Old long With Me ettg of Excerpts from o Poems Rort rong or Unaccompanied Mixed Chorus () y Mark Zuckerman 1998 Duration: ca. 3 30
Old long With Me or Unaccompanied Mixed Chorus () y Mark Zuckerman bout the Music rote Old long With Me honor of my ife, udith, sung at our eddg. h piece actually a ot effort, sce e both selected the text. t as udith s idea use Rort rong, she chose as our theme the famous first les from rong s poem, Rabbi en Ezra: along ith me/. se ords have en set a numr of composers (ohn Lennon perhaps the knon). We then read through several volumes of rong s ork until e dcovered ny Wife ny Husb, the second stanza of hich e felt captured exactly ho e felt about each other. Old long ith Me as presented as a choral consecration og the to parts of the eh eddg ceremony: Kiddush, the engagement ceremony, Nsu, the marriage ceremony. udith ere facg each other, hg hs, hile it as sung. Ours as a very musical eddg. We alked don the ale the choral settg of Psalm LX the 1 th century composer, alamon Rossi. rote the rest of the choral music: a Hebre settg of a verse from hir Hahirim (ong of ongs) as the prelude, the postlude as an arrangement ( Yiddh) of ay Mir tu heyn. ( also rote the song played at our party durg our first dance as husb ife: truly our song.) bout the ext along ith have but h Will never let me go, nor heart ithst atg of my heart reach its When shall feel thee gone When cry for the comfort none Ne kno! hy soul along ith to les from Rabbi en Ezra serve as a frame, gng concludg the piece, surroundg the excerpt from ny Wife ny Husb. Each time they occur, the to les are set as antecedent/consequent phrases, as their poetic structure suggests. framg les from Rabbi en Ezra highlight the tensity expressed the stanza from ny Wife ny Husb. essence of th passion dtilled the ord ne hich occurs tice. to never s surround to other significant ords that are repeated: first heart, used once for each lover; hen, hich starts to rherical questions ansered the second never. se are the key elements the text that motivate the music.
- 3 - bout the Musical Materials Old long With Me uses a pitch collection cent Persichetti called the symmetrical scale (e.g., C-D-Eb--#-G#--). h scale sounds a lot like the familiar mor scale you can build it takg the first four notes of the mor scale then transposg them a tre. n Old long With Me, different properties of the symmetrical scale come play at different times. n each of the Rabbi en Ezra sections the first last sections the harmony consts of a four-note chord ith a symmetrical terval structure not contag a tre. lthough the chord the first section different from the one the last section, the to chords share the property that a transposition contas the other four notes the collection. h complementary relation articulates the antecedent/consequent phrasg. emotional tensity the stanza from ny Wife ny Husb (the middle section) also manifest the harmony. h time, the four-note chords are asymmetrical, each contag a tre the homonym (that, a chord that sounds like, but doesn t have the function) of a triad nal music. Unlike the framg sections, the harmonic progression the middle section uses nes common among the different transformations of the fournote chords, slog the harmonic rhythm makg the most of subtle melodic differences. triad homonyms emerge promently at the cadences. h last feature echoed the last section, here the four-note chord also contas an emdded triad homonym, hich emerges the last cadence. cknoledgements am very grateful the Gene Keyt gers (Mary Ellen Callahan, Hsi-Lg Chang, Peter Eldridge, rchie Worley), ho graced our eddg ith a heartfelt performance. o my ife udith, my partner th piece as ell as life, the spiration hd th other pieces of my music, my undyg love gratitude. bout Mark Zuckerman Mark Zuckerman received a 200 rtt elloship from the Ne ersey tate Council on the rts. He hs a PhD composition from Prcen University, a student of Miln abbitt, David Epste,. K. Rall, Elie Yarden. He has taught composition, nal anal theory, orchestration, computer music at Prcen Columbia Universities, publhed numerous scholarly articles a book on lteng azz, dran from a popular azz survey course he taught at Prcen Columbia. He founded Di Gene Keyt, Yiddh Chorale, has ritten a bunch of choral music Englh, Hebre, Yiddh, cludg some tenty arrangements for a cappella mixed chorus of Yiddh songs. H choral music has en performed such notable conducrs as udith Clurman, Zalmen Mlotek, Elayne Robson Grossman, en chaechter ; publhed Carl cher. H choral music has en featured such groups as Rottenrg Chorale; Ne Yiddh Chorale; Gen ubilee gers; Workmen s Circle Chorus; eh olk Chorus of an rancco; oron eh olk Choir; Di Gene Keyt, Yiddh Chorale; Kol Dodi; eh People s Philharmonic Chorus at such venues as the 92 nd treet Y, ymphony pace, on Hall, Merk Hall, Miller atre at Columbia University, North merican eh Choral estival, oron shkenaz estival.
5 5 5 5 ith ith ith for my loved ride, udith, on our Weddg Day: une 28, 1998 Old long With Me for unaccompanied ext: Rort rong (from the poems Rabbi en Ezra ny Wife ny Husb) imply Easily (q = 80) ith. #... 5 5 5 5 # # # # #. ith #. ith # # # # Duration: ca. 3'30" Music: Mark Zuckerman 5 5 5 5 5 5 #. # 5 #. 3. 5 5 #. ith # 5. 3. 5 5 # # # #. ith # ith 5 #. 3. 5 5 # # # #. # ith 5 # # # # a - 3 long # ith 5 9 5. # # 5 # # # b 5. 5 5. #. # #. # # #. 5 5.. b b 5 5 b. b. 5 #. # #. # # 5 #. b 5 b. Mark Zuckerman 1998
- - 1 # #.. #. have but b. # # 5 5 b. #. have but #. # #. b 5. have but b. #. b 5 b. have but 19 b.. b. b. h Will # # #. #. ne - ver let me go, b b. nor heart ith-st b. h Will b.. h Will b b.. ne - - - - -. ne - - - - - ver let me go, b. ver let me go, b nor heart ith-st b. nor heart b ith-st. b h Will ne - - - - - ver let me go, nor heart ith-st 23 b 5 b b.. at - - - g of my b. at - - - g of my. at - - - g of my #. heart heart heart 5 5 5 reach its b. # # # reach its # #. # reach its b b. #.. at - - - - g of my heart reach its
2 31 5 5 5 5 # f # When shall f # When shall f When shall # f # # When shall # #. #. b b.. 3 #. # #. # #... #.. #. p # p. b. p #. # b # p. # # none none none # none b kno! hy kno! b kno! kno! hy b n hy # feel thee gone When feel thee gone When feel thee gone # # # feel thee gone f # #. When # # # # cry for the. # # # cry for the # cry for the. cry for the Ne - - - - - - - - b f b f. Ne - - - - - # Ne - - - - - fb. b # # ƒ ƒ Ne - - - - - b. soul. soul. soul - - hy soul 5 5 5 5 b ƒ b ƒ b b. b. b b.... b b b b 5 5 5 5 5 5 5 5
- 8-2 5 5 5 5 b. b. b.. b # # # # 5 5 5 5 #. #. #. # #. # # ith ith # ith # # 5 5 5 5 ith 5 b. 5 b. 5 5 5 b b ith. ith 5 5 5 b. ith ith 50 b #. # 5 # #. # b b. # 5 # #. #. # 5 # #. # b n. # 5 # #. #