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How to manage the process with grace, joy and good sense.
A practical guide that gives parents and teens the "how-to"
information they need to navigate the bar/bat mitzvah process and
grow as a family through this experience. For the first time in one
book, everyone directly involved offers practical insights into how
the process can be made easier and more enjoyable for all. Rabbis,
cantors and Jewish educators from the Reform, Conservative and
Reconstructionist movements, parents, and even teens speak from
their own experience. What's it all about? Preparation for Parent
and Child Tutoring, stress, expectations, enjoyment, planning for
children with special needs Negotiating the ceremony and
celebration Designing a creative service, heightening the spiritual
exercise, special issues related to divorced and interfaith
families, planning a party that neither breaks the bank nor
detracts from the inherent spirituality of the event."
This volume focuses on the story of Judith as presented by
composers, librettists and playwrights over four centuries. Helen
Leneman analyzes numerous examples of music, librettos and the
librettists' views of Judith - strongly influenced by societal
attitudes of their time - and how these works in turn suggest
unexpected ways of understanding biblical women and their stories.
Music adds nuances, colors and emotions, becoming a subtext that
suggests character and emotions. Leneman presents in-depth analyses
of the librettos and music of 16 operas and oratorios based on the
book of Judith that span 300 years (1694-1984), in addition to two
influential plays that inspired several librettos in the nineteenth
century. Exploring works by such varied composers as Vivaldi,
Mozart, Parry, Honegger, Serov, Chadwick and von Reznicek, Leneman
reveals the ways in which each adaptation expands, distils or
reinterprets Judith's character and story. In this first ever
extensive study of musical settings of the Book of Judith, Leneman
enables the biblical heroine to transcend her source.
This volume focuses on the story of Judith as presented by
composers, librettists and playwrights over four centuries. Helen
Leneman analyzes numerous examples of music, librettos and the
librettists' views of Judith - strongly influenced by societal
attitudes of their time - and how these works in turn suggest
unexpected ways of understanding biblical women and their stories.
Music adds nuances, colors and emotions, becoming a subtext that
suggests character and emotions. Leneman presents in-depth analyses
of the librettos and music of 16 operas and oratorios based on the
book of Judith that span 300 years (1694-1984), in addition to two
influential plays that inspired several librettos in the nineteenth
century. Exploring works by such varied composers as Vivaldi,
Mozart, Parry, Honegger, Serov, Chadwick and von Reznicek, Leneman
reveals the ways in which each adaptation expands, distils or
reinterprets Judith's character and story. In this first ever
extensive study of musical settings of the Book of Judith, Leneman
enables the biblical heroine to transcend her source.
This volume examines the stories of Genesis in music, showing how
musical settings can illuminate many of the Bible's most noted
tales. Helen Leneman studies oratorios, operas and songs (as well
as their librettos) to shed light on how Genesis has been
understood and experienced over time. Examining an extensive range
of musical settings of stories from the book of Genesis, Leneman
offers an overview of chiefly 19th and 20th century musical
engagements with this biblical text. Leneman first discusses how
Eve's inner thoughts are explored by noted French composers Jules
Massenet and Gabriel Faure. The text then enters the deep waters of
Noah's flood in examination of several compositions, including two
unusual settings by Igor Stravinsky and Benjamin Britten, as well
as more conventional settings by Saint-Saens and Donizetti. Two
major 19th century oratorio settings of Abraham's story by
lesserknown German composers Martin Blumner and Karl Mangold
provide fascinating illuminations of the Abraham narratives,
whereas parts of Rebecca's story are found in works by Cesar
Franck, Ferdinand Hiller, and most unusually, by a French woman
composer, Celanie Carissan. Finally, Leneman shows how Joseph's
story was set in numerous oratorios (including by Handel) but that
one of the most important works based on his story is an opera by
18th century French composer Etienne Mehul. In addition to
discussing these larger 19th century works, Leneman also examines
several interesting atonal 20th century works based on the stories
of Eve and the Flood, shedding new light on the history of the
interpretation of the Book of Genesis.
This is Leneman's second foray into the interdisciplinary study of
the Bible and music, following her The Performed Bible: The Story
of Ruth in Opera and Oratorio (2007). In Love, Lust, and Lunacy she
shows how these themes have captured the imagination of librettists
and composers of many eras to set the narratives of the books of
Samuel to music. Leneman convincingly illustrates music's ability
to suggest emotions and character traits that can only be read
between the lines of a text, through an in-depth discussion of 16
operas and oratorios from the eighteenth to the late twentieth
century-including works of Handel, Nielsen, Parry, Honegger,
Milhaud and lesser-known composers. The musical analyses can be
understood on different levels by both specialists and
non-specialists, providing a new perspective for biblical scholars
along with a new appreciation of the biblical texts for musicians
and music lovers. Librettists and composers working with the Saul
and David stories were alert to the complexity and ambivalence of
the biblical portraits, and filled in the blanks left by the
biblical writer in stirring and compelling ways. Their gap-filling
may sometimes contradict traditional versions or interpretations of
the biblical text, but their musical creativity often makes the
words and actions of the biblical characters more convincing and
compelling. In the musical works reviewed here there are portrayed
three-dimensional figures-not only David and Saul, but also Samuel,
Michal, Bathsheba, the Woman of Endor and others, personages barely
glimpsed between the lines of the biblical text but imagined in
different ways by readers in every generation.
The Bible and Western culture is a burgeoning area of interest in
recent scholarship, but comparatively little has been written on
the Bible and music. Leneman's is a groundbreaking work, making
some pioneering forays across an important interdisciplinary
divide. The Performed Bible is an in-depth study of the librettos
and music of 12 operas and oratorios on the story of Ruth from the
last two centuries, establishing the potential of music, as a kind
of midrash, for transforming a Bible text, its narrative and its
characterization. The book includes detailed analyses of musical
segments, the author being a cantor and professional musician in
whose Jewish tradition biblical texts are chanted, not read. This
fresh and insightful work will no doubt prove attractive to
biblical scholars, to musicians and to music lovers generally.
This volume examines the stories of Genesis in music, showing how
musical settings can illuminate many of the Bible's most noted
tales. Helen Leneman studies oratorios, operas and songs (as well
as their librettos) to shed light on how Genesis has been
understood and experienced over time. Examining an extensive range
of musical settings of stories from the book of Genesis, Leneman
offers an overview of chiefly 19th and 20th century musical
engagements with this biblical text. Leneman first discusses how
Eve's inner thoughts are explored by noted French composers Jules
Massenet and Gabriel Faure. The text then enters the deep waters of
Noah's flood in examination of several compositions, including two
unusual settings by Igor Stravinsky and Benjamin Britten, as well
as more conventional settings by Saint-Saens and Donizetti. Two
major 19th century oratorio settings of Abraham's story by
lesserknown German composers Martin Blumner and Karl Mangold
provide fascinating illuminations of the Abraham narratives,
whereas parts of Rebecca's story are found in works by Cesar
Franck, Ferdinand Hiller, and most unusually, by a French woman
composer, Celanie Carissan. Finally, Leneman shows how Joseph's
story was set in numerous oratorios (including by Handel) but that
one of the most important works based on his story is an opera by
18th century French composer Etienne Mehul. In addition to
discussing these larger 19th century works, Leneman also examines
several interesting atonal 20th century works based on the stories
of Eve and the Flood, shedding new light on the history of the
interpretation of the Book of Genesis.
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