Eternal in the Name of the Lord. Hosanna in excelsis! rest, grant them, Lord. Hosanna in the highest! SOLI CANTOR Et lux perpetua luceat eis. And let perpetual light ehad hu eloheinu, hu Our God is one. He is our shine on them. . avinu, hu malkenu, God, our Father, our King, VI. SANCTIFICATION hu moshi’enu, v’hu our Savior; and in His Sung in Hebrew and Latin yashmi’enu b’rah. amav mercy He will proclaim CANTOR & SOLI l’einei kol h. ai. in the presence of all the n’kadesh et shimkha We sanctify Your Holy living people: [“I am the ba’olam k’shem Name on earth. As the Lord, your God!”] shemakdishim oto heavens on high do bishmei marom, glorify you. 8.559453 20

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 2020 88/5/05/5/05 3:03:433:03:43 PMPM CHORUS (& CHORUS) Hosanna in excelsis! Hosanna in the highest! l’nishmot yakirenu Upon the souls of our shehalkhu l’olamam. dear ones who have CANTOR gone to their eternity. yimlokh adonai l’olam, The Lord shall reign for CHORUS elohayikh tzion, l’dor eternity, your God, O May they rest in the vador hal’luya. Zion, from generation to Garden of Eden, generation. Halleluya! O Lord of compassion, Grant them eternal SOLI peace. Halleluia! CANTOR VII. EL MALE RAH. AMIM b’gan eden t’hei In the Garden of Eden (Lord of Compassion) m’nuh. atam, ana ba’al let them fi nd rest. Text from yizkor service harah. amim yastirem We beseech You, Lord of Sung in Hebrew and English b’seter k’nafav l’olamim, compassion, v’yitzror bitzror Let them fi nd shelter CANTOR hah. ayyim et nishmatam. Under Your wings el male rah. amim, Lord, full of compassion, adonai hu nahalatam, forever. shokhen bam’romim, who dwells in heaven, . v’yanuh. u b’shalom al May their souls ham’tze m’nuh. a grant perfect peace. mishkavam, v’nomar: be bound up in the n’khona. amen. bond of life. CHORUS The Lord is their Lord of mercy, inheritance. With wings of And may they rest in compassion peace. Enfold our loved ones And let us say: Amen. Who have returned to Thy care. VIII. LUX AETERNA (Eternal Light) CANTOR Text from Requiem Mass tah. at kanfei hash’khina, Under the wings of the Sung in Latin b’ma’alot k’doshim Divine Presence among SOPRANO ut’horim k’zohar haraki’a the high places of the Lux aeterna luceat eis. Let perpetual light shine mazhirim, holy and pure ones, who Domine, cum sanctis tuis on them shine as the brightness of In aeternum. O Lord, in company with the fi rmament. Quia pius es ... your Holy Ones, For all eternity. For you are faithful and kind ... 21 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 2121 88/5/05/5/05 3:03:433:03:43 PMPM IX. JUSTORUM ANIMAE y’he sh’ me rabba May His great Name be (The Souls of the Righteous) m’varakh l’alam worshipped forever, for Text: Wisdom of Solomon 3:1–4 ul’almei almaya all time, for all eternity. Sung in Latin yitbarakh v’yishtabbah. Worshipped, praised, SOPRANO SOLO v’yitpa’ar v’yitromam glorifi ed, exalted, & CHORUS v’yitnasse v’yithaddar elevated, adored, Justorum animae. The souls of the v’yitalle v’yithallal sh’m uplifted, and acclaimed In manu Dei sunt. Et non righteous are in the d’kud’sha b’rikh hu, be the Name of the tanget illos tormentum hand of God, and they l’ella min kol birkhata Holy One, praise justitae. Visi sunt oculis shall not be touched v’shirata tushb’h. ata be He— over and insipientum mori, illi by the torment of v’neh. emata da’amiran beyond all the words autem sunt in pace. judgment. In the eyes of b’alma v’imru: amen of worship and song, the foolish they appear praise and consolation to no longer exist, but, ever before uttered actually, they are at in this world. Those peace. praying here signal assent and say, X. MOURNERS’ Kaddish and LORD’S PRAYER “amen.” Sung in Aramaic, Hebrew, and English May there be abundant y’he sh’lama rabba peace for us and CANTOR min sh’mayya v’h. ayyim for all Israel; and yitgaddal v’yitkaddash May God’s great Name be aleinu v’al kol yisra’el those praying here sh’me rabba b’alma even more exalted and v’imru: amen div’ra khirute v’yamlikh sanctifi ed in the world signal assent and say, malkhute b’h. ayyeikhon that He created according “amen.” uv’yomeikhon uv’hayyei to His own will; . ose shalom bimromav May He who d’khol beit yisra’el and may He fully hu ya’ase shalom establishes peace ba’agala uvizman kariv establish His kingdom aleinu v’al kol yisra’el in His high place v’imru: amen in your lifetime, in your v’imru: amen. establish peace for us own days, and in the life and for all Israel; and of all those of the House those praying here of Israel—soon, indeed signal assent and say, without delay. Those “amen.” praying here signal assent and say, “amen.”

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 2222 88/5/05/5/05 3:03:433:03:43 PMPM CHORUS CHORUS Our Father in heaven, Amen. Sanctifi ed be Your Name READER May Your Kingdom come, May the beauty of their life Your will be done abide among us as a loving benediction. On earth as in heaven Give us this day our daily bread, CHORUS Forgive us, Amen. And deliver us from evil For Yours is the Kingdom READER And the Power and the Glory May the Father of Peace For ever, Amen. send peace to all who mourn and comfort all the bereaved among us. (The following text is from the Union Prayerbook:) And let us say:

READER CHORUS The departed whom we Amen. now remember have entered into the peace of Life Eternal.

CHORUS Amen.

READER They still live on earth in the acts of goodness they performed, and in the hearts of those who cherish their memory.

CHORUS Amen.

Sir Neville Marriner rehearsing with the orchestra

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 2323 88/5/05/5/05 3:03:443:03:44 PMPM About the Performers

Mezzo-soprano ELIZABETH SHAMMASH enjoys a varied career in opera, oratorio, lieder, and theater. She is a graduate of Brown University and of the Manhattan School of Music, and she sings frequently throughout the United States and Europe. Her concert appearances have included an all-Bernstein program with the Soprano ANA MARÍA MARTÍNEZ was born in Puerto Rico, National Symphony Orchestra and Beethoven’s Ninth daughter of the opera singer Evangelína Colón, from Symphony with the Seattle Symphony. She also serves whom she had her earliest lessons. She studied at The cantorial pulpits, and she is studying for cantorial Juilliard School in New York, graduating in 1993. Her ordination at the H. L. Miller Cantorial School of the breakthrough came two years later as a prizewinner at Jewish Theological Seminary. Plácido Domingo’s Operalia competition, and in 1996 she joined the Spanish tenor for concert appearances Tenor ROBERT BRUBAKER in Madrid, Palm Beach, and Buenos Aires. Her critically was born in Mannheim, acclaimed debut with the Washington Opera came Pennsylvania, and studied in 1997 as Soleá in Penella’s El Gato Montés. It was at the Hartt College followed by a series of triumphant debuts at leading of Music in Hartford, European and American houses. She was featured Connecticut. Shortly after in the world premiere tour and recording of Philip graduation he joined the Glass’s opera La Belle et la bête, and she created the New York City Opera, role of the Mother in the world premiere of Menotti’s where he became one of The Singing Child at the Spoleto Festival U.S.A. Her the company’s leading orchestral engagements have included concerts with tenors. Since then he has Andrea Bocelli and with Domingo. gone on to sing at opera houses throughout the world. In 1992 he made his Metropolitan Opera debut as one of the Mastersingers in Die Meistersinger, and 8.559453 24

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 2424 88/5/05/5/05 3:03:443:03:44 PMPM two years later he made his European debut at the Rome Opera in the title role of Zemlinsky’s Der Zwerg. Brubaker’s fi rst appearance at the English National Opera in London was in 1995, in Kurt Weill’s Rise and Fall of the City of Mahagonny, and in 2000 he debuted with the Opéra de Paris–Bastille as Pierre in Prokofi ev’s War and Peace. In 2002 he made his Salzburg Festival debut in the title role of Zemlinsky’s König Kandaules.

RABBI RODNEY MARINER was born in Australia in 1941 and graduated from Monash University Melbourne. He studied for the rabbinate at Hebrew Union College in Jerusalem, and in London at Leo Baeck College. Since SIR NEVILLE MARRINER was born in Lincoln in 1924 and 1982 he has been the senior rabbi at Belsize Square studied the violin in London at the Royal College of Synagogue, an independent London congregation Music and at the Paris Conservatoire. After teaching established by German and Central European German- for a year at Eton College, in 1949 he joined the Martin speaking Jews in 1938. This synagogue maintains String Quartet, and with musicologist Thurston Dart the unique blend of the timely and the timeless that formed the Jacobean Ensemble, which specialized in characterized the Liberale Judaism of the middle and late 17th- and 18th-century music. From 1952 to 1968 he 19th century in western Europe, especially in Germany, was a violinist with the London Philharmonia and with continuing up until its destruction by the end of the the London Symphony Orchestra. During this period 1930s. In 2005 Rabbi Mariner was awarded an honorary he also formed the Virtuoso String Trio, and then, in doctorate by the Jewish Theological Seminary. 1959, the Academy of St. Martin in the Fields. Sir Neville gravitated increasingly toward conducting and took One of the foremost British chamber choirs, the lessons from Pierre Monteux. His fi rst appointment CHORUS OF THE ACADEMY OF ST. MARTIN IN THE FIELDS was in 1969 with the Los Angeles Chamber Orchestra. was founded in 1975 by Laszlo Heltay. Its wide range of In 1979 he became music director of the Minnesota acclaimed recordings includes Charpentier’s Magnifi cat Orchestra, holding that post until 1986, when he and Te Deum; Bach’s B-minor Mass; Handel’s Messiah; returned to Europe as music director of the Stuttgart Haydn’s Creation and Seasons; Rossini’s Il turco in Italia Radio Symphony Orchestra (until 1989). Throughout and Messa di Gloria; the Fauré Requiem; and Gilbert the whole period he continued to work with the and Sullivan’s Yeomen of the Guard, all conducted by Academy. As his conducting career progressed, the Sir Neville Marriner. Since 2000, when Joseph Cullen orchestra’s original basis in music of the Baroque (who prepared the chorus for this recording) was expanded to include Viennese classics, Romantic, and appointed its chorus director, the amateur choir, which 20th-century works, as well as opera. There is hardly ranges in size from sixteen to sixty and whose members a corner of the repertoire in which the vitality and come from all walks of life, has not only maintained its elegance of Sir Neville’s leadership have not brought preeminent reputation but has increased its versatility him—and the Academy—great distinction. He was still further, covering new repertoire and augmenting made a Commander of the Order of the British Empire its a cappella appearances. in 1979 and was knighted in 1985. 25 8.559453

BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 2525 88/5/05/5/05 3:03:453:03:45 PMPM Credits

The Milken Family Foundation was established by brothers Lowell and Michael Milken in 1982 with the mission to discover and advance inventive, effective ways of helping people help themselves and those around them lead productive and satisfying lives. The Foundation advances this mission primarily through its work in education and medical research. For more information, visit www.milkenarchive.org

MILKEN ARCHIVE MILKEN ARCHIVE EDITORIAL BOARD Lowell Milken, Founder Neil W. Levin Neil W. Levin, Artistic Director; Editor in Chief Paul W. Schwendener Richard V. Sandler, Executive Director Samuel Adler Paul W. Schwendener, C.O.O., Advisor, and Director of Marketing Ofer Ben-Amots Lawrence Lesser, Production Director Martin Bookspan Rebecca Rona, Administrative Director Cantor Charles Davidson Gina Genova, Associate Director of Research; Associate Editor Henry Fogel Bonnie Somers, Communications Director Lukas Foss Jules Lesner, Archive Committee Rabbi Morton M. Leifman Eliyahu Mishulovin, Research Associate Gerard Schwarz Armin Rafi ee, Product Management Edwin Seroussi Editorial Consultants: Maxine Bartow, Richard Evidon

The Milken Archive of American Jewish Music would not be possible without the contributions of hundreds of gifted and talented individuals. With a project of this scope and size it is diffcult to adequately recognize the valued contribution of each individual and organization. Omissions in the following list are inadvertent. Particular gratitude is expressed to: Gayl Abbey, Paul Bliese, Johnny Cho, Cammie Cohen, Jacob Garchik, Ben Gerstein, Jeff Gust, 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 Sytten, Anita Yarbery, and Julie Zorn.

PHOTO CREDITS: Page 3, courtesy of the composer. Page 24 (left), Tom Specht; (top right), Christian Steiner.

For purchasers of this CD, these liner notes are available in a large page format. Address requests to [email protected]

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BBeveridge_LinerNtseveridge_LinerNts 9453.2.indd9453.2.indd 2626 88/5/05/5/05 3:03:453:03:45 PMPM Five CDs Recognized in the 47th Annual GRAMMY® Awards

Congratulations to David Frost ® GRAMMY Award-Winning “Producer of the Year, Classical” for his work on fi ve Milken Archive CDs

8559414 8559442 8559423

“Splendid new off erings” “Outstanding liner notes” - American Record Guide

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