Cinq chants d’amours hébreux

Le violoniste bleu, Marc Chagall, 1947, Collection privée


Eric Whitacre : Five Hebrew Love Songs, 1. Temuná, Light & Gold

Eric Whitacre, né le 2 janvier 1970 à Reno (Nevada, États-Unis) est un compositeur américain de musique orchestrale, de chant choral et de musique électronique. Il a également dirigé plusieurs ensembles sur les continents européen, asiatique, australien et américain.

Il vit aujourd’hui à Los Angeles en Californie avec sa femme, la soprano Hila Plitmann et son fils.

La musique de Whitacre (et particulièrement sa musique pour chœur) a inspiré la création des festivals de musique nationaux et internationaux. En juillet 2004, l’opéra de Sydney a hébergé la première édition du festival pour orchestre Eric Whitacre. En juin 2007, Venise et Florence ont hébergé le premier festival Whitacre de Venise.

Sur son site, , il explique dans ses mots le processus de création des Five Hebrew Songs, et fournit plusieurs détails intéressants concernant la création de l’œuvre. En voici un extrait :

In the spring of 1996, my great friend and brilliant violinist Friedemann Eichhorn invited me and my girlfriend-at-the-time Hila Plitmann (a soprano) to give a concert with him in his home city of Speyer, Germany. We had all met that year as students at the Juilliard School, and were inseparable.

Because we were appearing as a band of traveling musicians, ‘Friedy’ asked me to write a set of troubadour songs for piano, violin and soprano. I asked Hila (who was born and raised in Jerusalem) to write me a few ‘postcards’ in her native tongue, and a few days later she presented me with these exquisite and delicate Hebrew poems. I set them while we vacationed in a small skiing village in the Swiss Alps, and we performed them for the first time a week later in Speyer.

In 2001, the University of Miami commissioned me to adapt the songs for SATB chorus and string quartet, and the Efroni Choir in Israel commissioned me to adapt them for SA, violin and piano, leaving me now with five (!) different versions of the same work: SATB and string quartet; SATB, violin, and piano; SA and string quartet; SA violin, and piano; and the original soprano, violin, and piano. The choral parts are exactly the same for the different accompaniments, so that if the choir wants to perform the version with string quartet, the chorus can sing from the piano/violin score and the conductor can lead from the quartet version.

Each of the songs captures a moment that Hila and I shared together. Kala Kalla (which means ‘light bride’) was a pun I came up with while she was first teaching me Hebrew. The bells at the beginning of Eyze Sheleg are the exact pitches that awakened us each morning in Germany as they rang from a nearby cathedral.

These songs are profoundly personal for me, born entirely out of my new love for this soprano, poet, and now my beautiful wife, Hila Plitmann.


Temuna (A Picture)

A picture is engraved in my heart;
Moving between light and darkness:
A sort of silence envelopes your body,
And your hair falls upon your face just so.

Kala Kalla (Light Bride)

Light bride
She is all mine,
And lightly
She will kiss me!

Larov (Mostly)

“Mostly,” said the roof to the sky,
“the distance between you and I is endlessness;
But a while ago two came up here,
And only one centimeter was left between us.”

Eyze Shelleg! (What Snow!)

What snow!
Like little dreams
Falling from the sky.

Rakut (Tenderness)

He was full of tenderness;
She was very hard.
And as much as she tried to stay thus,
Simply, and with no good reason,
He took her into himself,
And set her down
In the softest, softest place.

Hila Plitmann

Luc Valiquette

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