About

Yedid Nefesh (“Beloved of my soul”) is a setting of a poem attributed to Eleazar Azikri, a mystical Jewish poet and scholar of the 16th century.  The poem has become popularly sung at various times in the Jewish liturgy, but especially at the beginning of Shabbat. Its language expresses the relation between the individual and the divine as one of longing and of delight, using the imagery of a lover as its prime metaphor.  The poem has been set to many different melodies; this piece is based on a beautiful and delicate Sephardic melody, which I originally found in Yitzhak Levy’s Anthology of Judeo-Spanish Liturgy. 

I had used the melody before in an instrumental piece from 2007 (Yedid Nefesh for clarinet, viola, and piano), and have long wanted to write a choral setting. I was honored to be asked to compose this piece for the 2019 North American Jewish Choral Festival.  It was commissioned by the Zamir Choral Foundation, through the Jeanne and Irwin Mandell Fund for New Music, as part of my receiving—along with my wonderful colleagues Benjie-Ellen Schiller and Steve Cohen—the Festival’s Hallel V’Zimrah Award.

The melody is taken on a journey through several different choral and piano textures in the four verses; the key also changes each verse, adding to the feeling of color change as the piece progresses. There is a gradual building of dynamics and motion towards the end of the piece, leading to a peaceful ending —and a return to  the a cappella texture of the opening)—with a solo soprano introduced to sing the final words of the poem: “Come quickly, my Love, the time has come. Show me Your grace as in earlier days.”

—Gerald Cohen

Commissioned by the Zamir Choral Foundation, through the Jeanne and Irwin Mandell Fund for New Music, as part of my receiving—along with my wonderful colleagues Benjie-Ellen Schiller and Steve Cohen—the Festival’s Hallel V’Zimrah Award.

Score

Perusal Score

Text

Attributed to Eleazar Azkiri (16th Century)

Yedid nefesh, av harachaman, m’shoch avdach el r’tzonach.
Yarutz avdach k’mo ayal, yishtachave el mul hadarach.
Yeerav lo y’didutach, minofet tsuf v’chol taam.

Hadur na’e ziv haolam, nafshi cholat ahavatach.
Ana El na r’fa na lah, b’harot lah no’am zivach,
Az titchazek v’titrape, v’hayta lah shifchat olam.

Vatik yehemu rachamecha v’chus na al ben ohavach.
Ki ze kamah nichsof nichsaf, lirot b’tiferet uzach.
Ana Eli, machmad libi, chusha na v’al titalam.

Higale na ufros chaviv alai, et sukkat sh’lomach
Ta’ir eretz mik’vodach, nagila v’nism’cha bach.
Maher ahuv, ki va mo’ed, v’choneni kimei olam.

Translation adapted from Siddur Chaveirim Kol Yisraeil (K’tav, 2000)

Soul-mate, Merciful Parent, draw Your servant to do Your will.
Your servant will run like a ram, will bow down before Your splendor.
For Your love is tastier than nectar or any imaginable delight.

Pleasing in Splendor, Light of the World, my soul is love-sick for You.
Please, God, heal her with the pleasure of Your light.
Then she will be strengthened and healed and will be Your handmaiden forever.

Ancient One, let Your mercies be aroused. Pity Your beloved child,
who has so longed to see the beauty of Your power.
Pray, my God, my heart’s desire, hurry, please, and do not hide.

Reveal Yourself, Beloved, spread over me Your canopy of peace.
Let the land be lit up with Your glory, let us rejoice and revel in You.
Come quickly, my Love, the time has come. Show me Your grace as in earlier days..

Performances

Premiere: July 2019: North American Jewish Choral Festival, Stamford, CT

SA with piano: $2.50
SATB with piano: $3.00

About

The poem Dayeinu is the central song of gratitude from the Passover Seder celebration, giving thanks for every stage of the ancient Hebrews’ journey from slavery to freedom. Cohen has created a joyous dance in his setting of the text, the music building in exuberance throughout the piece. The rhythmic challenges—such as shifts between 4/4 and 7/8 in the refrain—are readily worked out as they are so much fun to sing. Dayeinu! is an ideal choice for concerts celebrating spring and the spring holidays.

My setting of Dayeinu!, an exuberant dance, is from the Passover cantata V’higad’ta L’vincha (“And you shall tell your child”), composed in 1996 for the Syracuse Children’s Chorus, Barbara Tagg, founder and director.

Dayeinu! means “it would have been enough for us!” The poem thanks God for every part of the journey from slavery to freedom, each time saying, ”if you had done only this for us, it would have been enough—but look at how much we have to be grateful for!” Dayeinu! is from the larger Passover cantata V’higad’ta L’vincha (“And you shall tell your child”) One of the most significant themes of the Haggadah, emphasized in Cohen’s choices of text for the piece, is that we all must experience the story of the deliverance from slavery as if we ourselves had lived through it; we must then tell our children that story so as to pass it down, vividly, from one generation to the next.

V’higad’ta L’vincha was commissioned by the Chorus as part of the “Commissioning Music/USA” program of Meet The Composer and the National Endowment for the Arts, with support from the Helen F. Whitaker Fund. A recording of the original version for treble chorus with the Syracuse Children’s Chorus, Barbara Tagg, conductor, appears on the album Generations: Music of Gerald Cohen (New World Records NWCRI 879).

Note: Dayeinu, and the entire V’higad’ta L’vincha, are available in versions both for treble chorus and for SATB chorus.  Either version can be performed either in a full score version with clarinet, cello and piano; or in the piano reduction. 

Score

Text

Kama maalot tovot lamakom aleinu!
Ilu hotsianu mimitsrayim, Dayeinu!
Ilu kara lanu et hayam, Dayeinu!
Ilu sipeik tsorkeinu bamidbar arbayim shana, Dayeinu!
Ilu keirvanu lifnei har sinai, Dayeinu! 
Ilu natan lanu et hatorah, Dayeinu!
Ilu hichnu l’erets yisraeil, Dayeinu!

How many acts of kindness God has performed for us!
If God had brought us out of Egypt, Dayeinu!  (it would have been enough for us!)
If God had split the sea for us, Dayeinu!  
If God had sustained us in the wilderness for forty years, Dayeinu!  
If God had brought us before Mount Sinai, Dayeinu!  
If God had given us the Torah, Dayeinu!  
If God had led us to the land of Israel, Dayeinu!  

Arrangements

Dayeinu, and the entire V’higad’ta L’vincha, are available in versions both for treble chorus and for SATB chorus.  Either version can be performed either in a full score version with clarinet, cello and piano; or in the piano reduction. 

Dayeinu is also the final movement of the instrumental piece Sea of Reeds, in its several arrangements.

Listen/Watch

SA Version
(From Sea of Reeds—clarinet duo and piano)

Performances

Selected:

Premiere: April 1997  – Syracuse Children’s Chorus, Barbara Tagg, cond.; Syracuse, NY
May 1998 – Juilliard Pre-College Chorus, Rebecca Scott, cond.; New York, NY (SSA version)
April 2006 – Princeton Pro Musica, Frances Slade, cond., Lawrenceville, NJ (SATB version)
April 2010 – Choirs of Jewish Theological Seminary and Hebrew Union College, Joyce Rosenzweig, cond. (SATB version)
May 2010 – Concerto Della Donna, Iwan Edwards, cond.; Montreal, Québec (SSA version)
April 2016 – HaZamir, the International Jewish High School Choir, Joel Caplan, cond., New York, NY (SATB version, “Dayeinu” movement) See video of this performance at Carnegie Hall

Press

The Louisville Courier-Journal

by Andrew Adler For Frank A. Heller III, every concert describes a small journey of inner space. Voces Novae, the chorus he trains and nurtures season after season, looks first to the spirit present within each of its singers, and by extension his audiences. It’s no exaggeration to call Heller’s perspective a pan-theistic, summoning faiths […]

The Pittsburgh Post-Gazette

by Eric Haines Hebrew liturgy provides blessings for every major event in the Jewish life cycle. Blessings for children, weddings, the Kaddish, the Kol Nidre and the Song of Solomon have inspired composers to write works that deserve a place on the concert stage. The Pittsburgh Jewish Music Festival ended its three-concert season on Tuesday […]

Sheila Steinman Wallace

by Sheila Steinman Wallace In one of the most cohesive and moving concerts I have heard from this community chorus, Voces Novae presented “Choral Portraits: Gerald Cohen, Eleanor Daley and Eric Whitacre” on Sunday, March 7. … Gerald Cohen’s “Adonai Ro’i” (Psalm 23) has long been a personal favorite. The chorus and soloist Sarah Nettleton […]

Piano score: $3.00
Score and parts with string quartet: $15.00

Georgetown Chorale Gloria Oseh Shalom December 9, 2023

About

This setting features a lyrical and peaceful melody, first heard in the solo voice, with words that expand upon a traditional Hebrew text, making it both more personal and more universal: where the original text asks for peace “for us and for all Israel,” the text here speaks of peace “within myself, for us and for all Israel, and all who dwell on earth, and all of the world/universe.”

Oseh Shalom was commissioned by Temple Sholom, Greenwich, CT for Cantor Asa Fradkin and Sasson: The Temple Sholom Teen Choir, in celebration of its centennial. I had never written a choral setting of this very familiar text, and delighted in having the opportunity for Cantor Fradkin, this dedicated teen choir, and this occasion. The premiere of the piece was at Temple Sholom in May, 2016.

As one of the best-known lines of Hebrew liturgy, “Oseh Shalom” is a prayer for peace. In my own private meditations, I had added several lines to the traditional prayer, in an effort to envision the sense of peace coming from within one’s being, to one’s family and people, and finally to all on earth, and the entire world/universe. The commission for the youth choir of Temple Sholom spurred me to set this revised text to music. The serene, but wide-ranging melody is first heard in Hebrew in the solo voice, then in the full choir, before the choir begins a contrasting section, with the prayer sung in English. Finally, the original melody returns, growing in strength, before bringing us to a peaceful conclusion. 

Score

Text

Oseh shalom bimromav,
Hu yaaseh shalom b’kirbi,
Aleinu v’al kol Yisrael,
V’al kol yoshvei tevel,
V’al kol haolam,
V’imru amen.

O You who makes peace in the heavens,
Make peace within myself,
For us and all Yisrael,
And all who dwell on earth,
And all our precious world,
And all our wondrous world,
And let us say amen.

Arrangements

—Arrangement for solo voice and piano (2020)
—Arrangement for chorus with string quartet

To purchase score and parts, contact Gerald Cohen: gerald@nullgeraldcohenmusic.com
PDF version of score and parts: $3.00 a copy (minimum 6 copies)

Listen/Watch

Premiere at Temple Sholom, Greenwich, CT, May 2016
The Temple Sholom Teen Choir, Cantor Asa Fradkin, solo, Gerald Cohen, conductor

Performances

Premiere: May 2016:  The Temple Sholom Teen Choir, Cantor Asa Fradkin, solo, Gerald Cohen, conductor; Greenwch, CT
January 2017: Shir Chadash: The Brooklyn Jewish Community Chorus, Cantor Natasha Hirschhorn, solo, Rachel Brook, conductor; Brooklyn, NY
May 2017: Gerald Cohen Vocal Ensemble, Cantor Asa Fradkin, solo; Scarsdale, NY
January 2018: Colorado Hebrew Chorale, Cantor Asa Fradkin, solo, Carol Kozak Ward, conductor; Denver, CO
January 2020: H.L. Miller Cantorial School Choir, Jewish Theological Seminary; Jacob Agar, Arielle Green, and Jacob Greenberg, soloists; Cantor Natasha Hirschhorn, conductor; New York, NY

AboutArrangementsPerformancesScoreAudioVideoPhotosPressTestimonials

Collection of solo vocal works
Including: Hariu  Ladonai (Psalm 100), Y’varech’cha, Ad Matai (Psalm 82), Libavtini Achoti Chala, V’haarev Na, Dayeinu

AboutArrangementsPerformancesScoreAudioVideoPress

Note:  All versions/arrangements are published by composer Gerald Cohen.
Please contact gerald@nullgeraldcohenmusic.com to purchase scores or for other inquiries.

Adonai Ro’i was originally written, on the loss of a dear friend, as a solo a cappella melody.  I am a cantor, and a dear friend and congregant died of cancer at the age of 42 in 1989.  Her husband asked me to sing at her funeral, and I decided to write a setting of Psalm 23, which is traditionally sung at Jewish funerals and memorial services.  This was indeed one of those cases of a piece of music just writing itself, in the course of perhaps 30 minutes, as I was filled with the emotions of my friend’s death.

As I started singing the piece at other services, I received a very strong response to it, and decided to make a piano accompaniment.  This was published in 1995, and soon was used by cantors all over the country, as well as in churches and other services and concerts.  It is a very curious thing for a composer:  I write many pieces of music of all kinds, and it is hard to know exactly why one particular piece captures people’s emotions so strongly, but that is what happened with this particular piece.

I was soon asked by the Zamir Chorale of Boston to write a version for SATB chorus, and that version has also been widely performed.  I have also arranged it for solo voice and orchestra, and chorus and orchestra; these versions have been performed by the Pittsburgh Symphony Orchestra and the San Diego Symphony.

I just have to assume that the piece somehow taps into the strong emotions that I felt as I was writing it (I had also lost my father about 8 years before, so I am sure that loss is present as well), and that this then communicates itself to performers, listeners, and mourners.  In 2003, I had the sad but powerful experience of singing the piece at my mother’s funeral.

I am grateful that this piece has become a way for so many to express deep and delicate feelings.  I hope that, if it is a piece that is meaningful to you, that you will feel free to contact me about your experience with it.

I have arranged Adonai Ro’i for many different vocal and instrumental ensembles; a selection of those are listed here.  Please contact me with questions about these or other arrangements:

SOLO VOICE OR UNISON CHORUS
Solo voice or unison chorus with piano
Solo voice or unison chorus with piano and obbligato instrument (Flute, clarinet, violin, viola, cello, etc.)
Solo voice or unison chorus with string quartet
Solo voice or unison chorus with piano trio (vn/vc/pno)
Solo voice or unison chorus with orchestra
Solo voice or unison chorus with string orchestra

SATB, SSA, etc.
SATB chorus with piano
SATB chorus with orchestra or string orchestra
SSA chorus with piano
Two voices, a cappella

INSTRUMENTAL VERSIONS
Solo instrument with piano
Two clarinets and piano
Clarinet, viola and piano

Adonai Ro’i has somewhat of a different performance history from many of my compositions, as it is used, probably every day, by cantors all over the world at funerals and memorial services.

A few of its most significant concert performances are listed here:
November 2010: American Conference of Cantors, Lauren Bandman, cond., Basilica Santa Maria degli Angeli e dei Martiri, Rome, Italy
December 2004: Pittsburgh Symphony Orchestra, Daniel Meyer, cond., with the Children’s Festival Chorus, Heinz Hall, Pittsburgh PA
October 2002: Usdan Festival Chorus and Orchestra, Carnegie Hall, New York, NY (premiere of version for SATB with orchestra)
March 2000: Marin Cosman, soprano; San Diego Symphony, Jung-Ho Pak, cond., (premiere of version for solo voice with orchestra)
1997: Featured in the film, The Jew in the Lotus, with Gerald Cohen, baritone
May 1994: Syracuse Children’s Chorus, Barbara Tagg, cond. (premiere of unison chorus version)

thumbnail of Adonai Ro’i (solo & piano) score sample      thumbnail of Adonai Ro’i (SATB & piano) score sample     thumbnail of Adonai Ro’i (SATB & Orchestra) score sample

Solo score sample                             SATB score sample                             SATB with orchestra score sample

To purchase, contact Gerald Cohen: gerald@nullgeraldcohenmusic.com

Prices vary depending on arrangement.
Solo version also available in transposed keys.
For instrumental version without voice, see Sea of Reeds page




The Pittsburgh Post-Gazette

by Eric Haines Hebrew liturgy provides blessings for every major event in the Jewish life cycle. Blessings for children, weddings, the Kaddish, the Kol Nidre and the Song of Solomon have inspired composers to write works that deserve a place on the concert stage. The Pittsburgh Jewish Music Festival ended its three-concert season on Tuesday […]

Sheila Steinman Wallace

by Sheila Steinman Wallace In one of the most cohesive and moving concerts I have heard from this community chorus, Voces Novae presented “Choral Portraits: Gerald Cohen, Eleanor Daley and Eric Whitacre” on Sunday, March 7. … Gerald Cohen’s “Adonai Ro’i” (Psalm 23) has long been a personal favorite. The chorus and soloist Sarah Nettleton […]


AboutTextPerformancesScoreAudio

I fell in love with the beautiful poetry of Linda Pastan after reading Carnival Evening, her collection of new and selected poems published in 1998. From this wonderful collection, I chose four poems to make up this set: 1) “The Dogwoods” – a meditation on the nature of beauty and its immense power; 2) “Because” – Pastan looking back on the various unpredictable factors that led her to say “yes” to her husband many years before; 3) “Go Gently” – the poet seeing the pain that her dying father is experiencing, and her longing to tell him to let go of life; and 4) “Anna at 18 months” – watching with delight as a toddler begins to acquire the miracle of language.  It was a delight as a composer to give music to these deeply expressive poems.

The Dogwoods

I remember, in the week
of the dogwoods, why sometimes
we give up everything
for beauty, lose our sense
and our senses, as we do now
for these blossoms, sprinkled
like salt through the dark woods.
And like the story of pheasants
with salt on their tails
to tame them,
look how we are made helpless
by a brief explosion
of petals
one week in April.

Because

Because the night you asked me,
the small scar of the quarter moon
had healed-the moon was whole again;
because life seemed so short;
because life stretched before me
like the darkened halls of nightmare;
because I knew exactly what I wanted;
because I knew exactly nothing;
because I shed my childhood with my clothes-
they both had years of wear left in them;
because your eyes were darker than my father’s;
because my father said I could do better;
because I wanted badly to say no;
because Stanley Kowalski shouted “Stella”:
because you were a door I could slam shut;
because endings are written before beginnings;
because I knew that after twenty years
you’d bring the plants inside for winter
and make a garden we’d sleep in naked;
because I had free will;
because everything is ordained;
I said yes.

Go Gentle

You have grown wings of pain
and flap around the bed like a wounded gull
calling for water, calling for tea, for grapes
whose skins you cannot penetrate.
Remember when you taught me
how to swim?  Let go, you said,
the lake will hold you up.
I long to say, Father let go
and death will hold you up.
Outside the fall goes on without us.
How easily the leaves give in,
I hear them on the last breath of wind,
passing this disappearing place.

Anna at 18 Months

Just as it did
for Eve,
language comes
tumbling in, word
by parroted word
as the world
is named again–
each beast and plant,
each bird.
For the floodgates
are open wide
and out of her dauntless
mouth spill
rough-hewn syllables
for elbow, eyes,
for chin.
And touched
by the wand
of the word, roused
from the alphabet’s sleep,
new thoughts flutter awake
like butterflies utterly
changed,
like her damp flirtatious
lashes, beating
their tiny wings.

The premiere of The Dogwoods was given by Adelaide Muir, soprano, and Kent Conrad, piano, in Champaign, IL in April, 2006. 



About

In 2003, I was commissioned by Viki Roth, through Meet The Composer’s New Music, New Donors program, to compose a piece to honor her friend Jane Perman, and in memory of Jane’s parents.  After considering some traditional Jewish texts, I found this powerful poem by Marge Piercy, entitled “Kaddish.” Ms. Piercy’s poem takes the form and the words of the Kaddish, (the Jewish prayer for mourners) as a starting point for a moving and life-affirming reflection on life and death, time, and the interconnectedness of all people and generations. 

The work was given its premiere in March 2004, at Temple Shalom in Naples, Florida, with me as the vocalist; Paul Green, clarinet; and Peter Lewis, piano.   

—Gerald Cohen

Listen

Text

Kaddish by Marge Piercy

Look around us, search above us, below, behind.
We stand in a great web of being joined together.
Let us praise, let us love the life we are lent
passing through us in the body of Israel
and our own bodies, let’s say amein.

Time flows through us like water.
The past and the dead speak through us.
We breathe out our children’s children, blessing

Blessed is the earth from which we grow,
blessed the life we are lent,
blessed the ones who teach us,
blessed the ones we teach,
blessed is the word that cannot say the glory 
that shines through us and remains to shine 
flowing past distant suns on the way to forever.
Let’s say amein.

Blessed is light, blessed is darkness,
but blessed above all else is peace 
which bears the fruits of knowledge
on strong branches, let’s say amein.

Peace that bears joy into the world,
peace that enables love, peace over Israel
everywhere, blessed and holy is peace, let’s say amein.

AboutAudio
Includes: Adonai Adonai El Rachum, S’lach Lanu Avinu, Rachamana, Haven Yakir LI, Haneshama Lach, Adonai Ma Adam, P’tach Lanu Shaar
Commissioned by the Cantors Assembly