{"id":81438,"date":"2020-10-13T18:50:39","date_gmt":"2020-10-13T15:50:39","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=81438"},"modified":"2020-10-13T18:50:39","modified_gmt":"2020-10-13T15:50:39","slug":"no-need-to-follow-along-with-the-lyrics","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/no-need-to-follow-along-with-the-lyrics\/","title":{"rendered":"No Need To Follow Along With The Lyrics"},"content":{"rendered":"
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Felix Mendelssohn, Psalm 22, op 78 no 3 “Mein Gott, warum hast du mich verlassen<\/em>?”<\/span><\/p>\n

Felix Mendelssohn (1809-1847), a scion of a Jewish family, became in his youth one of the most important and influential musicians in the early German Romantic period. He is considered one of the central figures in the revival of the music of J.S. Bach, and initiated the first performance of Bach\u2019s Passion of St. Matthew, after decades of neglect. Jesus\u2019 exclamation on the cross, \u201cMy God, why have you forsaken me?\u201d which is sung in Bach\u2019s composition in the Hebrew, most certainly would have had emotional meanings for him, that later were expressed in his moving music that he composed for Ps. 22.<\/span><\/p>\n

This chapter of Psalms, for two choirs, follows the German text assiduously (which in itself is a translation from the Latin Vulgate). It is a continuous musical composition, with hardly a repetition of a word from the text. This is an acknowledged practice for setting to music long liturgical texts, that composers have used throughout the generations, particularly in the portions of the \u201cCredo\u201d (\u201cI believe\u201d) of the Catholic mass.\u00a0<\/span><\/p>\n

In this type of composition, the task of the choir is a continuous recitation, with almost no complexity or contrapuntal musical themes. However, there is a great variety of vocal interpretation, and uses of dialogue between humans and their Maker. The cry with which the composition opens, \u201cMy God, why have You forsaken me?\u201d is sung by a solo tenor, and the choir responds with a subdued \u201croar,\u201d and the words \u201cwhy so far from delivering me and from my anguished roaring?\u201d<\/span><\/p>\n

Mendelssohn finds in the text opportunities for repeating musical motifs (e.g., verse 3 repeats the motif used for verse 2). This approach leads us from verse to verse, and translates the words into a musical language that is laden with emotion and yearning, with which we are familiar, in the instrumental work of the composer. Mendelssohn excelled in the genre of \u201cwordless songs:\u201d works where the pure music fulfills the task of the lyrics, as poetics and as narrative. This Romantic approach to an instrumental creation appears here in the chapter of Psalms. There is no need to follow every word, and find its parallel in the musical notes. The work has an independent life, with sadness and lyricism that transcend the text, and take on an existence of their own. Given that, though, in addition, the literal, textual psalm is also revealed to us in all its perfection.\u00a0<\/span><\/p>\n

 <\/p>\n

Estonian Philharmonic Chamber Choir – Conductor Daniel Reuss<\/span><\/p>\n","image":false,"embedded_video":"https:\/\/youtu.be\/EP87qtu747g","video_duration":"","show_fb_comments":true,"credit_media":""},"tile":{"top_caption":"The Psalms In Classical Music","main_caption":"No Need To Follow Along With The Lyrics","main_caption_size":"1","sub_caption":"A new series - this time, Felix Mendelssohn","preview_embedded":"","preview_image":false,"preview_video":"https:\/\/youtu.be\/EP87qtu747g","external_link":"","link_for_pay":false,"tile_gallery_items":false,"credits":""},"alternate_tile":{"top_caption":"","main_caption":"","main_caption_size":"1","sub_caption":"","hide_media":false},"tile_group":{"preview_image_url":false,"main_caption":"","sub_caption":"","":null,"popup_package_extra_content":"","read_time":""},"home_color":"","home_gallery_top":"","home_gallery_middle":"","home_gallery_book":"","home_gallery_bottom":"","seo":{"seo_title":"","seo_description":"","seo_default_title":"","seo_default_description":""},"links":false},"_links":{"self":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/81438"}],"collection":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/comments?post=81438"}],"version-history":[{"count":1,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/81438\/revisions"}],"predecessor-version":[{"id":81439,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/81438\/revisions\/81439"}],"wp:attachment":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/media?parent=81438"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/categories?post=81438"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/tags?post=81438"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}