{"id":53978,"date":"2021-02-18T14:36:08","date_gmt":"2021-02-18T13:36:08","guid":{"rendered":"https:\/\/www.iemj.org\/ester-un-oratorio-de-pourim-du-compositeur-lidarti-1730-ap-1793\/"},"modified":"2021-09-08T14:49:30","modified_gmt":"2021-09-08T12:49:30","slug":"ester-un-oratorio-de-pourim-du-compositeur-lidarti-1730-ap-1793","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/en\/ester-un-oratorio-de-pourim-du-compositeur-lidarti-1730-ap-1793\/","title":{"rendered":"Esther, a Purim oratorio by the composer Lidarti (1730- ap. 1793)"},"content":{"rendered":"

Rediscovered in 1997, the score of the oratorio Ester<\/em> (1774) by the composer Cristiano Giuseppe Lidarti<\/a> is to this day the longest and richest work of all Hebrew art music of the 17th and 18th centuries.<\/p>\n

The origin of this work in Hebrew, that tells the story of the queen Esther, remains mysterious. Until not long ago, only the text of this oratorio was known, thanks to two manuscripts kept in the library of the Jewish Portuguese community of Amsterdam, and a third one, a little bit different, in the library of the Hebrew Union College in Cincinnati. But none of them had music written on it.
\"couverture_du_livret_de_l_oratorio_ester_redim.jpg\"The libretto named in Hebrew The Salvation of Israel by Esther<\/em> or in Italian Ester in Oratorio o Sacra Dramma<\/em>, was attributed to the Rabbi of Mantua and Venice, Jacob Raphael Saraval (around 1707-1782), who was known for his interest in music. In a document dated March 1757, Saraval asked the authorities of the Mantuan ghetto, a few days before Purim, the approval for the students of his Yeshiva to present \u00ab a kind of opera based on a biblical story \u00bb. He obtained permission on the condition that no Gentile was to be admitted to the performance, with the exception of the instrumentalist and the costume designer.
Saraval\u2019s libretto, based on the text of the second version of Haendel\u2019s oratorio (1732), but with many cuts and some additions, remained without music until November 7, 1997, when Richard Andrewes, librarian of the Cambridge University, spots in a second-hand music book salere a written score by Cristiano Giuseppe Lidarti called Esther oratorio, 1774<\/em>.
\"oratorio_ester.jpg\"A few months later, the musicologist of Jerusalem\u2019s Hebrew University Isra\u00ebl Adler<\/a>, who dedicated his PhD to the art music in use in the Jewish communities of Europe in the 18th and 19th centuries, would identify Lidarti\u2019s manuscript as the music corresponding to the rabbi Saraval\u2019s libretto. A work of reconstitution then started, and will conclude with a world premiere of Esther\u2019s Oratorio in May 2000 in Jerusalem, and a French premiere and its recording at the Festival de Radio France and Montpellier in 2003, with prestigious performers such as Anne Lise Sollied and Laurent Naouri.<\/p>\n

A question is still unsolved today. Who asked Lidarti to compose new music on Saraval\u2019s libretto? Was it David Franco Mendes, the famous historian and secretary of the community, himself a prolific poet, who apparently would have ordered the libretto to Saraval? This is an unconfirmed hypothesis. Lidarti, himself, does not tell in his autobiography, called Aneddoti musicali the existence of this work, or the professional relations that he had with Portuguese Jews from Amsterdam. One has to note that this autobiography is quite short (about 1300 words) and scarcely mentions his compositions that, according to him \u00ab are not worth of being noticed \u00bb. However his oratorio is surely not a minor work, with its imposing music or length (nearly two hours)!<\/p>\n

Analysis of the Work<\/strong>
\"lidarti_coffret.jpg\"<\/p>\n

Esther\u2019s Oratorio<\/em> is composed of three acts each comprising 3 to 4 scenes. The score is written for 5 to 6 solo voices \u2013 Ester, Donna Israelita \u2013 an \u00ab Israelite woman \u00bb of her suite, Ahasveros, Mordocai, Haman and Harbona (who makes only a brief appearance), a three-part choir and an orchestra of string instruments, flutes, oboes, horns and basso continuo. It is likely that for religious reasons men performed the soprano voices. There are, in the community\u2019s manuscripts, documents indicating that the parts designated as soprano voices were performed by male sopranists. In a formal aspect, Lidarti\u2019s work, although dated from 1774, was created in a pre-classical style of the years 1720-1750. The overture in three movements reminds Sammartini\u2019s symphonies and the opera overtures of Pergolese, Jomelli and Galuppi, and the orchestra is still provided with a basso continuo, a relic of Baroque practices. Arias and duets also follow the \u201cgallant\u201d pre-classical style; the melody is generally cyclic, the harmonies relatively simple the various parts of the piece are clearly defined with expressive contrasts.<\/p>\n

We have here a work which is worth to rediscover. Up to today there is only one complete recording of the Oratorio, unfortunately unavailable. But Lidarti\u2019s biography and many excerpts of his work are available on the European Institute of Jewish Music\u2019s website. One will notice that the baroque ensemble Le Tendre Amour presents also on YouTube excerpts of this work<\/a> in a colored version inspired by the Purimspiel.<\/p>\n

Discography<\/strong>
Esther or The Salvation of Israel by Esther<\/em>, by Cristiano Giuseppe Lidarti, Euterpe, 2003.
Libretto by the rabbi Jacob Raphael Saraval. Direction by Friedemann Layer. Interpretation by the Orchestre national de Montpellier and the Ch\u0153ur de la Radio lettone.<\/p>\n

Baroque Jewish Music \u2013 Venice, Mantua, Amsterdam (1623 \u2013 1774) Tribute to Israel Adler<\/em>, by the Ensemble Texto, Buda Musique, coll. \u00ab Musical Heritage of Jews from France \u00bb, vol. 10, 2011. Direction by David Klein.<\/p>\n

Biography<\/strong>
\u2013 The practice of art music in several European Jewish communities in the 17th and 18th centuries<\/em>, by Isra\u00ebl Adler, Mouton & Co, 1966, pp. 189-236.<\/p>\n

Learn more about Lidarti<\/a>
Watch excerpts from the Oratorio of Ester<\/a>
Watch an excerpt of the concert of Baroque Jewish Music, tribute to Israel Adler<\/a>
Browse other documents related to Baroque Jewish Music<\/a>
Listen and purchase the CD Baroque Jewish Music<\/em><\/a><\/p>\n

\u00a0<\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Rediscovered in 1997, the score of the oratorio Ester (1774) by the composer Cristiano Giuseppe Lidarti is to this day the longest and richest work of all Hebrew art music<\/p>\n","protected":false},"author":1045,"featured_media":31181,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[950],"tags":[2089],"technique":[],"squelettes":[],"sujet":[1805],"formation":[],"genre":[1111],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-53978","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-feature-articles-en","tag-italy-en","sujet-purim-en","genre-baroque-music"],"acf":[],"yoast_head":"\nEsther, a Purim oratorio by the composer Lidarti (1730- ap. 1793) - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" 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