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" AMIDAH - תפילת העמידה "
Katz, Tyler
Gompper, David K.
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Latin Dissertation
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| Language of Document
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English
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| Record Number
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1105317
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| Doc. No
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TLpq2306303060
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| Main Entry
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Gompper, David K.
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Katz, Tyler
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| Title & Author
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AMIDAH - תפילת העמידה\ Katz, TylerGompper, David K.
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| College
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The University of Iowa
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| Date
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2019
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| student score
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2019
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| Degree
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M.A.
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| Page No
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67
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| Abstract
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Amidah—תפילת העמידה—for soprano voice, clarinet, cello, and piano—is a liturgical work in three movements that uses common Jewish prayers as its text. These three movements focus on specific prayers that can be found in the Amidah, the central portion of a Jewish prayer service. This work uses prayers that can be performed on a Friday evening Shabbat service. The first movement focuses on accompanimental music to the Silent Amidah, a silent prayer. The prelude uses the traditional Jewish melody of the opening prayer of the Amidah, Adonai S’fatai Tiftach (אדני שפתי תפתח), leading directly into the first movement. This movement, while harkening to some Jewish melodies, takes ideas from classical Western harmony. While conveying both a sense of calmness and unease, the movement allows for the listener to silently reflect and meditate while absorbing the music. The second movement, Oseh Shalom (עושה שלום), takes its root in Freylach music, a traditional, fast-paced, upbeat style of Klezmer music. While keeping traditional elements, it also uses contemporary harmony and extensive ornamentation in a joyous, energetic fashion. The third movement, Mi Shebeirach (מי שברך), combines flowing lines, ornamental ancient Hebrew trope cantillation, liturgical elements, Middle-Eastern aspects, and spectral harmonies to create a slow, lamenting prayer for healing, a prayer that cries out in pain and suffering, begging for a restoration of mind, body, and soul. The movement closes in mournful sadness comforted by the presence of the Divine.
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| Subject
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Judaic studies
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Music
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Music theory
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Musical composition
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Religion
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