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Mda019 Intro Australian Music Series – MDA019 Ancient Hebrew Melodies For the Consecration of the Hobart Synagogue For Pianoforte Hobart, 1845 Joseph Reichenberg c. 1789/92 – Hobart, 1851 Edited by Richard Divall Music Archive Monash University Melbourne 2 ! Information about the MUSIC ARCHIVE series Australian Music And other available works in the free digital series is available at http://artsonline.monash.edu.au/music-archive This edition may be used free of charge for private performance and study. It may be freely transmitted and copied in electronic or printed form. All rights are reserved for performance, recording, broadcast and publication in any audio format. Copyright 2014 Richard Divall Published by MUSIC ARCHIVE OF MONASH UNIVERSITY Sir Zelman Cowen School of Music Monash University, Victoria, 3800, Australia ISBN 978-0-9923957-8-0 ISMN 979-0-9009643-8-0 The edition has been produced with generous assistance from the Marshall-Hall Trust Australian Research Theology Foundation ! 3 Introduction Australia’s first notable Jewish composer was Isaac Nathan. A musician, journalist and composer he was born in 1790 in Canterbury, England, the son of a Polish cantor. Nathan arrived in Sydney in 1841. However several other composers wrote works for Jewish services or for special occasions such as the consecration of Synagogues in Sydney (1844), Hobart (1845) Launceston (1846) and Ballarat (1861). This volume contains one of three early works that are known to us. The music is very simple, but of social importance to the development of organised Judaic religion in early Australia. Joseph Reichenberg (or Richenbergh in the Regimental records), was the bandmaster of the 40th Regiment of Foot, which was stationed in Australia from 1824 to 1829. Apparently he was born in Sicily around 1789-1792, possibly a member of one of the numerous German families who settled there assisting the Austrian Bourbon Kings of Naples and the Two Sicilies. It is said that he had military experience in the Chasseurs Brittanique, English forces based in Messina during the Napoleonic Wars. Reichenberg arrived in Sydney with his Regiment and announced that his Australian Quadrilles would be issued, but no copy has survived. He later moved to Hobart where the majority of the Regiment were stationed, and like many of the enlisted men, elected to stay in Australia. For some years he taught music in Hobart, conducted the first known full concert there in 1826, and died toward the end of January 1851. His daughter, Jane, born in 1846, died at a ripe age in 1932, and continued the musical activity of the family as an organist at St Joseph’s Catholic Church in Hobart for sixty years. The Hobart Synagogue was consecrated in some spectacle on 4 July 1845. Built in the Egyptian style, the land was donated by a wealthy Hobart businessman, Judah Solomon, and the free settler, Louis Nathan was the chairman of the committee. The Synagogue is still standing and is a valued historical building in Argyle Street, Hobart. Though a Catholic, Reichenberg was delegated to be in charge of the music, and a detailed report of the entire ceremony was printed in the Hobart Town Courier of 9 July. The vocal and instrumental performers included the French violinist and composer, Joseph Gautrot, who had a prolific career in music in Hobart and later in Sydney, before dying there in 1854. A short time after the consecration, the music by Reichenberg was printed by Thomas Browne of Hobart and one copy of fifteen pages survives in the W. L. Crowther Library of the Tasmanian Archive and Heritage Office ADRI no. AUTAS001131821845. The printed score is dedicated to Mrs Louis Nathan, whose husband might have sponsored the publication. Other composers followed in writing works for worship in Synagogues in Australia, and these include Alfred Hill’s works for the Great Synagogue in Sydney, and Felix Werder’s imaginative psalm settings, written in Melbourne, and now held in the National Library of Australia. 4 ! Facsimile of the opening page of Ancient Hebrew Melodies – W. L. Crowther Library Tasmanian Archive and Heritage Office, ADRI no. AUTAS001131821845. ! 5 Hobart Synagogue 1843 – by Cedric Emanuel 6 ! CRITICAL NOTES (apply to Movement 8) Bars! Instrument! Original text before amendment! 62 Keyboard RH Notes 1 and 3 B natural 63 Keyboard RH Notes 2 and 4 B natural 66 Keyboard LH Notes 2 and 4 d natural 68 Keyboard LH Note 1 d natural 68 Keyboard RH Note 1 f sharp and d natural ACKNOWLEDGMENTS I express my deep appreciation to Allan and Maria Myers AO, and to the Rector and Provost of Newman College, The University of Melbourne. This series of sacred music has been facilitated by a grant from the Australian Research Theology Foundation, to whom I am most grateful. Again my thanks to my fellow Trustees of The Marshall-Hall Trust; Lady Primrose Potter AC, Sir James Gobbo AC, Professor John Poynter AO OBE and Associate Professor Thérèse Radic. And especially to Professor Ed Byrne AC, the President and Vice-Chancellor of Monash University, Professor John Griffiths, and to the Head of the Sir Zelman Cowen School of Music, Associate Professor Rob Burke for their support and assistance of this project. I greatly appreciate the assistance of our Editorial Coordinator Mitchell Mollison. Richard Divall June 2014 The Editor Frà Professor Richard Divall AO OBE is a Vice-Chancellor’s Professorial Fellow at Monash University, an Honorary Principal Fellow in Music at The University of Melbourne, and Visiting Professor at The University of Malta. He is Chairman of the Marshall-Hall Trust and is a Knight of Malta in Solemn Religious Profession. He was awarded a D.Lett. (Hon Causa) in 1992 by Monash University, and a Doc. Univ. (Hon Causa) by the Australian Catholic University in 2004. He holds a PhD in Theology from the University of Divinity on eighteenth-century sacred music on Malta that includes an edition of the complete sacred works of Nicolò Isouard (1773-1818), and is an Honorary Research Fellow at the same university. Richard Divall has edited early Australian music since 1967. Ancient Hebrew Melodies Sung at the Consecration of the Synagogue Argyle Street, Hobart-Town V.D.L. 1845 Harmonised and arranged for the Piano Forte by Joseph Reichenberg. 1789/92 - Hobart January 1851 I Edited by Richard Divall Mah Tovu How goodly are thy tents, O Jacob! thy tabernacle, O Israel! Andante Sym . b b3 œ . œ. œ œ . œ. œ œ. œ ˙ œ œ œ &b b 4 ™ œ ™ œ œ œ œ ˙™ Piano p p œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bbbb4 œ œ œ 7 Voice { œ œ œ ˙ œ b b œ œ œ œ œ œ œ ˙ œ œ œ &b b œ™ œ œ™ œ œ œ œ œ œ œ œ ˙™ p dolce p œ œ œ œ œ œ œ œ œ ? b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b œ˙™ œ˙™ œ˙™ œ˙™ œ œ 13 œ { b œ œ™ œ œ œ™ œ œ œ œ œ ˙ &b bb ˙ œ œ œ ‰ œ œ™ œ œ œ œ™ œ œ œ œ œ œ œ ˙ fJ œ œ œ œ œ œ œ œ œ œ œ œ ? b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ nœ œ nœ œ œ œ œ b b œ œ œ œ œ œ œ œ œ 19 { œ œ œ œ œ œ œ œ œ œ b b nœ œ œ nœ ˙™ œbœ œ œ bœ &b b œ œ œ œ œ œ œ ˙™ œ œ œ œ œ œ œ dolce bœ œ œ œ œ œ bœ œ œ ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bb nœ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ 26 { b œ œ œ œ œ™ œ ˙ œ &b bb œ œ œ œ œ œ œ œ œ œ œ™ œnœ ˙ Œ œ œ œ œ œ f œ œ œ œ œ nœ œ œ œ bœ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bbbb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 32 { œ œ œ œ™ œ œ ˙ b b œ œ œ ˙ œ œ œ œ œ œœ ˙ &b b œ œ œ œ œ œ œ œ™ œ œ œ ˙ Œ b c f œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ ˙ bb b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ b c b ˙ œ œ ˙ œ œ ˙ { Copyright ©APRA2013 Richard Divall 8 II Come let us sing unto the Lord Maestoso Introduction 1 Andante Voice ∏ r r ∏ œ™™ œ ∏ œ™ œ œ œ œ œ œ œ œ œ ∏ œ œ œ œ bc œ ™™ ™™ œ œ ˙ n˙ ∏ ˙ Œ œ œ™ œ œ™ œ ™™ ™™ ∏ ™ ™ & œ™™ œœ™™ œ œ™™ œ #œ™™ œ ˙ n ˙˙ ˙ œ™ œ œ œ œ œ J J f R R ˙ p dolce J ? œ™ ˙ ˙ ˙ œ œ œ œ bc ‰ #˙ ˙ ˙ ˙ Œ Œ œ œ œ œ œ œ œ œ œ œ œ™ #˙ ˙ ˙ ˙ ˙ œ œ 7 { œ œ œ œ œ œ™ œ œ œ œ™ œ œ™ œ b œ œ œ œ J ‰ œ œ œ œ œ œ & Jœ œ Jœ ™ J ™ J ™ J ? œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 10 Siegue { œ œ œ œ œ ˙ &b œ™ œ œ ‰ œ œ œ œ œ œ œœ ˙ Ó b c J J J ? œ œ œ œ œ œ œ œ œ Œ c b œ œ œ œ œ œ œ œ œ œ œ œ b III { Blessed is he who comes in the name of the Lord Voice Solo 1 œ™ œ œ œ œ ˙™ &bc œ œ œ J œ œ ˙™ œ ˙™ œ p dolce œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?bc Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 { U j œ œ œ œ U˙ œ œ œ œ œ ˙ œ b œ œ œ œ œ nœ œ œ œ œ ™nœœ œ ™ œ ™ œb˙ œ œ œ ‰ œ & ™ J œ œ™ œ œ™ œ œ™ œ™œ œ™ œ™œ œ™ œ œ™ œ ˙ œ J f œ œ p dolce U j U ? œ œ œ œ œ œ œ œ œ™ œ œ™ œ œ œœ œ b œ œ œ œ œ™ œ œ œ™ ™œ œ™ ™œ œ™nœ œ™ œ ˙ œ #œ œ nœ œ#œ œ œ œ™ œ™ œ œ™œ œ™œ œ™ œœ™œ œ™nœ œ™ œ ˙ 12 { œ œ œ œœ ˙ œ œœ œ œ œ œ œ œ b œ™ œ œ™œ œ œ Œ œ nœ œ œ nœ œ œ™ œ œ™ œnœ œ & J ˙ œ œ œ œ™ J J œ œ œ œ œ œ œ œ œ œ œ œ ? œ Œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ 17 { œ œ œ œ œœ œœœ ˙™ œ œ œ œ œ œ œ™ œ &b ˙™ œ #œ ˙™ J œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ ? Œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ { b œ œ œ œ œ œ œ œ œ œ œ œ 9 23 œ œ œ œ œ™ œ œ œ œ œ ˙ œ œ œ œ &b ™ J J Œ œ œœ œ™ œ ˙™ œ ˙ œ œ œ œ™ œœ™ j j ? œ œ #œ œ #œ œ œ œ #˙ Œ œ œ ‰ œ ‰ œ ‰ œ œ œ œ œ ‰ œ ‰ b œ œ œ œ œ œ œ œ ˙ œ J J J ™ œœ™ œ œ œ 28 { œ œœ œ ˙ œ œ œ œ ˙ œ œ ˙ #˙œ œ œ œ &bœœ œ™ œ ˙™ œ ˙ ˙ œ p dolce œ œ œ œ™ œœ™ j j ? œ ‰ œ ‰ œ ‰ œ œ œ œœ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b J J J ™ œœ™ œœ œ œ˙ œ˙ œ˙ œ˙ nœ˙ œ˙ 33 ˙ œœ ˙œ œ œ œ œ œ œ œ œ ˙™ œœ { b ˙ œ œ œœ œ™ œ œ œ œ œ œ™ œ ˙ ˙™ œ œœ œ™ œ & œ™ J cresc f f cresc œ œ œ œ j j j j j j j j ?b œ˙œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ#œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 39 ˙ œ .
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