{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://milken.aviaryplatform.com/iiif/g73707x94x/manifest","type":"Manifest","label":{"en":["Adler, Sam"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","metadata":[],"provider":[{"id":"https://milken.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"homepage":[{"id":"https://milken.aviaryplatform.com/","type":"Text","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/110/783/small/Samuel-Adler-169.jpg?1620152530","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783","type":"Canvas","label":{"en":["Media File 1 of 1 - B7838_MA_Sam_Adler_2017_Logo.mp4"]},"duration":652.62933,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/110/783/small/Samuel-Adler-169.jpg?1620152530","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/content/1","type":"AnnotationPage","items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-milken.s3.wasabisys.com/collection_resource_files/resource_files/000/110/783/original/B7838_MA_Sam_Adler_2017_Logo.mp4?1616107093","type":"Video","format":"video/mp4","duration":652.62933,"width":640,"height":360},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783","metadata":[]}]}],"annotations":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234","type":"AnnotationPage","label":{"en":["Edited Transcript [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"OPENING GRAPHIC","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=0.0,15.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e It’s a very simple story; a mother and a daughter — the daughter is very young. In those days, the 12th century, children were married at puberty.  And the daughter wants to know what marriage is all about. So, the mother tells her, “Look — it’s going to be wonderful.  First of all, we’re going to have a big party.”\u003cbr\u003e\u003cbr\u003eAnd that’s where the daughter’s interest ends.  And so, there is a music which the daughter imagines is going to be the party. And then the mother starts to talk about responsibilities.  This the daughter isn’t interested in yet.  And what she tells her is that she has to treat her husband wonderfully.  But he’s just a young boy, so he may stray.  Always say, “Come to my bed, and it is best.” She doesn’t understand that, so she falls asleep — I mean, the girl.  But the mother takes this sensuous kind of thing and brings it to a real climax, and also talks about how wonderful the kisses are and so on. And finally, she can’t even sing anymore, so she emotes.  And even the emotions get too much, and she just sings, “Ahhh!  How wonderful it was to be a new bride, the song of a new bride.” Shir Chadash — “The New Song.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=15.0,94.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ADLER: And that’s the story, and it was written for a Testimonium in Jerusalem in 1976.  I was commissioned by a wonderful lady who came to Vienna, where I was on a Guggenheim, and she commissioned me to do this piece. First performance was in Jerusalem in 1976.  They flew us all — children and all — to Jerusalem.  We had a wonderful time, and they did a great job.\u003cbr\u003e\u003cbr\u003eINTERVIEWER: Again, I know this is a very, some of these are very big questions, but if we could, maybe you could give us a couple of your thoughts on your creative life.  Can you speak a little bit to us…\u003cbr\u003e\u003cbr\u003eADLER:  Oh, yes.\u003cbr\u003e\u003cbr\u003eINTERVIEWER: On your vision as a creative person?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=94.0,137.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ADLER:  Well, I feel that creativity is in everyone’s life, and everyone uses it a little differently.  Some people, in their daily life, express themselves, and creativity is if you can live your life expressively.  And I do it with music.  It, I try to express the energy that I feel in our lives today, which is actually what music does. This is the most exciting time to be alive; it’s also the most dangerous, but that’s what makes it exciting.  And that’s what music is about.  I hope that’s what my music is about.\u003cbr\u003e\u003cbr\u003eSome people say I’m the “athletic composer,” meaning that my music has too much energy.  But that’s the way I feel about life, and I’m just a great optimist.\u003cbr\u003e\u003cbr\u003eINTERVIEWER: Let’s talk about the — I know not all of your music is around Jewish themes…\u003cbr\u003e\u003cbr\u003eADLER:  No.\u003cbr\u003e\u003cbr\u003eINTERVIEWER: and all.  Let’s talk about how your personal history affected your work, and particularly, in relation to your Jewish life, and Jewish history.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=137.0,212.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e Well, I grew up, of course, as the son of a cantor; and he was quite a famous cantor, both in Europe and in this country.  When we came here I was ten years old.  My father right away was hired as cantor in Worcester, Massachusetts, where I grew up in this country.  And he wrote a great deal of liturgical music, so it was around me all the time. I remember, and so does my sister, that instead of playing with dolls and so on, we created services.  That’s how we grew up, because we were so much part of the synagogue.\u003cbr\u003e\u003cbr\u003eAnd so, I have written a great deal of liturgical music. But on the other hand, I’ve also written a lot of — actually, more — secular music, because, of course, I’ve spent my life teaching and conducting and playing.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=212.0,261.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e I was a violinist before I started full-time as a composer.  And I’ve conducted a great deal.  I was assistant conductor to Walter Hendl in Dallas — sort of assistant, but it wasn’t called assistant conductor, but I was sort of the cover conductor.  And then I conducted the Dallas Civic Opera before it was the Civic Opera — it was called the Lyric Theater for seven years.  Always conducted choruses — I was the music director at Temple Emanu-El in Dallas, and I taught at the University of North Texas.\u003cbr\u003e\u003cbr\u003eAnd then I came here, to the Eastman School.  I’ve been, I was here for 30 years and retired.  Well, I guess I can’t stay retired, because it’s so exciting to teach.  And now, I’m teaching at the Juilliard School.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=261.0,309.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ADLER: But to be in touch with young musicians who are so excited about life….  You see, when people say classical music is dying, you know, that is absolutely false.  It’s absolutely false, and it is kind of a wrong idea.  Just because the crowds are not as large or as noisy as for popular music — it’s just a different bag.  And so therefore, we have to be satisfied, and we have to do the very best we can. And I think here in America today, we are creating a corpus of music that is truly excellent.\u003cbr\u003e\u003cbr\u003eINTERVIEWER: Only one more large question.  What do you think about the importance of this preservation effort, the Milken Archives, that’s going on?  What do you think the kind of impact that will have, and…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=309.0,365.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e Well, this music is the best-kept secret in the world.  And you see, while there was a great renaissance of Jewish music in the ‘30s and ‘40s, in the late — and in the ‘50s — in the ‘60s, with the youth movement came the demise of this fantastic renaissance.  However, with the demise of it in the synagogue came a tremendous growth outside the synagogue, because we have, in the United States, and all over the world, composers who happen to be born Jewish.  And when they want to express their spirituality, just like their Christian or Mohammedan brothers and sisters, they express it through their spirituality and their religion, and their liturgy.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=365.0,421.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e And so, we have, especially in America, the leading composers of our country writing music of Jewish interest.  And I feel it’s not known.  And this project, to me, is the most important thing — not only to preserve, but to give a spur to all of the music that is being written, and say, “Look what we have.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=421.0,448.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e Perhaps, music for the synagogue is the most vital in this century from any other religious organizations, perhaps except the Anglican and Episcopal Church.  Because they, also, have some of the best composers in England writing for the Church.  In America, many of the best composers write liturgical music, but it’s not heard in churches and synagogues.  And so, we have, on both continents and even in Asia, a tremendous amount of composers writing music affirming their spirituality, and that is completely lost.  And a project like this, I think, will give a focus that has never been given, and I think it has worldwide importance.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=448.0,501.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e I just want to say a few words about the group.  This is a very personal thing. I was here at Eastman for 30 years, and these were all my colleagues.  As a matter of fact, the flutist I knew as a freshman when she came.  I’m that old.  Also, Margaret, the singer, whose career I have followed with great interest.  And she has sung this piece quite often.  She loves it, obviously, sings it with love, and it is a great satisfaction for a composer to get a performance this good.\u003cbr\u003e\u003cbr\u003eAll of them were enthusiastic, because we have all been friends for a long time.  And when you know people that well, it is almost as if one knew one’s best friends intimately.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=501.0,553.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e You see, I’m afraid there are less and less Jewish singers, for some reason.  In the first place, we have no singing tradition in our temples, except for the cantor.  We don’t have choirs. And people like Margaret grow up in the church choir, and they love all liturgical music, whether it’s Jewish or Christian or whatever it is. And the thing is that she doesn’t worry about the language.  As a matter of fact, the language here is a double language — it’s Hebrew and it’s also Catalonian.  And it’s ancient Catalonian.  We don’t even know if the way we pronounce it today is the way they pronounced it at that time.  So, she is doing the very best, both in Hebrew and in Catalonian — or Catalan, as they call it now.  The language can be learned.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=553.0,610.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eADLER:\u003c/strong\u003e I mean, American singers, especially, sing in all kinds of languages, and Hebrew is certainly not the most difficult.  It would be much more difficult were it, for instance, Arabic or Greek that have — these, these languages have certain sounds which we don’t have.  The only sound which exists in Hebrew that doesn’t exist in English is the ch.  But that — they all sing German, and when you pronounce the composer “Bach,” you get the ch, the hard ch, which is present in German and in Hebrew.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=610.0,643.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783/transcript/24234/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"CLOSING GRAPHIC.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/39408/file/110783#t=643.0,652.62933"}]}]}]}