Rebecca Teplow will have a concert March 9, 2014 at 8:00 pm at the Eric Brown Theater, Kaplen JCC on the Palisades, 411 East Clinton Avenue, Tenafly, NJ To purchase tickets, call 201-408-1418
Rebecca will sing a selection of songs from her two hit CDs, Tfilot/Prayers and Kaveh/Hope plus new material that she has composed especially for this concert.
Rebecca is now accepting new voice and piano students for the summer of 2014. Email her at: email@example.com
Sometimes I have a hard time connecting to G-d in synagogue. Spirituality is such a personal thing. Too many people around me.
I am really a very private person which is unusual for a performer. It is the introspective quality that people hear in my music. It evokes the core of their neshama (soul) in a private and intense connection to G-d.
The most profound element in my music is the intensity. The intensity stems from the fact that when I am singing I am completely focused on recognizing G-d’s presence in my life. Listeners feel it, absorb the emotion and the music echoes in their souls.
People gain an image of what my music is about without reference to Hebrew. This is because the words are so vividly linked to the musical techniques used. For instance, in Kaveh, the hope that we are trying to hold onto when we are in a desperate situation is presented in the opening notes of “Kaveh” (which means “hope”) with a series of dissonant chord clusters. When the words move into “strengthen yourself and G-d will instill courage in your heart”, there is a strong resolution of the dissonance presented. Another example is present in the rhythmic drive of “Nachon Libi” (which means “steadfast is my heart”) reflecting your heart racing towards G-d presence in your life, as if you are singing to G-d with your whole being. It is an announcement that you are ready for a spiritual connection. I will sing music even with my soul. The beat is awakening the world to G-d’s presence in their life.
Another example is in “Ani Maamin,” on the words “I will wait” for the coming of redemption, there is a measure when the rhythm of the music is changed to incorporate three extra beats, when I switch from a piece in 6/8 and suddenly use a measure of 9/8. This extension of timing reflects the “waiting” and for the coming of the Messiah.
The interesting thing about these techniques, is that I do not “consciously” compose them in this fashion. I only start noticing that they are there much after the process of composing. Magical things happen because I am so deeply connected to the words as a vehicle of connection to G-d.
The occasional sadness that someone hears in my music is a reflection of my soul’s yearning for spirituality. Rav David Aaron says: “We are the happiest when we are sadly searching for God. When you allow yourself to hear the inner voice of your soul’s yearning for spiritual greatness, you may feel much sadness. It may then seem hopeless that the more you awaken to your soul’s desire for God, the sadder and the more discontented you will be. But the path to true happiness is to embrace your souls sadness. The sadness and discontent of the soul is actually the very material from which the soul makes joyous music.”
My music tells people not to escape from the sadness of their soul. Don’t try to fill the void with money, fancy cars, jewelry or pain killers. There is joy in this yearning that feels lovesick for G-d. Constant searching for G-d’s presence in your life brings joy.
I studied the violin and piano classically. I came from a mixed world, going from Yeshiva of Flatbush elementary school to High School of Performing Arts. Talk about a transition. I obviously have brave parents. Music got me through my life. People like Joni Mitchell, Kate Bush, Ricki Lee Jones, Samuel Barber, Maurice Ravel and Bach got me through some of the dark times. I knew I met my bashert when we could listen to Barber’s Adagio for Strings and Til Tuesday together for hours on end.