The Lord of All (Six Liturgical Pieces, No. 3)

Isadore Freed (March 26, 1900 – November 10, 1960) was of Belarusian birth. Born in Brest-Litovsk, now Brest, Belarus, Freed's family emigrated to the United States when Freed was three years old and settled in Philadelphia, where his father owned a music store. Freed began playing piano at age seven, and began composing at age nine. His formal music education was at the University of Pennsylvania, where he earned a bachelor's degree at the age of 18. After graduation went to Berlin where he briefly studied piano with Josef Weiss, and then to Paris where he studied composition with Ernst Bloch, Nadia Boulanger, Louis Vierne and Vincent d'Indy. He also studied piano with Józef Hofmann and George Bayle, and organ with Rollo Maitland. Freed returned to the United States in 1934, and shortly after he was employed by the composition department at Temple University from the mid-1930s until the mid-1940s. In 1944, Freed was named head of the composition department at the Hartt School of Music where he taught in various capacities until his death in 1960. In 1951 he was also hired as Harmony instructor at the Hebrew Union School of Sacred Music.

"The Lord of All" is a Choral-Prelude based upon the great hymn "Adon Olom" by Eliezer Gerovitch (1844 – 1914). It is an interesting and highly colorful piece, but poses many problems for the organist. It is orchestrally conceived, and is very difficult o really "get it right." There are a lot of registration changes, and at times, the piece seems to be trying to figure out what comes next. I was not completely satisfied with this performance, but I don't think I could "improve" on it.

The hymn "Adon Olom" has been a regular part of the daily and Shabbat (Sabbath) liturgy since the 15th century.

The score (you really need to follow it see what's going on) is attached below, as well as photos of Isadore Freed and Eliezer Gerovitch, the composer of the hymn providing the melody for the composition.