| Symphony No. 3 | |
| Subtitle: | Kaddish |
| Composer: | Leonard Bernstein |
| Text: |
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| Dedication: | Memory of John F. Kennedy |
| Movements: | three |
Symphony No. 3 "Kaddish" is a programmatic choral symphony by Leonard Bernstein, published in 1963. It is a dramatic work written for a large orchestra, a full choir, a boys' choir, a soprano soloist and a narrator. "Kaddish" refers to the Jewish prayer that is chanted at every synagogue service for the dead but never mentions "death."
The symphony is dedicated to the memory of John F. Kennedy, who was assassinated on November 22, 1963, just weeks before the first performance of the symphony. Leonard Bernstein wrote the text of the narration himself, but struggled with his own motivation for the aggressiveness of the text.
The revised version is scored for:
The text begins with a narrator addressing "My Father" (i.e., God). They state that they want to pray a kaddish. After the initial approach to the Father in prayer, a chorus sings his kaddish in Aramaic. At the end, the narrator repeats the final words of the prayer:
The prayer escalates into a confrontation with the Father (who never replies in the symphony), and in a "certain respectful fury", accusing him of violating his promise with mankind. One of the more poignant texts from the symphony comes from this movement:
"For lo, I do set my bow in the cloud ...And I will look upon it, that IMay remember my everlasting covenant ..."Your covenant! Your bargain with Man!Tin God! Your bargain is tin!It crumples in my hand!And where is faith now—Yours or mine?
The speaker calms down, speaks softly and suggests that he comfort God. A soprano solo conveys a lullaby, intended to help the speaker rock God gently to sleep, after which the speaker will help God dream.
The scherzo is a fast-tempo dream sequence. God has fallen asleep and the narrator paints a dream. God is no longer in control and the narrator has full power to bring God on this journey through their own imagination. The speaker begins by painting what God has made:
The narrator then proceeds to show God that they are in control of this dream.
A burning bush and gushing rock refer to some of the miracles described in the Book of Exodus. The narrator next places a rainbow in the sky, in parallel to the story of Noah, when God placed a rainbow in the sky to institute a new covenant with man. In loud triumph and anger, the speaker declares:
After showing God the problems in the world, they help God believe in the new arrangement. The music builds to an amazing climax, crowned with the entrance of a boy's choir singing the phrase "Magnified and sanctified be His great name, Amen" in Hebrew.
The pace of the music slows down, as the narrator has finished his dream. He wakes God and God then confronts the reality of the image. The narrator, satisfied that God has seen His errors, beams:
The narration ends with a commitment from both sides, God and Human, to "Suffer and recreate each other."
Though there is a resolution to the struggle, the music does not end triumphant and grand. Instead, it ends in a final kaddish by the choir and the final chord is dissonant, suggesting that all is still not right and more work must be done.
The symphony was first performed in Tel Aviv, Israel, on December 9, 1963, with Bernstein conducting the Israel Philharmonic Orchestra, Jennie Tourel (mezzo-soprano), Hanna Rovina (narrator) and the choruses under Abraham Kaplan. In this original version of the Kaddish Symphony, Bernstein specified that the narrator be female. The work was generally received with great enthusiasm in Israel.
The American premiere of the work took place soon afterwards on the afternoon of January 31, 1964, in Boston with Charles Münch conducting the Boston Symphony Orchestra, the New England Conservatory Chorus and the Columbus Boychoir, again with Tourel (mezzo), but now with Bernstein's wife, Felicia Montealegre as narrator.[2] The American reactions to the work were decidedly mixed, ranging from highly favorable to vitriolic.
In 1977 Bernstein revised the symphony, saying: "I was not satisfied with the original (version). There was too much talk. The piece is ... (now) tighter and shorter." With the revision, Bernstein no longer specified the gender of the narrator, and recordings featuring both male and female narrators have been made. In the first recording below (which is of the original version for female narrator), the narrator was Bernstein's wife, Felicia Montealegre, whereas in the second and third recordings below (which were of the revised work), the narrators were men, Michael Wager and Willard White.
The Kaddish Symphony was often narrated by Samuel Pisar until his death in 2015; he wrote a new text for it describing his experience with the Holocaust, when all of his family suffered, and most perished. Pisar wrote this version of the text for the Kaddish Symphony "in memory of Leonard Bernstein, a beloved friend."
The first performance in France took place in 1994, and was carried out by the Formation Symphonique of the Chœur et Orchestre des Grandes Écoles with Mari Kobayashi as soloist and Michael Lonsdale as the narrator.
In November 2017, Kaddish was performed in three concerts by the New York Philharmonic to commemorate Bernstein's 100th birthday at David Geffen Hall, with Tamara Wilson (soprano), Jeremy Irons (narrator), and Leonard Slatkin conducting.[3]
In 2003, after talks with Bernstein shortly before his death in 1990, Holocaust survivor Samuel Pisar added a new narration about his personal experiences and how his family suffered and were murdered in the Holocaust, and his subsequent struggle with his belief. The Bernstein estate allowed this version to be used only with Samuel Pisar as recitator before his 2015 death.[4]