Title |
Time |
Play |
The Mirror | 27:27 | ▼ |
Demon's Welcome | 01:14 | |
Home Variations | 03:21 | |
Wedding Dances | 04:38 | |
Reading The K'tuba | 02:09 | |
Incantation | 02:53 | |
Asmodeus' Court | 01:17 | |
Invocation of the Jew of Babylon | 00:36 | |
The Jew of Babylon Appears | 00:41 | |
Processional: The Jew of Babylon's Mystic Circle | 01:23 | |
Yenta's Fantasy: Trying on Her Wedding Dress | 00:47 | |
Yenta's Fantasy: The Wedding Celebration | 03:21 | |
Flight | 01:43 | |
March - Wolf and Sheep | 01:58 | |
Passover Offering | 20:17 | ▼ |
I. Lento | 03:57 | |
II. Energico | 05:25 | |
III. Alla Marcia | 03:03 | |
IV. Grave | 04:05 | |
V. Quieto | 01:38 | |
Tants un Maysele | 14:17 | ▼ |
Tants | 05:25 | |
Maysele | 08:08 |
The Mirror, a play by Isaac Bashevis Singer, explores the interior life of a Jewish woman living in a small eastern European town. The surrealistic plot mixes themes of sexual repression and fantasy, presided over by a demon who haunts the woman’s mirror. Yehudi Wyner, one of America's leading composers, has created evocative music for The Mirror, inspired by various Jewish traditions—from secular folk and religious song to the music of klezmer bands. Wyner's Suite from The Mirror, his moving Passover Offering, and the folklore-inspired Tants un Maysele (Dance and Little Story) are featured here in world-premiere recordings by acclaimed soloists.
Reviews and Recognitions:
Grammy Award Winner 2005: David Frost, Producer of the Year, Classical
Grammy Award Nominee 2005: Best Small Ensemble Performance (with or without conductor)
"In his music, Wyner achieves a complementary tone and texture: affectionate, critical, mystified, funny, and a little terrifying. The klezmer clarinet part is played with virtuoso abandon by Richard Stoltzman." —Richard Dyer, Boston Globe
"...Wyner exhibits great range of expression and idiom.... [The Mirror is] a tribute to his craft as well as to his poetry.... Every number gets its grip on you.... [Passover Offering is] a work of large Romantic sensibility..." —Steve Schwartz, ClassicalCDReview.com
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