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FIVE STAR

Leonard Bernstein: Symphony
No. 3 (Kaddish); Chichester
Psalms (Milken Archive/Naxos).
For all his conservatory train-
ing, for all the years as musical
director of great orchestras,
Bernstein was fundamentally a
man of the theater; his symphonic
and choral works owe more to the
stage than to the recital hall. These
two Jewish-themed compositions
offer a reminder of his powerful
sense of drama. His Third
Symphony juxtaposes his own
rather ponderous text with the
Mourners Kaddish. As performed
here by the Royal Liverpool
Philharmonic directed by Gerard
Schwarz, the emphasis falls rather
unflatteringly on the composition's
occasionally forced drama, but at
the heart of the symphony is a
moment of astonishing beauty.
Nobody expresses yearning bet-
ter than Bernstein, and the sopra-
no solo in the middle section of
the symphony is one of the most
moving examples of this emotion
in all his work, helped in no small
part by its context in the midst of
the sturm and drang of the first
section. The bombast that pre-
cedes the solo, beautifully sung
here by Yvonne Kenny, is precisely
what gives it such profound power,
a moment of peace in the eye of
the hurricane.
By contrast, Chichester Psalms,
written two years later, is remark-
ably gentle, almost sweet.
Bernstein apparently disdained
the piece for precisely that reason,
yet it is one of the most effective
expressions of both his Jewishness
and his deeply spiritual side.

Seth Nadel: One Thing I Ask
(Sameach).
The guiding spirits of this CD
are Shlomo Carlebach and Bruce
Springsteen, or more properly, Reb
Shlomo and Jon Landau, who
helped create the Boss' sound in
the 1970s.

Nadel turns psalms and liturgy
into solid melodic rock with all the
bells (literally) and chimes that
Landau layered behind
Springsteen. The result is fun
when it's in Hebrew, a bit laborious
when Nadel's faux-Bruce lyrics
come to the front.
Think less Springsteen and
more Little Steven and the
Disciples of Soul.

Greg Siegle: Vessels (MindzEye
Music).
Siegle is a young acoustic gui-
tarist, a virtuoso in the John
Fahey-Leo Kottke vein, who has
turned his quick, expressive
hands to Jewish music. The
tunes he essays are mostly famil-
iar ones from Shlomo Carlebach,
but he gives them a refreshingly
light reading. The result is a very
pleasant diversion that should
make its way onto a lot of turnta-
bles as a prelude to sundown and
the holy days.
Available from gsiegle@pitt.edu .

Yedid Nefesh: Amant de mon,
ante (Alpha).
I've heard a lot of Sephardic
music, but this CD is unlike any
I've heard. This is dark, eerie
music, using mostly familiar
instrumentation for the genre —
tar, hand drums, viola da gamba
— but with two major deviations.
First, there is the addition of the
chifonie, a sort of early hurdy-
gurdy with a plaintive, reedy
sound; second, the four musicians
here work with a lot of empty
space, isolating voices and instru-
ments to great, if disconcerting,
effect.
The texts run the gamut from
piyuttim to love songs, and the
overall impression left is haunting,
disturbing and beautiful. Not to all
tastes but definitely worth hearing
at least once.
Available from:
www.alpha-prod.com .

September 29 2005 Al