Music – Page 15

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.