The Joy of the Yiddish Word (2026)

Di Freyd fun Yidishn Vort - די פֿרײד פֿון ייִדישן װאָרט

World Premiere Performance
Composed by Derek David
Performed by Rose Hegele, soprano and Elias Dagher, piano

New Gallery Concert Series, April 18, 2026
Longy School of Music, Cambridge, MA

Program Notes
Di Freyd fun Yidishn Vort (“The Joy of the Yiddish Word”) is a song cycle inspired by the modernist and surrealist movements in Yiddish art, originating in Eastern Europe and, through migration, continuing in America. In contrast to earlier literary traditions of the early modernist period (represented by writers such as Sholem Aleichem and I. L. Peretz) these artists embraced the stark, and at times bleak, realities (and unrealities) of their lived experience. Their work often confronts the suffering of human existence, as well as themes of sexuality, love, and the psychological dimensions of the world around them. Both male and female poets were (and continue to be) celebrated within this rich literary tradition. This song cycle seeks to carry forward a lineage in Yiddish art that has endured for over a thousand years, yet often remains hidden in plain sight.

The selected poems are imagined as a personal conduit of expression for the composer, exploring themes of trauma, sexuality, aging, and passion in deeply uncertain times.

Dedicated with immense gratitude to my therapist K.E. whose wisdom, patience and brilliance has changed my life. She’s the only person (other than myself) who will truly understand this piece.

Jesse Morrison’s Transitions, featuring my Partita for Solo Viola is out today. The album is available for streaming and download.

Also available on Bandcamp & Apple Music.

From the Liner Notes:

The album begins with a newly commissioned work, Partita for Solo Viola by composer Derek David, written in reverence to the unaccompanied masterpieces of Johann Sebastian Bach. Rather than imitation, David offers conversation. His Partita draws on personal experiences shaped by friendship, love, devotion, alienation, longing, mental illness, and tragedy during a specific period of his life. These emotional states are translated into music of striking intimacy, where lyricism and fracture coexist. Morrison guides the listener through this landscape with unforced authority, allowing each movement to breathe, to question, and ultimately to resolve in its own quiet eloquence.

— Jesse Morrison