The Passion of Yeshua (Part I-[II]) (2017) (Short Score in the Composer's Manuscript, for Perusal Only). Autograph musical manuscript of the complete work for SATB Chorus and orchestra. Together with photocopies of both parts with autograph corrections. Richard b. 1956 DANIELPOUR.
The Passion of Yeshua (Part I-[II]) (2017) (Short Score in the Composer's Manuscript, for Perusal Only). Autograph musical manuscript of the complete work for SATB Chorus and orchestra. Together with photocopies of both parts with autograph corrections.

The Passion of Yeshua (Part I-[II]) (2017) (Short Score in the Composer's Manuscript, for Perusal Only). Autograph musical manuscript of the complete work for SATB Chorus and orchestra. Together with photocopies of both parts with autograph corrections.

AUTOGRAPH MUSICAL MANUSCRIPT

2 volumes. Oblong folio. With text and musical notation in pencil throughout on 10-stave "Lean Kat Music" music manuscript paper.

Signed "R. Danielpour" and dated 2016 at upper right corner of page one on both parts and with "Thanks be to God, Oct 27, 2016, N.Y.C." at conclusion of Part II.

With "Copyright (c) FIND C IN A CIRCLE 2016 by Lean Kat Music twice to foot of page 1 of Part I, the second with "(BMI)" added, and "Copyright (c) 2016 by Lean Kat Music, All Rights Reserved (BMI)" to foot of page one of Part II

Part I:
1f. (recto title printed on coated paper, verso blank), 1f. (recto printed title, verso cast and orchestration) 95 leaves notated on one side of the leaf only + 1 blank leaf. With "(Original)" in Danielpour's autograph at foot of first title.

Part II:
1f. (recto title printed on coated paper, verso blank), 1f. (recto printed title, verso cast list and orchestration), 127 leaves notated on one side of the leaf only.

With numerous detailed performance directions, corrections, and alterations in the composer's hand throughout.

Cast
"Narrator/Talmuda: High Lyric Baritone; Yeshua: Bass Baritone; Miryam Magdala: Soprano; Miryam, the mother of Yeshua: Mezzo-Soprano; Kefa/Pilate: Tenor; Kayafa: Bass (from the chorus); and SATB Chorus (minimum 100 singers, suggested 120 singers)"

Orchestra
2 flutes, 1 oboe, 1 English horn, 2 clarinets in B flat, 1 bass clarinet, 2 bassoons, 4 horns in F, 2 trumpets in C, 3 trombones (2 tenor, 1 bass), timpani, percussion (3 players), piano/celesta, harp, and strings (minimum 8,8,6,6,5, suggested 12, 10, 8, 8, 6).



PHOTOCOPY WITH AUTOGRAPH CORRECTIONS

2 volumes. Oblong folio.

With extensive autograph corrections, deletions, etc. in lead and red pencil and in red ink to both text and notation throughout, constituting, in effect, a revision of the first draft of the work described above.

Part I:
1f. (recto title printed on coated paper, verso blank), 1f. (recto printed title, verso cast list and orchestration), 95 leaves notated on one side of the leaf only + 1 blank leaf.

Part II:
1f. (recto title printed on coated paper, verso blank), 1f. (recto printed title, verso cast and orchestration), 127 leaves notated on one side of the leaf only. With "Xerox Copy" in Danielpour's autograph at foot of first title.

‘The Passion of Yeshua’ preview: resurrecting the Jewish Jesus

Oregon Bach Festival presents the world premiere of American composer Richard Danielpour’s new oratorio, which puts the focus on the females in Jesus’s life

July 6, 2018 // FEATURED, MUSIC // Oregon ArtsWatch

by CHRISTINA RUSNAK

Richard Danielpour first heard J.S. Bach’s St. Matthew Passion at the impressionable age of 17. The experience helped to confirm for him that he was “put on this earth to write music.” Bach’s Passion planted the seed. As a young man, Danielpour asked himself who Jesus really was and why we are still talking about him after 2,000 years.

Danielpour began seriously thinking about writing his own Passion 25 years ago. He waited until the time was right to create The Passion of Yeshua, which premieres this Sunday afternoon [July 8, 2018] at the Oregon Bach Festival, which commissioned it. In this major new American composition, Danielpour reaches back to Jesus’s time to give us a more personal Passion that resurrects elements obscured by Bach’s interpretation, including the prominence of Jewishness and women in Jesus’s life.

Danielpour began writing the music in July 2016 and finished the full score for his Passion, which is set up in two parts of seven scenes each, in July 2017. This month, in two presentations to over 90 composers and performers participating in the OBF Composers Symposium and in an interview with ArtsWatch, Danielpour discussed the creation and musical structure of The Passion of Yeshua.

Danielpour has received two awards from the American Academy and Institute of Arts and Letters, a Guggenheim Award, two Rockefeller Foundation Fellowships, and the Berlin Prize from the American Academy in Berlin, as well numerous commissions from some of the most celebrated artists and musical institutions of our day. A devoted educator and mentor, he grew up with both Christian and Jewish faiths in his household. His parents were born in Iran, and he was free to examine his faith from multiple perspectives. Ultimately, he accepted that Jesus was the foretold Messiah, but this did not disavow his Jewishness. After all, Jesus was Jewish.

For Danielpour, the text is paramount. Words and concepts (and perhaps music) that seem simple on the surface embody complex meaning underneath. For example, the structure of the piece includes many instances of the number seven, which has is associated with the idea of completion in Jewish mystical thinking and is considered the number of perfection in Christian spirituality. In the Passion of Yeshua, (7+7) x 7 equals the 98-minute duration.

Danielpour also noted that he is interested in clearly communicating the meaning of the text with listeners. Among the stories to emerge more clearly through Danielpour’s unfiltered view: the women in Jesus’ adult life, his mother Mary and Mary Magdalene. Relegated to the background in the four New Testament gospels, their presence is greater in the gospels that were excluded early in Christian history. Danielpour gives them a more central voice. Extending that intention to the premiere’s musical leadership, he asked renowned, Grammy-winning American conductor JoAnn Falletta, who directs the Buffalo Philharmonic and the Virginia Symphony orchestras, to lead the premiere.

“One of my aims in writing this work was to bring the story of the last day of the life of Jesus of Nazareth back to its Jewish origins,” Danielpour recalls. “I thought if we could somehow take ourselves back in time and see what those last hours were really like, that we may have a more developed understanding of who Jesus really is — without the 1,800 years of European accretions and horrible acts that were committed in Europe in the name of Christianity.”

Although the Passion tale is familiar to many listeners through its appearance in Bach’s music and other Christian texts and artworks, Danielpour sought to present the story through a fresh lens. “It is impossible for Jews and Christians alike to see the person of Jesus clearly and objectively because of the history of Christianity in Europe from the time that Constantine made it the official religion of the Holy Roman Empire, shortly after 300 A.D.,” he explains. “This oratorio is, among other things, an attempt to help Jews and Christians alike understand more fully how the person of Jesus of Nazareth is so closely connected, whether one likes it or not, to Jewish history.”
Therefore, the text of The Passion of Yeshua is performed in two languages – Hebrew and English. All of the Hebrew text comes from the Jewish scriptures, while the English texts are an amalgamation from all four Gospels derived from two translations – the Revised Standard Version, from the Anglican Church, and an English version of the Complete Jewish Bible by David H. Stern that includes Hebrew words, which fits the narrative of where all of this takes place.

For Danielpour, the text is paramount. Words and concepts (and perhaps music) that seem simple on the surface embody complex meaning underneath. For example, the structure of the piece includes many instances of the number seven, which has is associated with the idea of completion in Jewish mystical thinking and is considered the number of perfection in Christian spirituality. In the Passion of Yeshua, (7+7) x 7 equals the 98-minute duration.
Danielpour also noted that he is interested in clearly communicating the meaning of the text with listeners. Among the stories to emerge more clearly through Danielpour’s unfiltered view: the women in Jesus’ adult life, his mother Mary and Mary Magdalene. Relegated to the background in the four New Testament gospels, their presence is greater in the gospels that were excluded early in Christian history. Danielpour gives them a more central voice. Extending that intention to the premiere’s musical leadership, he asked renowned, Grammy-winning American conductor JoAnn Falletta, who directs the Buffalo Philharmonic and the Virginia Symphony orchestras, to lead the premiere.

Danielpour also participated in choosing the other performers. Because this work is deeply personal for him, in sought performers who could “be” the character — those who could have a deep personal connection to the part. For instance, Yeshua had to be a person of faith. He found that in bass-baritone Kenneth Overton.
Danielpour’s childhood personal connection to the Passion story still persists. Though his musical language is very different, he has found himself still inspired by Bach’s St. Matthew Passion all these years later. One difference: Danielpour’s Passion doesn’t propound a single dogmatic interpretation of the famous story. He wants the experience to be personal to listeners too. In the realization of the piece, the listeners at this premiere performance can be active participants and will have varied individual responses. For “the person of Jesus as a teacher,” Danielpour notes, “no one was ever excluded,” and that is equally true for music itself.

Grammy-Award winning Richard Danielpour "is an outstanding composer for any time, one who knows how to communicate deep, important emotions through simple, direct means that nevertheless do not compromise." (New York Daily News). A distinctive American voice, his music is of large and romantic gestures, brilliantly orchestrated, intensely expressive, and rhythmically vibrant." phytheasmusic.org

"Richard Danielpour… has become one of the most sought-after composers of his generation - a composer whose distinctive American voice is part of a rich neo-Romantic heritage with influences from pivotal composers like Britten, Copland, Bernstein, and Barber. His works are solidly rooted in the soil of tradition, yet [sing] with an optimistic voice for today… [They] speak to the heart as well as the mind." schirmer.com

"Like many American composers of his generation, Danielpour has largely divorced himself from serial techniques, which were important to early works such as the First String Quartet (1983). With First Light (1988), he found a new, distinctly American voice. He is best known for his orchestral and chamber music, including vocal works in both genres. Although he is often described as a neo-romantic, his musical language is broadly based and widely varied... In his vocal works, which display pristine idiomatic writing, he has collaborated increasingly with living poets. Many of his instrumental works are given evocative titles that refer to extra-musical sources." Laurie Shulman in Grove Music Online. Item #30510

Price: $35,000.00  other currencies

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