Invocation (Six Liturgical Pieces, No. 4)

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.

"Invocation" is quite a change from the other pieces uploaded so far. It is more "organ-like," and seems to show the "French influence" of Freed's training. It is based upon the "Mogen Ovos Mode" ("Magen Avot") of Bibilical cantillation. Hence, it is another melody for chanting from the Torah. Magen Avot is a genre of piyyut (Jewish liturgical poem) designed to be inserted into the liturgy for Friday evening, right before the words “Magen avot bidvaro” (“He shielded the patriarchs with His word”), from which the name of the genre is taken.

The piece features much flowing writing, a fine climax, and some nice use of solo colors as well as almost "French fonds" sound.

The score is attached, as well as a photo of Isadore Freed.

I intend to upload the last two pieces in the collection over the next day or two.