Throughout his work, Samuel Adler shows himself as a composer unafraid to tackle the deepest spiritual questions. His ecumenism is based on a commitment to truth, humanity and the word of God, and his music is based on the eternal aesthetic values of clarity and beauty. As such, his music speaks to our time and all ages.
As a classic record magazine reviewer, I often receive items from off-the-beaten-track evidence of enlightening discoveries. From time to time I would like to share them with the readers of this journal because I think they are of interest to all who value culture, art, beauty, and the life of the intellect and spirit. American composer Samuel Adler I was particularly attracted to the new compact disc of the choir Gloriae dei Cantores, featuring the music of In order to develop this story, it is necessary to explain the background of both the performer and the composer.
Gloriae Dei Cantores (Singers to God’s Glory) is a choir based in Orleans, Massachusetts along the Cape Cod. Their mission statement proclaims their goal to “illuminate truth and beauty through choral art and celebrate the rich tradition of sacred choral music, from Gregorian chant to the 21st century.” The ensemble’s more than 50 recordings, made over the course of some 35 years of performance, testify to this broad Catholic repertoire and commitment to spiritual and artistic values.
One of the ensemble’s frequent collaborators over the years is composer Samuel Adler. Born in 1928 and turning 94 this year, Adler is something of a national treasure. Aaron Copeland, who was one of his teachers in Copeland’s Mid-Century America, is a living connection to his musical “School.”He is particularly focused on sacred choral music, and the album speak to our times Collects some of his works for chorus and organ from his long career.
The highlight of the album is speak to our timesis a cantata composed in 2018 to commemorate the 80th anniversary of Kristallnacht, a notorious Nazi atrocity against Jews. This is what Adler experienced firsthand. The CD booklet tells the remarkable story of how he escaped Germany with his father that very night in 1938.
“Samuel Adler was 10 years old with his father on the balcony of the Mannheim synagogue. He didn’t know if he would survive. He saw the lights. He heard the crack of glass. He smelled the pungent fumes of gunshots, tasted burns in the air, this night was an invasion—Krystal Nacht, stood between the terrified pair and the possibility of capture or death. However, the pipe organ on the balcony they were hiding in collapsed and they were able to escape. …. At 94 years old, few composers have music so perfectly positioned to speak to our times.”
Adler’s cantatas have texts in four different languages: German, Hebrew, Latin and English. What impresses me about sampling Adler’s music and his comments on it is his sincere universality and ecumenical spirit. Born and raised Jewish and son of Cantor, Adler spent many years working in the Christian church, setting texts from both the Old and New Testaments.his choral trilogy, my favorite of the pieces on this album, sandwiches a text from the Romans between two texts from the Psalms. The first movement sets the words of Psalm 22, which Jesus assigned on the cross, “Why have you forsaken me?” The bleak mood at the beginning of the movement is replaced by an affirmation of God’s authority at the end. The second movement sets the famous text of the eighth chapter of Romans. “Our present suffering is not worthy of comparison with the glory that is about to be revealed to us. Finally, the final movement dances with the exultant text of his second-to-last psalm.
Adler’s music evokes the classic mid-century sound of Copland, Piston, Hindemith and Randall Thompson. It is what can be called conservative modernism, using harmonious and rhythmic innovations to expand and build upon tradition. In his interviews, Adler stresses the importance of knowledge and technique in his composition. He may be one of the last representatives of this neoclassical approach, which was the norm in the United States in the 1940s, 1950s and 1960s before postmodern sensibilities came to the fore. I can’t. True to neoclassical aesthetics, the music evokes a meditative sense of tranquility and order. Dissonant (I prefer to use the term “harmonic pingency”) is used, but always proportional and never extreme. Adler moves freely through tonal centers, but most of the time he finds the final harmony.
Adler’s choral music is compact and concise. This is not only a sign of a commitment to creating music that works in a liturgical context, but also a testament to a focused musical spirit that says what must be said without wasted notes. Adler’s music is born naturally from the meaning and expression of words. There are few repetitions of words or notes, and the declamation is often of recitative quality and speech naturalness. Rather than calling attention to itself, music exists as a reinforcement of the scriptures. Despite this apparent simplicity, this is music that packs a great deal of harmonic and rhythmic complexity beneath the surface, making it truly inspiring.
There are only two items in the album that do not have Bible text set. One of them is the first movement. speak to our timesThis is a German poem written by Nellie Sachs about the plight of the “wanderers” or refugees, with particular reference to the suffering of the Jews during World War II. From this text, Adler turns to Psalm 121 for an answer. where does my help come from? My help comes from the Lord who made heaven and earth. ”
Adler’s setting for the most beloved of all psalms, Psalm 23, “The Lord is my shepherd,” is a gem.Adler wrote that he was 90th A birthday present for my sister. Its most original touch is setting her twice the Psalm text, first in Hebrew and then in English. I think this is unprecedented.
National anthem “My Beloved is Mine” composed to commemorate the 25th anniversaryth Anniversary of Gloriae Dei Cantores, song songAdler commented: ”
The album ends with the simply beautiful “How Sweet the Sound”, based on the 1772 poem and song better known as “Amazing Grace”. Adler’s publisher wanted him to write something in Copeland’s vein. rice field.
Through his work, Samuel Adler shows himself to be a composer unafraid to tackle the deepest spiritual questions. His ecumenism is based on a commitment to truth, humanity and the word of God, and his music is based on the eternal aesthetic values of clarity and beauty. As such, his music speaks to our time and all ages. Before I came across this disc, I knew very little about this veteran composer, nor about the glorious Gloriae He Day He Cantores, but I know both and am happy to pass them on to you.
https://www.youtube.com/watch?v=KnXT1JcAddA
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