From S'lichot 5781 at Baltimore Hebrew Congregation
Composed by Cantor Ben Ellerin
Piano: Dan Weiser
Cello: Frances Borowsky

Ki lekach tov natati lachem: 
Torat. Al-taazovu.
Etz-chayim hi lamachazikim bah; 
v'tom'cheha m'ushar. D'racheha darchei-noam, 
v'chol-n'tivoteha shalom.
Hashiveinu, Adonai, eilecha — v'nashuvah. 
Chadeish yameinu k'kedem.

A precious teaching I have given you: 
My Torah. Do not forsake it.
A Tree of Life to those who hold it fast: 
all who embrace it know happiness.
Its ways are ways of pleasantness, 
and all its paths are peace.
Take us back, Adonai —
let us come back to You.
Renew in our time the days of old.

Returning the Torah to the Ark: Ki Lekach Tov (Eitz Chayim Hi) - Cantor Ben Ellerin

I believe every classical composer should consider writing their own "Adagio for Strings" (think Samuel Barber) for themselves and for their listeners. At 64, I have been waiting 44 years to write mine so that I would have the maturity to accomplish this. Thus was “Pasacalle Triste” (Sad Passacaglia) born; I may yet compose more string orchestra music - I dearly love the genre.

As Mahler used the simple tune "Frère Jacques" in the parallel minor key for contrabass solo as the basis for the 3rd movement of his first symphony, so have I used a very simple tune that is associated with the circle of fifths as the basis for “Pasacalle Triste.” While this piece owes much to the music of past composers - formally (in form/name only) to J. S. Bach’s sprawling “Passacaglia and Fugue,” to the whirling circles of fifths of his motet “Komm, Jesu, komm,” and conceptually to Ravel’s “Bolero,” “Pasacalle Triste” is especially beholden to the first movement of Gorecki’s “Symphony No. 3,” to Samuel Barber’s “Adagio for Strings,” and mainly to the music of Astor Piazzolla whose “Oblivion” is his most notable circle of fifths piece. “Pasacalle Triste” is at times imbued melodically with Hispanic-inspired countermelodies, hence its title.

The beginning of the piece is marked “Apotheosis of the circle of ﬁfths.” Although this serves informally as a nickname for the piece, it was my intent as a composer for the music to embody it.

As with the first movement of Gorecki’s “Symphony No. 3,” “Pasacalle Triste” begins with the melody in the contrabass, with subsequent entries moving upward in range and intensity through the violoncello, viola, and violin staves. Meanwhile, often tender countermelodies gradually appear, most notably the one that is based on the non-linear “unwinding” motif which first appears in the contrabass in bar 25. This rather motif serves as the basis for most of the musical developments that occur during the piece, most notably the two climaxes that occur at bars 57 and 105. Rhythmic momentum and dynamic intensity gradually builds to the first climax.

The “yearning” motif which first appears in the Violin I Solo at bar 89 remains present through different instruments up to the “Coda” at bar 165. The music gradually dies away from the second climax at bar 105 to the “Coda,” during which time the number of instruments logically reduces, and rhythmic momentum and dynamic intensity gradually decrease. The coda features so few instruments it sounds more like chamber music than symphonic. Two musical swellings occur, painting “one’s last ounce of strength” after which the music gradually slows down and dies away—ending in the contrabass where it began—and with the only two pizzicato notes in the piece punctuating the ending.

Tonality will never be used up as a musical language for personal expression. Neither will any musical language. Each composer brings their own unique voice to all musical languages. I regularly use different musical languages to express emotions through music - tonality, free tonality, modality, twelve-tone music, microtonality, and my personal favorite, “twelve-tone tonality,” which gives me an enormous sense of freedom as a composer.

I hope you find meaning in listening to “Pasacalle Triste.” Thank you for your time and attention.
---
Pasacalle Triste (Sad Passacaglia) for String Orchestra - “Apotheosis of the circle of ﬁfths.” Music by Stanley M. Hoffman. NotePerformer 4 Audio and Scrolling Score Video on YouTube.
youtu.be/youpYKTS6C8?si=FiCmEZJL9Ph_-v5P
Music: © Copyright 2024 by Stanley M. Hoffman. www.stanleymhoffman.com All rights reserved.

This music cannot be considered for performance until October 2024 at the earliest due to a prior commitment.

Pasacalle Triste (Sad Passacaglia) (String Orchestra)

Djiin (Original Mix)	Sahalé
Sylvains Dorient	Renaud Garcia-Fons & Claire Antonini
Cupa Cupa	Parra for Cuva
Fauna	Satori
Racatin	Populous
The Center Will Not Hold	Solomun
Remembrance (Extended Version)	Hardy Heller, Alex Connors
The Ginning	Stavroz
Like Rocks	Mees Dierdorp
The Hound - Short Version	NTO
Heimat - Original	Kollektiv Turmstrasse
Cerca De Ti	Hermanos Gutiérrez
The Hug	Atli Örvarsson
Super Interlude Pt. 1	Christina Vantzou
Images Of Broken Light	Chihei Hatakeyama
White Flag	Romain Garcia
I Feel Love	Sam Smith
Intergalactic	Black V Neck
Kill Dem	Jamie xx
Talkin Bout	Mees Dierdorp
Day One	Stereoclip
Remembrance (Extended Version)	Hardy Heller, Alex Connors
Nomy (Original Mix)	Dulus
Body Move	Dizzy Fae
White Flag	Romain Garcia
Kill Dem	Jamie xx
Super Interlude Pt. 1	Christina Vantzou
Images Of Broken Light	Chihei Hatakeyama
Baby Again..	Fred again.. & Skrillex & Four Tet
Falling	Daphni
Saudade, Saudade	MARO

Dance Church · 2024-02-25

This is my most eclectic Dance Church set yet. From Jacob Collier's cover of Björk's "Hyperballad" to an original deep house remix of Taylor Swift's "It’s Nice To Have A Friend" to De La Soul's classic "I Be Blowin'" featuring Maceo Parker to the Svendsen Remix of "Born And Raised" by Nico Stojan & Mira (Berlin), this mix will keep you guessing and keep you moving.

Full set list:


"Hyperballad (Björk cover) (Mahogany Session)" by Jacob Collier
"Rumba Juankita (History of Colour Interpretation)" by History of Colour
"Bf Holiday" by Let Your Hair Down
"Primavera" by Ocote Soul Sounds
Contra El Sol" by Ocote Soul Sounds & Adrian Quesada
"Use Your Wings" by Nico Stojan
"Dropping Seeds Of Life" by Birds of Mind
"Born And Raised (Be Svendsen Remix)" by Nico Stojan & Mira (Berlin) & Be Svendsen
"I Be Blowin'" by De La Soul & Maceo Parker
"Ashley's Roachclip" by The Soul Searchers
"Mints" by Uniting Of Opposites
"Taka" by Ahadadream & Priya Ragu & Skrillex & Contra
"Sakura Blossom" by Sébastien Léger
"It’s Nice To Have A Friend" by Taylor Swift
"Isn't She Lovely" by Biréli Lagrène & Sylvain Luc
"Bright Morning" Stars by Mountain Man

Returning the Torah to the Ark: Ki Lekach Tov (Eitz Chayim Hi) - Cantor Ben Ellerin

Ben Ellerin

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