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Musical programming by two congregations

By Eileen Wingard
San Diego Jewish Times, March 24, 2006

What a special treat to hear Howard Hanson’s Romantic Symphony at TICO’s Jan. 31 concert at Tifereth Israel. In 1930, Hanson, founder of the Eastman School of Music, was commissioned by Boston Symphony Conductor Serge Koussevitzky to write this work for the 50^th anniversary of his esteemed orchestra. Conductor David Amos and TICO brought this neglected masterpiece of Americana to life in an admirable performance.

The first movement begins with the woodwinds in an atmospheric introduction that is soon joined by the strings and the horns, then the entire brass choir. The second movement features woodwinds and brass, while the final movement opens with a vigorous repetitive figure in the strings and woodwinds, suggesting an Indian tribal dance.

The concert began with Tchaikovsky’s melodious Romeo and Juliet Overture and concluded with Chopin’s Piano Concerto. Piano soloist Barry Goldsmith demonstrated his technical gifts and his brilliant virtuosity, especially in the mazurka-like final movement. He offered two encores for his enthusiastic listeners. Both were by Chopin, the introspective Prelude in E-minor and a blazing rendition of the Revolutionary Etude.

Goldsmith, who attended the Manhattan School of Music, earned his Bachelor and Doctoral degrees from the Peabody Conservatory and his Masters Degree from Indiana University, was the soloist on Amos’ recent recording with the Scottish National Orchestra featuring music by Jewish composers.

Several days after the TICO concert, on Feb. 4, Congregation Beth Israel and the Women of Beth Israel presented a delightful Cabaret Night and All That Jazz in the Beth Israel sanctuary. From the opening number "All That Jazz," sung by Cantor Arlene Bernstein and Heidi Gantwerk, the capacity audience was riveted.

The audience, familiar with Cantor Bernstein as a staid and proper member of the clergy, were surprised by her talented versatility as she sang in Yiddish, crooned pop numbers and kicked up her heels. Cantor Bernstein’s classically trained soprano blended beautifully with Gantwerk’s voice.

Gantwerk, Vice President of Viewpoint Learning, was once the vocalist for a jazz quartet. Her jazz and musical theater background shone through as she belted out songs with sultry voice and seductive movements.

The evening, designed to illustrate the Jewish roots of American popular song, continued with a section on "Yiddish Stage and Song." The first selection, performed by Beth Israel’s Chai Band, was Andy Statman’s Flatbush Waltz featuring Myla Wingard’s expressive violin, Jeff Myers resonant cello, and Lou Rosen’s rhythmic mandolin accompaniment. This was followed by Cantor Bernstein’s exciting rendition of Rumenye, Rumenye, accompanied by the Chai Band under the direction of innovative jazz pianist Andy Mayer. Mayer was largely responsible for conceiving and producing the Cabaret Night. Buddy Voit, board president of the Kadima Independent Day School at Beth Israel was the capable guitarist for the band.

The next section, "Jazz Standards," featured works by Gershwin, Loesser, Hertzog, Arlen, Weill and Rodgers. Cantor Bernstein’s September Song was particularly memorable. Guest baritone, Cantor Jonathan Grant from Temple Bat Yahm in Newport Beach, sang a whimsical Johnny One Note.

Highlight of the third section, "Great Broadway Musicals" was Cantor Emeritus Sheldon Merel in three selections including “What’s the Use of Wondering” from Carousel and “Maria” from Westside Story. Merel’s smooth tenor continues to captivate.

Irving Berlin’s playful Anything You Can Do had lyrics adapted for Cantors Bernstein and Grant, who challenged each other’s cantorial skills in a game of one-upmanship, boasting such fetes as "I can chant kiddush in Hebrew and Yiddish."

The final section, "’50s and Beyond" began with a Carole King Medley sung by Cantor Bernstein and Gantwerk and concluded with all four singers plus the two rabbis of Congregation Beth Israel, Rabbi Paul Citrin and Rabbi Sheila Goloboy joining in Billy Joel’s Piano Man.

For the pop parts of the program, Beth Israel’s Chai Band was replaced by a guest ensemble featuring Gerard Nolan, tenor saxophone, Evan Marks, guitar, Fred Ubaldo Jr., string bass, and Toby Ahrens, percussion.

This program confirmed the wealth of local talent we have in San Diego. Except for the beautiful baritone voice of Cantor Jonathan Grant, all the performers were San Diego County residents.

It is gratifying to see that our synagogues and temples are being utilized for musical programming, serving to build community through cultural enrichment.