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Aharon Harlap's David and Goliath a Conductor's Guide and Musical Analysis Tommer N University of South Carolina Scholar Commons Theses and Dissertations 8-9-2014 AHARON HARLAP'S DAVID AND GOLIATH A CONDUCTOR'S GUIDE AND MUSICAL ANALYSIS TOMMER N. HESSEG University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation HESSEG, T. N.(2014). AHARON HARLAP'S DAVID AND GOLIATH A CONDUCTOR'S GUIDE AND MUSICAL ANALYSIS. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/2819 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. AHARON HARLAP'S DAVID AND GOLIATH A CONDUCTOR'S GUIDE AND MUSICAL ANALYSIS by TOMMER N. HESSEG Bachelor of Music The Jerusalem Academy of Music and Dance, 2007 Bachelor of Education The Jerusalem Academy of Music and Dance, 2007 Master of Music The Jerusalem Academy of Music and Dance, 2008 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2014 Accepted by: Larry Wyatt, Major Professor Chairman, Examining Committee Alicia Walker, Committee Member Andrew Gowan, Committee Member Samuel Douglas, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies ©Copyright by Tommer N. Hesseg, 2014 All Rights Reserved ii ACKNOWLEDGMENTS I would like to express my very great appreciation to all those who made it possible for me to complete this journey. I found the USC campus in Columbia South Carolina inviting, professional, challenging and rewarding. I could not have asked for a better program. While there are many who have assisted me, I particularly would like to thank the following: My colleague and friend, Maya Shavit who literally made all this possible; she is to me as to many others, an inspiration; Aharon Harlap for graciously offering all his time and assistance which were invaluable for this research; My committee members, Dr. Larry Wyatt, Dr. Alicia Walker, Dr. Andrew Gowan and Dr. Samuel Douglas who not only have been helpful throughout this process but also from whom I have learned a lot. My Major Professor, Dr. Larry Wyatt, whose professionalism, kindness, humor and endless thirst for knowledge inspires everyone around him. I am particularly grateful to the following, who showed my family and me the meaning of Southern Hospitality: iii Michal Rubin and David Reisman, who opened their home to us and took upon themselves to be both our fostering parents and close friends. My family and I will always cherish their friendship; Alon Segal, whose warm friendship was so encouraging, and whose musicianship is inspiring; Rabbi John Case, who is a great man and spiritual guide. His support and belief in me is highly appreciated; My special thanks are extended to the entire Jewish congregation of Beth Shalom, who always made my family and I feel wanted and at home; The dearest Sara Beardsley, my South Carolina Mother, who has recently discovered that she is three percent Jewish. Her TLC was most comforting and she will forever have a place in my heart. Finally, I wish to thank my mother, Sandra Hesseg, who has been for me a guiding rod and constant inspiration all my life. If it wasn't for her support I would never have been able to pursue my dreams. And lastly but most importantly, my wonderful wife, Dikla, whose love, support and encouragement are the backbone of my self-confidence. And my two children who are such a joy and make everything worthwhile. To all those, I would like to say: Thanks for a dream come true! iv ABSTRACT Aharon Harlap (b. 1941) is one of Israel’s most prominent and well-known composers and conductors. He was born in Canada and immigrated to Israel in 1964 where his compositions have won numerous awards. His musical output is in a variety of genres: cantatas, oratorios, a capella, chamber and orchestral. Harlap's compositions have been performed in Israel, Canada, the United States, and South Africa, and he has appeared as guest conductor with the major orchestras in Israel, including the Israel Philharmonic Orchestra, the Haifa Symphony Orchestra, the Israel Sinfonietta Beer Sheva, the Kibbutzim Chamber Orchestra, the Israel Chamber Orchestra and the Jerusalem Symphony Orchestra. Harlap's religious beliefs have often drawn him to set his choral works to Biblical texts. David and Goliath is a cantata on the Hebrew text of Samuel I chapter 17, orchestrated for tenor or mezzo-soprano, baritone and bass soloists, SATB mixed choir, flute, harp and strings. The composition was originally scored for soloists, mixed chorus and piano and was later orchestrated. Even though David and Goliath was commissioned by the N.Y. Zamir Chorale it was never performed by them. The piano version is dedicated to Matthew Lazzar and the Zamir Chorale, but was premiered by Yuval Ben Ozer and the New Vocal Ensemble on March 27, 2009 at the Tel-Aviv Museum Auditorium. The orchestrated version of the piece was premiered on March 24, 2010 with the composer conducting the Ashdod Symphony Orchestra, and the Kfar Sava Chamber Choir. The purpose of this study is to bring to light a wonderful, but v relatively unknown, choral piece and provide a complete analysis along with biographical information on this highly acclaimed composer. vi TABLE OF CONTENTS ACKNOWLEDGMENTS..................................................................................................iii ABSTRACT.........................................................................................................................v LIST OF MUSICAL EXAMPLES...................................................................................viii CHAPTER I: INTRODUCTION.........................................................................................1 CHAPTER II: AHARON HARLAP'S BIOGRAPHY........................................................8 CHAPTER III: HARMONIC LANGUAGE AND STRUCTURE...................................13 CHPATER IV: INTERVIEW WITH AHARON HARLAP.............................................35 CHAPTER V: PERFORMANCE CONSIDERATIONS AND SUMMARY...................54 BIBLIOGRAPHY..............................................................................................................58 APPENDIX A: THE TEXT FROM THE BOOK OF SAMUEL, CHAPTER 17.............60 APPENDIX B: PROGRAMS............................................................................................64 vii LIST OF MUSICAL EXAMPLES Example 3.1: David and Goliath, mm. 323-325................................................................14 Example 3.2: David and Goliath, mm. 1-5........................................................................16 Example 3.3: Jephthea's Daughter, rehearsal mark H ......................................................16 Example 3.3a: Akidat Yitzchak, rehearsal mark O.............................................................17 Example 3.4: David and Goliath, m. 1..............................................................................18 Example 3.5: David and Goliath, m. 23............................................................................18 Example 3.6: David and Goliath, m. 229..........................................................................19 Example 3.7: David and Goliath, mm. 234-235................................................................20 Example 3.8: David and Goliath, mm. 230-231................................................................21 Example 3.9: David and Goliath, mm. 170-172................................................................21 Example 3.10: David and Goliath, m. 197........................................................................22 Example 3.11: David and Goliath, mm. 20-21..................................................................23 Example 3.12: David and Goliath, mm. 63-64..................................................................23 Example 3.13: David and Goliath, mm. 81-82..................................................................24 Example 3.13a: David and Goliath, mm. 123-124............................................................25 Example 3.13b: David and Goliath, m. 120......................................................................25 Example 3.14: David and Goliath, m. 293........................................................................25 Example 3.15: David and Goliath, mm. 170-177..............................................................26 Example 3.16: David and Goliath, mm. 315-322..............................................................27 Example 3.17: David and Goliath, mm. 37-42..................................................................27 Example 3.18: David and Goliath, mm. 88-91..................................................................28 Example 3.19: David and Goliath, m. 57..........................................................................29 Example 3.20: David and Goliath, m.19...........................................................................30 Example 3.21: David and Goliath, mm. 258-264..............................................................31 Example 3.22: David and Goliath, mm. 295-298..............................................................33 viii CHAPTER I: INTRODUCTION Brief Layout David and Goliath by Aharon Harlap (b. 1941) is a twenty-minute cantata on the Hebrew text of Samuel I chapter 17, orchestrated for
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