Sara Caswell, violin
Jody Redhage Ferber, cello
Ilana Davidson, soprano
Michael Kasper, percussion
Winter Renaissance Reimagined
Artists
Ilana Davidson| to read about Ilana, please go to:
Sara Caswell | to read about Sara, please go to:
Jody Redhage Ferger | to read about Jody, please go to:
https://www.jodyredhageferber.com/
Michael Kasper
Michael Kasper serves as Dean of Cantorial Studies and Dean of Student Life at the Academy for Jewish Religion (AJR). He was born in Newark and raised in West Orange, NJ, where he began musical studies. Before attending the George Washington University, he spent his high school years working as an accompanist (percussion) at the New Jersey Ballet for their jazz classes. He went to college intending to be a musician, but graduated with a degree in Physical Education with a teaching specialty in Dance. His career has taken him from New York City’s modern dance world, where he moved after having won a National Society of Arts and Letters Choreographer’s Competition, to work with the Twyla Tharp Dance Company, to work throughout the United States and Israel as a performing dancer, and finally to his own dance company: the Michael Kasper Dance Company. After retiring from dance, he became a Social Worker and then a psychoanalyst in private practice. He eventually fulfilled a lifelong dream of becoming an ordained cantor. Along the way, he spent a year as Artist in Residence (Dance) at George Mason University, taught for Hunter College’s Post Master’s Program in Clinical Social Work, and taught ice skating, specializing in his work with autistic and special needs children and teens. Michael led Congregation Sons of Israel-Nyack as its cantor for ten years but retired from the pulpit in 2019. His publications include the papers: “The Language of Love” published in the book Controversies on Countertransference, and “Light and Peace in our Daily Liturgical Declarations” published in Ra’u Or: Essays in Honor of Dr. Ora Horn Prouser. He also wrote and edited the book Circus Texts/Sacred Arts: Bodily Arts as a means of Studying Sacred Texts along with his colleagues Dr. Ora Horn Prouser and Ayal Prouser.
Strike the Viol
from Come Ye Sons of Art (1694) | H. Purcell (1659-1695)
Jesu, bleibet meine Freude
from Cantata BWV 147 (1723) | J.S. Bach (1685-1750)
Un flambeau, Jeannette, Isabelle
Attr. Nicolas Saboly (1614-1675) | Text: Émile Blémont | Trad. French Carol (17th c.)
La Folia, Op. 5, No. 12 | A Corelli (1653-1713)
Riu Riu Chi | Anonymous (16th c.) from Cancionero de Upsala (1556)
Une jeune fillette | Anonymous (15th c.) from Recueil of J. Chardavoine (1576)
The Angel Gabriel | Trad. Basque carol (16th c.)
Bourrée I & II from Cello Suite No. 3 in C Major, BWV 1009 | J.S. Bach (1685-1750)
Lamma Bada Yatathanna al-Andalus | Attr. Ibn al-Khatib (1313-1374) Maqam mode (10th c.)
Sound the Trumpet from Come Ye Sons of Art (1694) | H. Purcell (1659-1695)
Gaudete Christus est natus Anonymous (16th c.) from Piae Cantiones (1582)
Winter Renaissance Reimagined: Program Notes
Winter Renaissance Reimagined: Program Notes
This afternoon's program presents sacred and secular music spanning from medieval Andalusia to the Baroque courts of Europe. From anonymous medieval carols like Gaudete and Ríu Ríu Chiu celebrating the Christmas story, to Bach's radiant chorales and Purcell's ceremonial birthday odes for Queen Mary, these works explore themes of light in darkness and spiritual renewal characteristic of the winter season.
The program also includes earthly subjects: the melancholy Une jeune fillette, in which a Renaissance maiden laments her forced religious vows, and the sensuous Arabic muwashshah Lamma Bada Yatathanna, a jewel of Andalusian court poetry.
Corelli's La Folia explores the ancient Portuguese dance theme through twenty-three variations that showcase Baroque violin technique and harmonic invention. Bach's paired Bourrées from the Third Cello Suite offer brilliant contrast—the first a dance in C major, the second its darker reflection in C minor.
Some works we have reimagined within the framework of their source material, while others we play as composed, honoring the intimate salon traditions where such music was first performed.