Basya Laye – Page 2

Or Shalom hits a milestone

Dr. Charles Kaplan and Rabbi Laura Duhan Kaplan. (photo from Rabbi Laura Duhan Kaplan)

The small group meeting to pray and learn in living-rooms in the late 1970s and early 1980s couldn’t have known for certain that their community would survive to grow into a 200-family congregation, but they did know that they’d helped start something special. That much was apparent from the start.

This year, Or Shalom, the outgrowth of that small group, celebrates 36 years, but will also say goodbye to its current spiritual leader, Rabbi Laura Duhan Kaplan. She and her husband, Charles Kaplan, arrived in Vancouver in 2005, encountering a vibrant and energetic Jewish Renewal congregation, with a permanent home on East 10th at Fraser Street – and an already storied history.

Rabbi Daniel Siegel who co-founded Or Shalom with his wife and partner, Hanna Tiferet Siegel, was in 1974 the first person to receive smicha (rabbinic ordination) from Rabbi Zalman Schachter-Shalomi, founder of the Jewish Renewal movement. Today, Siegel is director of spiritual resources for ALEPH: Alliance for Jewish Renewal, where he also serves as associate dean of the ordination programs, chair of the rabbinic texts department and rabbinic director of ALEPH Canada. From his Gulf Island home, Siegel described the congregation’s early evolution, and what makes Renewal’s approach resonate today.

“We consciously chose Vancouver, Hanna and I, as a place to move to because we wanted to start a congregation and we wanted to see whether the things that made us newly excited about our Judaism were things that other people would respond to, other people who were also disenchanted or disconnected, so we were looking for a place to do that.”

About a year after arriving here, the Siegels’ vision took root. “We started the second year that we lived in Richmond, in 1978. We started what was then called the Hillel Minyan, and we would meet once a month on Friday night and the following Shabbos morning,” he said.

With help from friends, the Siegels were able to put a down payment on a home on West 22nd Avenue and started leading Shabbat morning services in their living-room. The name was changed to Havurat Sim Shalom. Over the next several years, services were held in participants’ living-rooms, rented homes and on the University of British Columbia campus. The Siegels worked in partnership, Daniel taking leadership of more traditional aspects, he recalled, and Hanna Tiferet on the creative expressions. In that way, there were various access points for participants.

“The intention was that we wanted to create something that gave ownership to people very quickly,” he explained. “So, Torah discussions, which could be done in English, and pesukei d’zimrah, which could basically be some melodies bridged by reading … were open to almost anybody as soon as they wanted to try it. And then there was leading shacharit and reading Torah, which required traditional skills, which meant that people had to decide to improve their Hebrew or whatever they needed to do. I think that was always intentional…. The motto of Havurat Sim Shalom was ‘traditional, egalitarian, creative,’ that’s what we called it.”

Harley Rothstein was a member of the young community. In an essay he wrote in 2000 about the history of Or Shalom, he shared some of those experiences. “I attended the minyan for the first time in January 1980. Entering the Siegels’ house on 22nd Avenue I was instantly struck by the enthusiastic participation. I enjoyed the meditative quality of the service in which some prayers were highlighted and certain lines repeated. I noticed a number of beautiful and unfamiliar melodies. I appreciated the depth of thought and extent of participation in the Torah discussion. I was surprised by the leadership shown by the women (I learned later that I had walked into a special women’s Shabbat). The physical layout was fascinating. Almost all participants were sitting on the floor, crowded into a limited space (Hanna’s enormous loom took up about one third of the living-room). I was delighted by the potluck lunch afterwards with the kind of vegetarian and whole foods that I had eaten for years. I was impressed by the energy and spirit of this small group and immediately became a regular participant.”

“The early days of Or Shalom were an adventure for those who were involved. Many of us were discovering a Judaism [that] we didn’t imagine could be so rich and meaningful. We were young and these were, for the most part, uncharted waters.”

Later he wrote, “The early days of Or Shalom were an adventure for those who were involved. Many of us were discovering a Judaism [that] we didn’t imagine could be so rich and meaningful. We were young and these were, for the most part, uncharted waters. We were drawn together as friends and held together by inspired leadership. What made it work was that we honored the centuries-old wisdom of the Jewish tradition while at the same time honoring our own creativity and insight, as well as our commitment to deeply held political values, such as gender equality, social justice and peace.”

By the time the Siegels left for Hanover, N.H., in 1987, Or Shalom was already on firm footing and, though it was still small and mostly consisting of friends, its early success encouraged mainstream congregations to reconsider some of what they wanted to offer. “I think Or Shalom served the function of being a kind of presence that encouraged a bit of ferment in the community, which I think was good because supposedly people cared about the fact that so many young people were not connecting … and they wanted them to connect,” Siegel said. “When we actually got them to connect, I think people had mixed feelings about that success.”

The tension between tradition and creativity was the defining feature. “The most important thing in my mind about what Hanna and I were trying to set up was a community that would be experimental and traditional at the same time,” he explained. “What Zalman called ‘backwards compatibility.’ The creativity that we do is compatible with what we inherited. That still is a very important thing to me. That’s why I do halachic thinking…. In my mind, what was really innovative about Or Shalom as we envisioned it was that combination of a creativity [that] was backwards compatibility, which was loyal to the tradition … both in the sense that we respected what we inherited and we also respected that we inherited a tradition of creativity…. I would say that was the challenge that we faced when we started it, and it would be the challenge that I would hope Or Shalom would look to finding ways to face and play with over the next 36 years.”

“Renewal does not seek to be a denomination. And that’s a big difference. We’re more like an association of like-minded people whose primary relationship to Judaism is through an unfolding relationship with the Divine. And so we don’t have creedal or halachic requirements for belonging, we don’t have any exclusionary clauses – like if you belong to us you can’t belong to something else – so that our clergy association has in it rabbis from all across the Jewish spectrum.”

Today, Renewal communities have sprung up all over North America – and beyond, Siegel said. “We have strong connections in Brazil, we have some people in Costa Rica now, we have a small hevre in Germany and in Amsterdam and in Stockholm, less so in England. And in Israel.” This growth can be attributed to the fact that “Renewal does not seek to be a denomination. And that’s a big difference. We’re more like an association of like-minded people whose primary relationship to Judaism is through an unfolding relationship with the Divine. And so we don’t have creedal or halachic requirements for belonging, we don’t have any exclusionary clauses – like if you belong to us you can’t belong to something else – so that our clergy association has in it rabbis from all across the Jewish spectrum.”

Duhan Kaplan, who has now been Or Shalom’s spiritual leader for nearly a decade, warmly described her first days with Or Shalom and her plans to continue participating in the congregation and wider Jewish community. “When Charles and I first came to Vancouver, we fell utterly, totally in love with Or Shalom – and East Vancouver. None of that has changed; if anything, it has intensified. Every week day, I appreciate Vancouver’s combination of natural beauty, access to urban services and perpetually green foliage. I especially love the winter mist and fresh air. With every Shabbat gathering at Or Shalom, I get cumulatively more relaxed. I worry less about logistics, and appreciate more deeply the way that singing, studying, shmoozing and celebrating life events together creates spiritual community. Leading the service has become a spiritual high for me; I take note of who is there, try to connect with them in thought and feeling, and help uplift the group with words and music.”

Growing up in New York, Duhan Kaplan said her “childhood experiences of Judaism were all positive: a large social circle, Orthodox synagogue, Conservative Jewish day school and Hebrew-speaking summer camp.” A self-described book addict, she graduated from university with plans to be an educator.

“My own education is ongoing; I’m in love with school,” she said. “I have a BA in philosophy from Brandeis, an MEd in adult education from Cambridge College Institute of Open Education, a two-year certificate in ayurvedic yoga from the New Life Centre, a PhD in philosophy and education from Claremont Graduate University, rabbinic ordination from ALEPH … a graduate certificate in spiritual direction from Vancouver School of Theology; and I’m currently taking graduate courses in depth psychology at Pacifica Graduate Institute. Honestly, I’m pretty tired: for 33 years, I’ve been working full time, going to school and raising children – without nannies or extended family, but with a great marital partnership and an organized household.”

After spending several years as a philosophy professor, Duhan Kaplan said she was looking for something new. “My leadership role in our local havurah and my powerful dreams and conversations with God led me to deeper Jewish study. I found [ALEPH]’s ordination program, a hybrid distance-learning/residential program, with an emphasis on kabbalah, just right for a philosopher juggling work, family and school. In 2005, I received smicha, moved to Vancouver and started to work at Or Shalom.”

She is inspired by and proud of her accomplishments during her tenure, including the year-long Exploring Judaism course, her experiences working closely with bar and bat mitzvah students and the more “personal moments in pastoral care, where I witness people’s reserves of strength and courage. I may be exhausted a lot of the time, but I never, ever feel my work lacks meaning.”

“Our founder, Rabbi Zalman Schachter-Shalomi, was a master at using creative techniques to disrupt routine thinking and engage the whole person in discovery. He urges us to respond to changing social questions using traditional Jewish resources, recognizing how diverse and evolutionary Judaism has always been. As a teacher, he has empowered Jewish intellectuals, artists, environmental activists and more; his influence can be felt across all Jewish movements.”

Renewal’s orientation towards Judaism and life provides a vehicle to chart a satisfying course, she noted. “Renewal is spiritual and socially liberal. Following the early Chassidic teachers, we explore the inner spiritual journey of Jewish life. We take seriously life’s existential questions and we fully expect Judaism to help us answer them. To stimulate our souls, we study, sing, make art and have fun. Our founder, Rabbi Zalman Schachter-Shalomi, was a master at using creative techniques to disrupt routine thinking and engage the whole person in discovery. He urges us to respond to changing social questions using traditional Jewish resources, recognizing how diverse and evolutionary Judaism has always been. As a teacher, he has empowered Jewish intellectuals, artists, environmental activists and more; his influence can be felt across all Jewish movements.”

Judaism’s evolutionary character resonates with those who haven’t fit into more mainstream Jewish life. “Or Shalom is really a community of seekers. Our members are deeply committed to Judaism, but they don’t participate out of a sense of obligation,” she explained. “Each person is genuinely and self-consciously on a path of spiritual and moral growth. Of course, we are all at different places on our path. But this self-awareness really makes working relationships easier; people reflect, reach out across conflict, and grow the community.”

Though the time has come to move on from synagogue leadership, Duhan Kaplan doesn’t plan to stop being a teacher. “Charles keeps reminding me to take some down time, but my normal way of living is to be working, going to school and volunteering. Next year, I’ll be working part time, teaching three graduate courses each at the ALEPH seminary and the Vancouver School of Theology. I’ll continue to take courses in Jungian psychology at Pacifica Graduate Institute and I have agreed to a big volunteer project for Ohalah: Association of Rabbis for Jewish Renewal. I hope to do some cat transportation for VOKRA, Vancouver Orphan Kitten Rescue. Yes, I’ll still be blogging! And I hope to put the finishing touches on the animal book.

“Of all the roles I play, educator still resonates most deeply,” she continued. “When I’m teaching, I can be scholar, deep listener and interpersonal facilitator all at once. I have to be well prepared and flexible at the same time. And I get to play with different learning modalities, as we explore really deep ideas in ways that work for the learners.

“Or Shalom is a wonderfully musical community and the congregational singing (without musical instruments) on Shabbos morning is utterly awe inspiring! It has been a joy to introduce new melodies to this community because they will join in with enthusiasm in singing absolutely anything, even adding beautiful harmonies.”

A Pittsburgh native who grew up in “a relatively non-observant, culturally Jewish-identified home,” Charles Kaplan said that he “began to rediscover and explore my Jewish (religious) roots in my 30s and this accelerated exponentially after Laura and I met.” A multi-instrumentalist, he and his wife have continued the tradition of making music a large part of the service. “Or Shalom is a wonderfully musical community and the congregational singing (without musical instruments) on Shabbos morning is utterly awe inspiring! It has been a joy to introduce new melodies to this community because they will join in with enthusiasm in singing absolutely anything, even adding beautiful harmonies,” he said.

And though he often gets asked by others about being the rabbi’s husband, he said “Or Shalomniks are far too comfortable with egalitarianism to even think the question! Usually, it’s asked with a clever smile, ‘You know the wife of the rabbi is the rebbetzin. What do they call the husband of the rabbi?’ My standard answer is ‘Around here they call me “the hubbetzen!”’ In all seriousness, supporting the rabbi’s work as a spouse is a challenging responsibility regardless of gender.” Among other contributions, “I’ve gotten myself involved in davening, musical events, ritual committee and even building maintenance! All with ‘ivdu et Hashem b’simcha!’”

photo - Or Shalom has had its home on East 10th Avenue at Fraser Street since 1993. — Or Shalom has had its home on East 10th Avenue at Fraser Street since 1993. (photo by David Kauffman)

Pat Gill and David Kauffman are co-chairs of the board of directors, and spoke to the JI about reaching the double-chai milestone. Or Shalom “occupies a unique place in Vancouver Jewish life,” said Kauffman, who first discovered the congregation in 1985. “Firmly committed to inclusiveness, we make efforts to invite and engage everyone who wants to explore, or return to Jewish life and Jewish community, regardless of their background…. As a participatory shul, most Shabbat services are different each week, portions of davening and reading Torah and Haftorah by a significant percentage of the congregation.”

Gill said she heard about Or Shalom “20 years ago when my husband and I were planning to move here from Seattle. A friend said we should check it out; we’d like it. She was so right. Our first event was High Holidays, 1994, and we were hooked!”

Both agree that Duhan Kaplan has “set the bar high” for the next rabbi. “Reb Laura has brought to Or Shalom a high level of insight, analysis of text, and ability to teach,” said Gill. “As well, her davening and leyning are exceptionally musical and beautiful…. I believe Reb Laura was the first female congregational rabbi in B.C. Her knowledge, intellect and desire to work with the greater Jewish community in Vancouver have earned respect for her and, I believe, for female rabbis in general, as women become more accepted in the role of pulpit rabbi.”

Kauffman seconded that praise. “Reb Laura has brought the aspects of Jewish life that Or Shalom dreamed of in a rabbi. Teaching that draws from rabbinic tradition and modern philosophy, davening that reflects musical influences both traditional and more recent, such as those taught by Reb Shlomo Carlebach and others. For the greater Vancouver Jewish community, Reb Laura is known for her courses all around the Lower Mainland, including Talmud Torah, Vancouver School of Theology, Melton Institute and the most recent Limmud Vancouver. We expect that Reb Laura will continue to teach in her many ways in and around Vancouver even after she leaves the role of Or Shalom’s full-time spiritual leader.”

For now, the search for an interim rabbi continues. “We’ve embarked on a rabbi search mission, one based on the thorough process that gave us such excellent results 10 years ago,” said Kauffman. “We’re looking for an interim rabbi for about a year, and posting a larger search for a full-time rabbi to start in the summer of 2015. Our process will eventually bring the committee’s three top choices to Vancouver for Shabbaton-like interviews, after which a community process will help us find the best match.”

Or Shalom’s 36th anniversary celebration features entertainment by Tzimmes and Grand Trine, on March 1, 7:30 p.m., at VanDusen Botanical Garden. Tickets at 604-872-1614 or [email protected].

Yosef Nider’s debut violin concert is in honor of his Zaida

Yosef plays for his zaida, Marvin Nider.

Six-year-old Yosef Nider has been playing the violin for two years. On Wednesday, Feb. 26, 10 a.m., in the gymnasium at Vancouver Hebrew Academy, he makes his concert debut. Yosef will play a recital in honor of his beloved Zaida, Marvin Nider, who was diagnosed with pancreatic cancer in February 2013.

Concert for a Cure will raise money for the B.C. Cancer Foundation. Yosef’s mother, Elizabeth Nider, said the idea for the fundraiser came about organically. “Yosef and I were talking about tzedakah one night before bedtime and he asked me if we’re only supposed to give tzedakah to people who don’t have enough money for food and clothing and I said, no, we can give tzedakah to many other places, such as schools, aquariums, scientists or doctors who look for cures for diseases,” Nider told the Independent. “And then, Yosef asked me what kind of diseases, so I gave an example of cancer and he right away said, ‘I want to give all of my tzedakah to cancer scientists so that they can find a cure for Zaida.’ I told him how that was a very nice idea and cancer scientists need lots of tzedakah because they have lots of experiments and testing to do. Then, a few days later, in the car, Yosef announced, ‘Mommy, I want to make a fundraiser for cancer scientists.’ (I’m still not sure where he got the word ‘fundraiser’ from.) And when I asked him what he wants to do, he said, ‘Have a violin concert.’

“At first, he said that he wanted to have the concert at the place where the Cavalia show is held, but I told him it might not work because it’s probably just for Cavalia. Then I told him I’d do some thinking and get back to him and finally we decided that having the concert at Vancouver Hebrew Academy would be best, because other kids could attend and perhaps get inspired to fundraise for organizations or causes that they are passionate about, as well. And here we are.”

The relationship between a grandparent and any of their grandchildren can be close, but sometimes an eldest grandchild holds a special place in a grandparent’s heart. Yosef, his two siblings, Ephraim and Sari, and their Zaida have the added benefit of living in the same city and the opportunity to develop a closeness that comes from more regular interaction.

“Not to generalize but, generally, zaidas have more fun with older kids since there is more to do with them. Not to mention, Yosef and Marvin have a lot in common: they both love skiing, building, wood working and playing with Lego. They have been doing these things together for a few years and, because Yosef loves to ask questions and Marvin loves to answer them, they’ve gotten to be quite a pair.”

“Yosef is the first grandchild, which makes him the oldest grandchild, which means that he has more exciting things to do with his Zaida,” noted Nider. “Not to generalize but, generally, zaidas have more fun with older kids since there is more to do with them. Not to mention, Yosef and Marvin have a lot in common: they both love skiing, building, wood working and playing with Lego. They have been doing these things together for a few years and, because Yosef loves to ask questions and Marvin loves to answer them, they’ve gotten to be quite a pair.”

Yosef takes lessons in the Suzuki method with a private teacher and he has been spending time specifically on his recital repertoire ahead of the concert later this month, said Nider. “Yosef practises every day except Shabbat and that hasn’t actually changed; he is still practising the same amount. He is, however, practising with his violin teacher more on the songs for the concert and not learning any new pieces for now. He is also meeting with [clarinetist and community member] Connie Gitlin … and they are practising to play together.”

Families approach illness and sharing sad news with their youngest members in various ways, but Nider said she felt clear that she should share the news about her father-in-law’s prognosis with her eldest son, a choice she feels fits with her family’s orientation towards life. “First and foremost, where I get all of my ideas and strength is from living a Torah-based life,” she explained. “We, as Jews, have been blessed with a blueprint for life. It says right in the Torah how to deal with difficult situations … so my ideas are certainly not original by any means. I have found tremendous strength from the belief that Hashem runs the world [and] we are never in control.

“I know that this idea has trickled down to our kids without us even realizing it; I know this because the day after we found out about Marvin’s diagnosis, my husband [Jeff] was in shul with Yosef and my husband was having a hard time focusing so he had to leave. My husband told me that Yosef looked up at him and, seeing tears in his father’s eyes, he said simply, ‘Abba, everything happens for the good.’ Yosef knows that there is a greater plan and that we are not usually privy to the reasons why things happen and when. Just this fact alone is essential in dealing with any kind of difficulty, whether illness or otherwise. I also can honestly say Jeff and I are extremely thankful that in Yosef’s school there is no shortage of educators, from preschool to head of school, who believe these same beliefs [and] teach children these values from the get-go. So, what I teach my child at home is hugely supported at school and I have found that these two factors greatly increase Yosef’s appreciation for why things happen, both good and bad, and how we can’t always explain the reasons.

“Personally, I believe that explaining in simple terms what is happening is helpful in keeping children from being afraid. If they understand what cancer is, for example, then there will likely be less fear because it makes sense and it is not a secret.”

“Another aspect that I have found to be effective is being open. Personally, I believe that explaining in simple terms what is happening is helpful in keeping children from being afraid. If they understand what cancer is, for example, then there will likely be less fear because it makes sense and it is not a secret.”

Yosef’s original fundraising goal for the B.C. Cancer Foundation “was $1,000 and he surpassed that goal in less than 24 hours of word getting out about Concert for a Cure,” said Nider. At press time, Yosef had surpassed $6,500 and his new goal was $10,000. The Feb. 26 concert was sold out.

“It’s incredible to see this level of support,” Nider said. “People who don’t even know Marvin but just know Yosef have donated, and vice versa. We didn’t realize it, but the creation of Concert for a Cure has become something of a small piece of joy amidst all of the daily stress and worry that is affecting our family. Marvin and Barbara (Yosef’s Bubby) check the donation website often and it’s giving them nachas to feel supported by friends, family and people who they don’t even know but who believe in this cause.”

Meanwhile, Yosef is also a regular six-year-old. His favorite subjects at school are art and math. Asked what is the best (and worst!) thing about playing the violin, Yosef said that the best thing is “that people listen and that it’s fun.” And the worst? “When people say ‘encore.’” Sorry to say, Yosef, chances are that’s exactly what you’ll be hearing on the 26th – and a hearty bravo.

To donate, visit donate.bccancerfoundation.com/goto/concertforacure.

Odd Couple still works

Andrew McNee as Oscar Madison and Robery Maloney as Felix Ungar. (photo by David Cooper)

In his program notes, artistic managing director Bill Millerd recalls the Arts Club Theatre Company’s 1967 production of The Odd Couple. In those days, the Arts Club made its home on Seymour, where Vancity Theatre and the Vancouver International Film Festival are now. This nostalgia was an apt introduction to Neil’s Simon’s 1965 classic play, a multiple-award-winning comedy about two divorced men forced by circumstance to become roommates.

While some might find the premise dated – few today would raise an eyebrow at the notion of two men living together, and the sexual and gender politics that today exist are drastically different than they were in 1965 – Felix Ungar and Oscar Madison can still charm an audience. After all, at its heart, The Odd Couple is a heartwarming, amusing story about friendship.

The play opens with Oscar, a divorced, irresponsible, childish but lovable slob, hosting his Friday-night poker game for the boys. By the time we meet Felix, we know that he’s precise and punctual, but the true extent of his perfectionist, neat-freak ways don’t become evident until later.

Felix shows up at Oscar’s, distraught and suicidal after being kicked out by his (no doubt long-suffering) wife. The comedy starts to unfold as Felix’s friends try to hide their concern from him, out of fear they might cause Felix to leave or, heaven forbid, make another suicide attempt. After Oscar invites Felix to live with him – and to pay half the rent – their opposing personalities fully flower and high-energy comic chaos ensues.

Andrew McNee’s talent shines particularly bright as Oscar, a role that is dynamic and physically demanding, so potentially exhausting is Oscar’s frustration with Felix’s perfectionism, and so overwhelming his anguish at the thought of losing his best friend. Robert Moloney does a sympathetic, even endearing, job with Felix, who is bewildered after the collapse of his marriage but is also exasperated by his inability to change his own most annoying habits. Both Felix and Oscar are played with compassion, and it’s easy to root for them – a function of McNee’s and Moloney’s acting chops, but also a testament to Simon’s enduring script.

Though expectations around manhood have changed, it is still charming and satisfying to witness the camaraderie and delightful energy of a group of man friends who love – and respect – each other. Though the genre still relies on our culture’s discomfort with men expressing their emotions and fears, McNee and Moloney coax the vulnerability and honesty out of their characters, which is what makes this production so heartwarming. And, frankly, the rest of the cast – Josh Drebit, Joel Wirkkunen, Alec Willows and Cavan Cunningham – are equally terrific, as are Sasa Brown and Kate Dion-Richard, who play the Pigeon sisters with high comedy and great tenderness. This production features strong direction by John Murphy, spot-on costumes by Barbara Clayden and a clever set (including creatively amusing scene changes) by David Roberts.

The Odd Couple is at the Stanley Industrial Alliance Stage until Feb. 23. For tickets, visit artsclub.com.

Holocaust survivor Peter Gary’s oratorio

Peter Gary (photo from Peter Gary)

April is a month of miracles for Peter Gary. An April baby, he was born in Poland in 1924, where he first developed his love – and talent – for playing music and composition. Starting piano by age 5, he was accepted into the Franz Liszt Royal Academy at age 11, being chosen to attend classes with Bela Bartok, Zoltan Kodaly and Leo Weiner. In 1941, however, Gary and his mother were arrested by the Nazis. His mother was murdered soon after, trying to protect him. After surviving the Warsaw Ghetto, Gary, who was in his late teens, was sent to Majdanek, then Dachau and, finally, Bergen-Belsen. He was liberated from there in April 1945, just as he turned 21 years old.

Following more music studies in Paris and a career in medicine in California, where he eventually settled, Gary retired in Victoria, B.C. For many years, he chose not to speak about his Holocaust experiences. Instead, in the mid-1970s, he returned to his love of music to compose something that would help express the immensity of the losses he experienced and the loss of six million fellow Jews. A Twentieth Century Passion will at long last be performed – on April 2 at the University of Victoria. It took 40 years to bring this 500-plus-page piece of music to the stage. And it almost didn’t happen at all.

“Gary’s musical composition takes the form of an oratorio. A Twentieth Century Passion not only draws on the works of famous German composers such as Bach, Handel and Mendelssohn, but also represents a musical intervention to that tradition. Instead of portraying the gospel narrative of the Passion, this oratorio focuses on the emotions and suffering of European Jews during the Shoah.”

UVic has put together a booklet on Gary’s composition and describes its immense scope. “Gary’s musical composition takes the form of an oratorio. A Twentieth Century Passion not only draws on the works of famous German composers such as Bach, Handel and Mendelssohn, but also represents a musical intervention to that tradition. Instead of portraying the gospel narrative of the Passion, this oratorio focuses on the emotions and suffering of European Jews during the Shoah. The libretto includes a composite of stories and perspectives – of men and women, young and old – beginning from the end of the First World War up until the end of the Nuremberg trials. In particular, A Twentieth Century Passion remembers and honors the lives of the murdered children.”

April is a significant month for Gary in other ways, as well. He and his wife, Judy Estrin, will celebrate their seventh wedding anniversary the day before A Twentieth Century Passion is performed for the first time – just two weeks before the composer’s 90th birthday.

The couple met on JDate and decided to marry after a brief online courtship, Estrin told the Independent. “We finally met in December 2006. As Peter’s mother was murdered on Christmas Eve, that has always been a difficult time for him. We opted to ‘say our vows’ to each other at approximately the time that corresponded to her murder on Christmas Eve, including exchanging rings. For us, that is the day we were married.” However, “on April 1, 2007, in the rain, hail, sleet and snow, we had an outdoor wedding, under a chuppah in our yard, followed by a civil ceremony on June 1, 2007.”

Gary credits Estrin for having the tenacity to get his oratorio to the stage, and it wasn’t an easy task.

“I tried to get orchestras interested in the piece when we first were married, to no avail,” she said. “We agreed that we had to let go of the vision of having a performance of A Twentieth Century Passion in his lifetime – which was my promise to him when we married. So, we let go, with the provision that if the universe wanted him to experience his piece in his lifetime, the universe would make it happen.”

How the concert possibility came about

It was during a visit with two UVic students that Gary unearthed his score, long since put away. The students, Jason Michaud and Andrea van Noord, were part of UVic’s month-long I-Witness Holocaust Field School Project, a program co-founded in 2011 by Helga Thorson, associate professor in the department of Germanic and Slavic studies. The project, which “focuses on the ways in which the Holocaust is memorialized in Central Europe,” sees students spending the first week together in Victoria and then “three weeks on the road in Central Europe, where we visit the sites of former concentration camps, museums, monuments, cemeteries and other memorialization projects,” Thorson explained to the Independent. “Along the way, the students meet young Europeans who are also studying the Holocaust and engage in cross-cultural dialogues about the relationship between the present and the past.”

She added, “During the 2011 field school, [Michaud and van Noord] came up to me separately and said pretty much the same thing – without realizing that the other one had approached me, as well. They both mentioned that they wanted to work on some form of Holocaust remembrance and education when they returned to Victoria. After the field school program, the three of us sat down together and decided to found an archival project in which we would collect local stories of the Shoah in Victoria and on Vancouver Island. It was in this context that we visited Peter Gary.

“During this visit … we explained our ideas for the archival project. We told him that our project was different from other projects that had taken place…. It was not our intention to repeat the work that others had already done. Our project, called Building an Archive: Local Stories and Experiences of the Holocaust, was interested in collecting the stories of individuals whose lives were affected by the Shoah, either as told by themselves directly or as told by their children, grandchildren or great-grandchildren….

“It was during this visit when Peter got up, ran to the other room, and came back with a copy of his oratorio…. Van Noord took the oratorio and brought it around to various musicians and conductors. She was the one who brought it to the attention of Timothy Vernon, the founding artistic director of Pacific Opera Victoria, who has agreed to conduct the piece during the April 2, 2014, première.”

Thorson said the university is “amazed at the diverse material we have collected for our archival project to date: from Peter Gary’s musical composition, to copies of art that was created in Bergen-Belsen, to an interview with three generations of one family, to many other stories in myriad creative formats. The entire collection is remarkable in a community as small as Victoria. Peter Gary’s musical score and libretto comprise a special part of the university archives because, as an oratorio, this musical composition represents an ambitious project dedicated to Holocaust remembrance and memorialization.”

About the university’s interest in her husband’s work, Estrin said, “It wasn’t me who made this dream come true. There are so many miracles that have manifested along the way. Helga Thorson, her students Jason and Andrea from the first I-Witness Field School, Timothy Vernon agreeing to conduct without having ever seen the piece, so many people, so many miracles.”

The plans don’t stop with the April 2 concert, she added. “Now, we have to have all the funds in place to pay for the concert itself and to fund a scholarship that the University of Victoria has established for the field school, in Peter’s name. Once we get to some surplus funds, then we can think about establishing a process to bring the music to the world, free of charge, to anyone who wants to produce it. Then, we’d like to develop a curriculum for middle and high school students. Hopefully, we will also have enough excess funds to complete the documentary that is in process to document how this all came about. If an angel appears, the last wish in my vision is to be able to have Timothy Vernon conduct the piece and produce a CD. A big dream at the moment!”

She admitted, “There have been moments when it was totally overwhelming for Peter, which is why, after three fundraising events and a number of interviews, he is ‘off the hook.’ He is excited about it finally happening, although I suspect he has his moments of total disbelief, as it came close in the past but did not happen. We both hope that the piece makes people think and talk – about hate, about racism, and about antisemitism…. My hope is that after this world première performance, A Twentieth Century Passion will become the piece played around the world to memorialize and remember the Six Million, at least once a year, ideally played on Yom Hashoah.”

A fundraising event

One of the fundraisers was held in November at the home of Vancouver community members Dr. Michael and Linda Frimer, friends of Gary and Estrin, who came over from Victoria to participate. The Independent also attended the event, which featured music performed by cellist Eric Wilson and pianist Corey Hamm. Estrin spoke about her admiration for her husband and the life he’s poured into the music, and her delight at finally seeing the composition come alive this April.

Michael Frimer introduced Gary, noting, “He’s been our close, close friend for many years and an inspiration for our whole family. I’d say, the biggest inspiration for me, except for the 50 push-ups a day, is the fact that, from where he came, which is such a dark, dark place, he has such an amazing ability to look on the positive and the good, and to find the good where you would not expect it….

“This oratorio is really, I think, of potential historic significance…. This has been sitting for over 40 years now, and Peter’s been talking about it for so long. To have it finally come to fruition is amazing…. You think of Handel’s Messiah, which is a great piece of work written about this one Jewish rabbi, and it’s played every single year throughout the world, which is a wonderful thing, but I am hoping and I can see and envision this becoming something that is played on a regular basis in perpetuity in the capitals of the world to remember the lessons of this event that happened and the lessons that we have to take forward in the future.”

Peter Gary speaks about his work

Gary addressed those present, as well, and read selections from the oratorio’s libretto. “This is not about me,” he said. “The moment I put the last note down and put the double line, which means it’s finished, it has nothing to do with me anymore, it’s ‘it.’ And the next time, when Timothy Vernon, a very well-known Canadian conductor, raises his two arms, it’s his. It’s whatever his creativity, his insights [dictate]. Yes, we will have meetings and I will answer the questions, how do you envision this, but after that, it’s done. It has to exist and run on its own.”

Gary then read from notes he had written on his hopes for future generations. “How do you explain the inexplicable, the horrors that humanity brought and brings downs on its members? We are bombarded by the media in full graphic detail, in real time, the most horrific cruelty and suffering from time immemorial into our 21st century. The Shoah … was introduced to our history as a uniquely barbaric act. Unlike in wars before, it targeted strictly innocent children, women, men, the old, sick, for systematic torture and murder by the millions, not for what they did but who they were.

“Ever since the discovery at the end of World War Two of this permanent stain on human culture, without blinking an eye, we are still involved, as I’m speaking, and stoking the fires of death and destruction on each other. Is there a wonder why the public becomes bored as these acts are blaring at them from the pictures of newspapers, their television sets, computers and all other gadgetry of communication. Just to mention a few from the 20th century to the present: mass murder of the Armenians, Balkans, Congo, Sudan, Syria, Libya, many, many others.

“Back to the Shoah. We have been presented with vivid details from history books to films, novels, poetry, survivor personal testimonies, and some musical compositions, but only dealing with specific areas, like the piece on Terezin, which was the Nazi show camp. I have aimed, with A Twentieth Century Passion, to unify all those components. From history to the prisoners’ daily lives, their feelings, anxieties, fears, angers, of those abuse[d] … and, of course, always the unanswerable whys.”

“Back to the Shoah. We have been presented with vivid details from history books to films, novels, poetry, survivor personal testimonies, and some musical compositions, but only dealing with specific areas, like the piece on Terezin, which was the Nazi show camp. I have aimed, with A Twentieth Century Passion, to unify all those components. From history to the prisoners’ daily lives, their feelings, anxieties, fears, angers, of those abuse[d] … and, of course, always the unanswerable whys.

“This, I felt was only possible to achieve in the musical form of the oratorio,” he continued. “The oratorio, mass, requiem, Passion, comes to us in the Christian musical literature, in great compositions from Bach to Bernstein, Mozart, Beethoven, Dvorak, and many others. A Twentieth Century Passion was created incorporating all general and personal details in this musical form. In Latin, verba volant, scripta manent, words fly away, writing stays forever. I hope this music will bring for all times a memorial as well as a warning to humanity. I have begged over 66,000 young and old [as a survivor speaker] to stamp out hate, the most obscene word in the English language, if we want our children and grandchildren to survive on our planet.”

In an e-mail to the Independent, Linda Frimer shared her reflections on supporting their friend in bringing A Twentieth Century Passion to life. “We feel honored and privileged to have Peter in our lives,” she said. “Through the years, he has been an outstanding mentor and friend. He teaches, through his strength of character and noble heart, that one must never give in to the perpetrators of cultural genocide. By actively choosing to make his life a joy-filled creative service to humankind, he inspires others to give of themselves. The upcoming oratorio this April is the full flowering of the tree of his life, for through his composition he is ensuring that not only will those of all ages who perished in the Holocaust always be remembered, but the witnesses of the world, once hearing this, will be assured never to forget.”

The world première of Peter Gary’s A Twentieth Century Passion, conducted by Timothy Vernon, was scheduled for April 2. Unfortunately, it was cancelled.

Profeti della Quinta brings Salomone Rossi to life

Profeti della Quinta is at Vancouver Playhouse on Feb. 2. (photo by Susanna Drescher)

The documentary Hebreo: The Search for Salomone Rossi (Joseph Rochlitz, 2012) introduced last year’s Vancouver International Film Festival audiences to Profeti della Quinta, a Switzerland-based Renaissance and early Baroque vocal ensemble, primarily composed of Israelis. It followed the quintet to the Italian town of Mantua, the birthplace of Salomone Rossi, the first-known – and elusive – early-17th-century composer of Jewish music, who also was “one of the most renowned composers and performers at the court of the Gonzaga dukes.” The film’s audiences were treated to the ensemble’s musical preparations ahead of their concert of Rossi’s works at the Palazzo Te, where his music might have originally been performed, as well as by illuminating commentary from historians and musicologists on Rossi’s music and its impact.

On a North American tour to support their latest recording, Il Mantovano Hebreo, featuring Italian madrigals and Hebrew prayers by Rossi, Profeti della Quinta is in Vancouver Feb. 2, presented by Early Music Vancouver at Vancouver Playhouse. The first half of the program includes a screening of the 45-minute 2012 documentary; the program continues with the live performance of Rossi’s music. Members of the ensemble appearing in the Vancouver recital include Doron Schleifer and David Feldman, cantus; Lior Leibovici and Dan Dunkelblum, tenor; Elam Roten, bass and musical direction; and Orí Harmelin, chitarrone (a large bass lute).

Rotem, the ensemble’s music director, who also composes and plays the harpsichord in addition to the bass, spoke with the Independent about the quintet’s newest release, the experience of making the film, and their upcoming recording Rappresentatione Di Giuseppe E I Suoi Fratelli (Joseph and His Brethren), a “musical drama in three acts sung in biblical Hebrew,” Rotem’s composition for the ensemble set to be released in March.

Jewish Independent: When and how was Profeti della Quinta established?

Elam Rotem: Profeti della Quinta started while I was still in high school. Around the age of 17, I fell in love with vocal music, and especially the music of the 16th and 17th centuries. It was shortly after that I collected some of my friends and started singing Latin motets in the corridors of the school. The early sacred music that we were singing was a very odd element in an Israeli kibbutz school, but I think that our fellow students liked it.

Later, we were lucky to add Doron Schleifer, who can sing perfectly the soprano lines of 16th-century music and has a most beautiful and unique voice color, different from any other countertenor I know. After a pause, when I was in the army, I studied music in Jerusalem and then joined Doron in Basel in the schola cantorum – one of the best schools specializing in early music. There, we found new colleagues. Not so surprisingly, most of them are from Israel, too. (In this particular tour, we are all Israelis, but in others, it’s not always the case.)

JI: Can you talk about the experience of making that film about Salomone Rossi and what it was like, ultimately, to play his music at the palazzo?

image - Salomone Rossi image — Profeti della Quinta performs the music of Salomone Rossi.

ER: It should be noted that we are definitely not the first to sing and play Rossi’s music – not at all. His Hebrew sacred music is quite common in Israeli choirs’ repertoire, and was also performed and recorded in America. Rossi’s instrumental music is played in many concerts of 17th-century music. However, with our historically informed performance approach, we try to get closer as much as possible (and this is not simple) to the way Rossi’s music may have been performed in his time. Our special combination of knowledge in early music and in Hebrew allows us to read Rossi’s Hebrew music in its original notation (this is something worth seeing and we welcome people after the concert to have a look in the scores).

Moreover, in our new album, Il Mantovano Hebreo, we shed light on Rossi’s most neglected repertoire – his beautiful Italian madrigals. Singing in the palaces of Mantova [Mantua] where Rossi worked 400 years ago was an amazing experience for us. We look forward to further experiences like that in Italy!

JI: Can you speak to what role, if any, music plays in “illustrating” Jewish history?

ER: As far as I understand, the Hebrew music of Rossi is a very local phenomenon that probably stopped not much after its creation, probably around Rossi’s death (circa 1630). Other compositions in Hebrew came up only much later in music history, and not in Italy. However, this was a very interesting point in history – a Jewish musician succeeds in breaking the barriers of society, becomes successful and accepted, and then goes back to his own community and tries to revolutionize the music of the synagogue. In Rossi’s own words, to share with God the talents that were given to him.

JI: There seems to be a movement to work to “uncover history” through performing the work of composers who were (or nearly were) “erased” by history. Can you comment on the experience and responsibility of performing “neglected” music? How does Profeti della Quinta approach this enterprise? How do you make this music accessible to contemporary audiences?

ER: Profeti della Quinta are privileged to be (at least) the third generation of the “early music movement.” However, we believe that if music is “only” forgotten, that alone is not a good enough reason to bring it to life. We believe in good music, and when we find such good music, we want to share it with others. This was exactly the case with Rossi’s Italian madrigals. The purpose of music in the early 17th century was to move the listeners, and this is exactly our aim, as well.

JI: Profeti della Quinta achieves “vivid and expressive” performances by “addressing the performance practices of the time.” Can you explain a little bit more about that approach? Do you try to recreate an experience or to create something entirely new?

ER: This is an important point – it is not possible to recreate early music exactly the way it was done. This is simply because we cannot know fully how it was done. However, there are many things we can do. We strive to understand the compositions better (historical counterpoint and composition techniques), to understand the way music was performed (historical notation, ornamentation practices) and, as much as we can, also the social context and the meaning the music had in the time of its use. Nevertheless, we are aware that what we are doing is a new creation, mainly inspired by the past.

JI: What are some of the challenges of your dual role as music director of the quintet, as well as being one of the musicians?

ER: This is, in fact, quite simple: Before the concert I’m the musical director, but during the concerts I’m one of the performers. The concerts are the easy and fun part!

JI: I’m curious about your composition about Joseph and his brothers. Can you describe what it’s like to compose in Hebrew, while “using the musical language and context” of Italian Renaissance composers? Mazal tov on the recording’s upcoming release!

ER: Thanks, we are all very excited about the coming release of Rappresentatione Di Giuseppe E I Suoi Fratelli (Joseph and His Brethren). Concerning the language, I merely followed Rossi’s footsteps. He was the first to use the Hebrew language within the Christian musical language of his day. For Joseph and His Brethren, I also used the musical language of the early 17th century but with a focus on the newly invented dramatic genre – the opera. It’s a Hebrew Orfeo, if you like! (I intentionally don’t say “Jewish”; the Old Testament’s stories belong to whole of the Western culture. Luckily for me, it’s my mother tongue in which it was originally written, and I’m excited to share it.)

JI: Many leading Israeli classical musicians leave Israel for Europe. How difficult is it to achieve an international reputation while based in Israel? Do any of you participate in the Israeli expat community in Europe?

ER: This is a difficult question. Being in the middle of Europe makes … traveling around relatively easy, and this economical aspect is crucial today. For example, we performed in the U.K. only once, after … winning in the York competitions. We got several calls, but none of the organizers were able to pay the travel [costs]. The situation would have been much more difficult if we were coming every time from Israel.

JI: Your February concert with Early Music Vancouver will be paired with a screening of the documentary film. What’s it like to perform alongside yourselves, as it were?

ER: We love performing next to the screening of the film. The audience actually knows what [they are listening to] and, therefore, enjoys and is moved much more from our performance. It is related to what “early music” is – the more you understand the context, the stronger your experience is. We are looking forward very much to this tour!

Profeti della Quinta is in Vancouver, Feb. 2, 3 p.m., at the Playhouse; there is a pre-show chat at 2:15 p.m. Early Music Vancouver has recently introduced half-price tickets for concert-goers 35 years of age or younger, and rush seats for students with valid ID are $10 at the door. For information and tickets, visit earlymusic.bc.ca.

Kahane and Andres at PuSh

Brooklyn-based Gabriel Kahane will be in Vancouver for the PuSh International Performing Arts Festival, with pianist and composer Timo Andres, for Mixtape, a “live playlist” of eclectic and dynamic music appreciation. (photo by Josh Goleman)

Gabriel Kahane describes himself as a “songwriter, singer, pianist, composer, devoted amateur cook, guitarist and occasional banjo player.” With the release of his sophomore album Where are the Arms in 2011, the New York Times called him a “highbrow polymath,” an apt description considering he dips his toes into multiple genres, plays several instruments and seems equally comfortable composing a pop song, a musical theatre work or a piece for chamber ensemble.

The Brooklyn-based Kahane will be in Vancouver for the PuSh International Performing Arts Festival, with pianist and composer Timo Andres, for Mixtape, a “live playlist” of eclectic and dynamic music appreciation: “Bach cantatas played alongside folk songs, pieces by their friends and colleagues, music by classical giants Schubert and Schumann, and songs and solo piano works by Kahane and Andres themselves.”

Kahane spoke with the Independent ahead of the Jan. 27 and 28 concerts, part of the festival’s Music on Main program.

Growing up with pianist and conductor Jeffrey Kahane as a father meant early music immersion, but, even then, his interests were diverse.

“I began formal musical training at around the age of 4 on the violin, but switched to piano at age 7, in no small part because I wanted to be like my father, who was and is a concert pianist,” Kahane said. “I also sang from a young age in choruses, and found myself, through curious circumstances, singing in a handful of operas as a boy. My childhood was culturally peripatetic – I went from dusting off my parents’ attic-consigned guitars one week to acting in plays the next, learning jazz standards on the piano for a time, all while doing the national junior chess circuit. I realize this makes me sound like a kid out of some Wes Anderson film, but it wasn’t actually that bizarre…. In college, after transferring from conservatory where I’d been studying jazz piano, I found myself writing a musical with a classmate of mine, which exposed me to the pleasure of permanence, as opposed to the more ephemeral arts I’d been engaged in previously: improvisation, acting. When I finished college and moved to New York, I began both to study piano seriously for the first time (I had been a miserable student as a child) as well as to write songs – pop songs – if you will.

“When I was 25,” he continued, “I had an idea to make a found-text song cycle with ads from Craigslist as lyrics, which caught the attention of some folks in the classical music world, which opened some unexpected doors toward my writing concert works. A few years later, I released my self-titled album of chamber-pop songs, which again had the inadvertent effect of getting me noticed by classical institutions like the L.A. Phil[harmonic], Kronos Quartet, etc. All of this is to say that my path to being a ‘composer’ really began with my efforts as a songwriter, which is where I am most at home.”

Kahane plays guitar and banjo in addition to piano, but is “most at home singing while playing the piano and, in a sense, I think of that compound as my instrument.”

That versatility has led to a prolific output. Aside from two albums, Kahane saw the release of the cast recording from the 2012 musical February House. His music and lyrics for this Public Theatre-commissioned musical “move from mournful to antic,” wrote the New York Times in their review, which also referred to Kahane and his former classmate Seth Bockley, who wrote the book, as an “imposing team.” His biography recounts a partial list of his recent accomplishments without fanfare: “Kahane has been commissioned by, among others, Carnegie Hall, the Los Angeles Philharmonic, American Composers Orchestra, Kronos Quartet, the Caramoor Festival, and Orpheus Chamber Orchestra…. Other appearances … include performances of his orchestral song cycle Crane Palimpsest with the Alabama and Waterloo-Cedar Falls Symphonies, a recital with Timo Andres at the Library of Congress, and a two-night stand at Ann Arbor’s UMS with the new music ensemble yMusic.”

Effectively managing priorities is key for such a kinetic career. “I’ve been very lucky to have a lot of different opportunities at a relatively young age,” he explained, “and it can be overwhelming. The period of 2011-2013 was tricky for me, and I got pretty overworked in those years, during which time my second album, Where are the Arms, was released; my musical February House premièred at the Public Theatre; and I wrote and premièred three fairly large works for orchestra and voice, along with a smattering of chamber music and various tours. It was just too much. So this last year, when Sony approached me about making some records for them, I made a decision to turn down a lot of work and just focus on that project, which I’m just wrapping up now. I feel much more sane doing one thing at a time, though I’m again starting to feel the itch of wanting more projects at once. I do have two other large projects in the pipeline, but I am, for the moment, committed to doing them one at a time.”

Each project encompasses its own terrain, and is intellectually and psychologically distinct, he noted.

“Writing for oneself as a musician is maybe not dissimilar from how auteurs in the film world operate – they’re writing the thing that they will then (sometimes) shoot and direct. There’s a kind of internal, unspoken conversation going on about how the thing is going to be interpreted, and that often means that one uses a kind of shorthand. (A great example of this in music is Mozart’s Coronation Concerto, where the left-hand part doesn’t exist, because Mozart was just going to make it up. Incidentally, a radical completion of this piece is on Timo’s latest album, and I think it’s stunningly brilliant.)

“When you write for someone else, you invariably have to put more on the page in order to communicate the totality of what you want expressed, and you’re most likely less familiar with their instrument, whether it’s a voice or a violin, and you have to invest in familiarizing yourself to the point where you close that gap.”

Kahane is forging his place in the American songwriting tradition and his libretto Gabriel’s Guide to the 48 States, for example, makes clear the reason. It’s his ability to seamlessly shift between the American tradition and the Western classical tradition that affirms his seat at the vanguard of American new music.

“I certainly think of myself as coming out of the American songwriting tradition, but there are also Germanic roots in what I do, both genetically – my grandmother fled Germany in 1939 – and also musically. I think a lot of my concert music traffics in an attempt to reconcile the populism of the American Songbook with the modernist tradition of 20th-century Europe. And there’s also a connection between the American Songbook and the 19th-century German lied tradition, a connection that Timo and I are, I think, attempting to tease out in our program for PuSh.”

Mixtape is an eclectic and energetic collaboration and is a manifestation of the exploration of the intersections and (receding) boundaries between the American folk and the Western classical tradition.

In fact, Mixtape is an eclectic and energetic collaboration and is a manifestation of the exploration of the intersections and (receding) boundaries between the American folk and the Western classical tradition. Andres and Kahane have a similar sensibility and sense of creative adventure.

“Timo and I were really friends before we were collaborators. I think it’s a pretty effortless collaboration in that 1) Timo is a brilliant pianist, 2) brings no ego to the table [and] 3) we have similar priorities as musicians, which is basically to play the stuff that we love and to organize it somewhat obsessively. I think the audience will find the evening surprisingly approachable, kind of like that first time you had sea urchin on pasta and were like, ‘OMG, this is delicious,’ even though you thought you hated uni.”

Defying categorization in a world of hyper-classification has its benefits, but it also proves complicated when it comes to marketing.

“Yes, there absolutely are challenges,” he said about his body of work. “First and foremost, it’s much easier to cultivate an audience that already exists, as opposed to one you have to cull from many corners. Creatively, I can’t imagine my life any other way, but there is certainly a struggle in finding the audience that is interested in all these little dribs and drabs from various esthetic spaces.”

“As I mentioned earlier, my grandmother, and all of her immediate family, fled the Nazis in 1939 and settled in Los Angeles. The story of her flight by boat was the impulse for my piece Orinoco Sketches, which I wrote for the L.A. Philharmonic, using my grandmother’s diaries as a basis for my own text. Inasmuch as Judaism is about a rejection of intellectual dogma, I definitely feel that my creative life is informed by being Jewish – constant renewal of ideas and spirit in pursuit of something newer and truer.”

Kahane’s Jewish identity informs this esthetic, as well. “I definitely identify as Jewish, maybe more culturally and philosophically than religiously,” he said. “As I mentioned earlier, my grandmother, and all of her immediate family, fled the Nazis in 1939 and settled in Los Angeles. The story of her flight by boat was the impulse for my piece Orinoco Sketches, which I wrote for the L.A. Philharmonic, using my grandmother’s diaries as a basis for my own text. Inasmuch as Judaism is about a rejection of intellectual dogma, I definitely feel that my creative life is informed by being Jewish – constant renewal of ideas and spirit in pursuit of something newer and truer.”

Kahane spends his downtime in the kitchen. “I absolutely love to cook, as does Timo, though I’ve gotten too serious about it for it to be strictly enjoyable, i.e., I’m nearly as critical of myself as a cook as I am as a musician. I tend toward the Italianate in that realm. I’m also a pretty voracious reader, though more and more, I’m doing these research-based projects that demand a lot of reading, which cuts down on pleasure reading.”

Mixtape, with Gabriel Kahane and Timo Andres, is on Jan. 27 -28, 8 p.m., at Heritage Hall. Visit pushfestival.ca.