MAGEVET AT BETH ISRAEL CONGREGATION, MARCH 18, 2003

      Magevet is a group of Yale undergraduate students - seven men and
   nine women - who sing Jewish and Israeli music completely a capella, and
   from memory. For the most part traditional songs were used, adapted to
   a modern folk idiom. At times Magevet reminded me of the Swingle Singers,
   especially when parts that normally would be played on instruments
   were imitated by voices; these often included percussive effects that
   provided the basic rhythms. A smooth and mellow blend made the group
   easy to listen to, and a relaxed attitude led to much laughter during
   comments between pieces. The dynamic range was not large; nothing
   much softer than mp, and no ff, but this was part of the musical style.
   I was greatly pleased with the complete absence of amplification - it 
   was not needed at all (there is wisdom in avoiding it - you don't have
   to carry bulky equipment around, nor do you have to depend on your host's
   sometimes temperamental sound system, and you don't accidentally deafen
   your audience!)

      Part 1 consisted of the following pieces: Shalom Aleichem (with
   some male solo lines), Tzadik Katamar (in four part harmony), Dodi Li,
   Hamedura (a rhythmic bonfire song), Galician Kedushah (A Hungarian
   Wedding Song, and one of my favorites), S'vivan, Sovevuni, and
   Al Naharot Bavel (By the Waters of Babylon) This was a setting from
   the 16th century by Salomoni DiRossi and one of the earliest
   published pieces of Jewish music. Part 1 closed with Ekk Hu Shar,
   and Dayenu, a Passover song.

      In celebration of Purim, Rabbi Egolf read the Queen Esther story,
   complete with noisemakers and catcalls at every mention of the word
   Haaman, the villian of the piece. Magevet then sang again, beginning 
   with Mishaela, then Etz Chaim (from the morning liturgy and especially
   appealing), Odeh Le'Eli (somewhat melismatic), Maoz Tzur (Rock of Ages),
   and Kol Haneshama (from Psalm 150). This was taught to the audience,
   who, with the help of small groups of Magevet dispersed throughout the
   room, sang it as a six part round to great effect. Uri Tziyon was next,
   then a 1967 piece by composer N. Shemer, Yerushalayim Shel Zahav
   (Jerusalem the Gold), that had extended passages of very effective
   four part harmony. The program closed with the Israeli national anthem,
   Hatikvah. The Yale Fight Song - sung in Hebrew - was the encore.

      Magevet was directed by Jeffrey Gordon, who, in the manner of the
   first violin in a string quartet, was also part of the ensemble,
   serving mainly to give the pitches and get the pieces started. The
   permanent Musical Director is Michael Seplowitz. The degree of polish
   and self-confidence Magevet showed reflected an unusual amount of
   hard work, talent, and dedication. I hope they visit Jackson again.

                                                  - Glenn A. Gentry