CONTENTSCONTRIBUTOR BIOS: Evan Hause, 3 LIVE EVENTS
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A Report on Two Recent "Musical" Weddingsby B.L.C. Helene Williams and Leonard Lehrman, married at the Stephen Wise Free Synagogue, NY, NY. on July 14, 2002. Having creative musical minds in one’s company can often lead to unexpected delights – well, at least surprises – like original music composed for those very special occasions. During the year of 2002 Rose and I attended three weddings, two of which involved musical associates taking on some unconventional ideas for their own nuptials. In July, Helene and Leonard, a thoroughly musical duo, threw a "concert-wedding" for their friends and, indeed, there was plenty of music on the program plus the reading of a poem by a poet friend. Listening to the CD now, I hadn’t realized in retrospect how much fun was mixed in with the solemn elements of the wedding ceremony; one can now hear all the chuckles and outright laughter brought on by the remarks of Cantor Charles Osborne, the officiant for the occasion. Cantor Osborne, a fine well-trained tenor in his own right, not only officiated, but he remarked about some of his past relationships with the pair going back 37 years in Leonard’s case, 26 years in Helene’s, "a relative newcomer" to his list of associates, as he pointed out. As to the music, with Allen Sever at the organ, we heard purely instrumental music by Joseph Pehrson (note the sly titles): Portrait of Helene & Leonard (Organ Prelude) — Preludium — Leonardium — Extremium — Extensium — Heleneium – Pursuitium — Interruptus — Composium — Credenza Domestica — Encoplium Fuga (Endium). If we were to remain in the word-playing mood we could call this very b’roke music, probably acceptable in the most authoritative of Catholic masses, at least if Dr. Pehrson were to drop the naughty doubles entendres. There were also many lovely songs by the groom (Lehrman’s "Where Do I Belong?" from E.G.: A Musical Portrait of Emma Goldman and "Kererte a Tí," a setting of a Ladino folk love poem), Joel Mandelbaum (Shakespeare’s "Sonnet #116"), Daniel Dorff ("Song of Songs"), Mira J. Spektor ("Take Me Home Tonight"), Lou Rodgers ("Hand in Hand") and Robert Schumann ("Widmung," {dedication} from a text by Ruckert). They were all sung beautifully by Helene and Cantor Osborne. The poem, "Epithalamium," by the Australian Alex Skovron, was read by Leonore Tiefer. There was also a lot of fun in store for the guest at the reception, in which both Helene’s son, baritone Benjamin Spierman, and Leonard’s father sang. A most unusual, but nonetheless enjoyable, occasion. Kim Heller and Gene Pritsker, married at "The Castle" at Manhattanville College in Purchase, NY. on Oct. 13, 2002. The marriage of Kim and Gene, held in Purchase, NY at Manhattanville College’s "The Castle," a really impressive setting for any sort of occasion, was definitely a more traditional Jewish affair, with lots of ritual and rousing dance music. There was the central feature of the big wedding dance with the bride being lifted in her chair by a few strong young men with hopefully firm grips on the precious prop and cargo; somehow it all seemed so spontaneous. The music was played by an ensemble that pays tribute to composers Ellington, Basie, Miller.etc. Its a mostly Russian big band made up of emigrants who were professionals back in Russia but now live here and have other jobs. They meet once a week to play the music they love. Gene’s father, Zinovy Pritsker, and the pianist Valodya Groos, do the arrangements and transcriptions from the famous jazz arrangements. Gene did three arrangements: the Chopin waltz; 'Daddy' (which Anya Migdal sang) and his own song, a gift to his bride, 'First and Last Love' (which Charles Coleman sang). Favors are usually given out at wedding receptions. What made this affair a little offbeat was the CD of the music the groom composed for the service – five short pieces entitled, "Intro – Procession – Bride’s Entrance – Vows – End Music." With its spare instrumentation and relaxed harmonies the music is intimate in character, but also with an earnestness in its sentiments. At a little over two minutes, the "Bride’s Entrance" is the longest segment, and it does have opportunities for rich phrasing and an emotional undertone of sorts. The composer apparently wished to emphasize the deliberate tempo of the bride’s advance toward the altar. Oddly, the finale dispenses with the expected air of joyousness and opts for sterner, more sober music. Well, maybe that’s the way the composer sees the road ahead, but we’ll stay with the safe, traditional "much joy to both of you." |