n the spring of 1996, my great friend and brilliantviolinistFriedemann Eichhorn invited me and my girlfriend-at-the-time Hila Plitmann (a soprano) to give a concert with him in his home city of Speyer, Germany. We had all met that year as students at the Juilliard School andwereinseparable. Because we were appearing as a band of travelling musicians, 'Friedy' asked me to write a set of troubadour songs for Piano, Violin and Soprano. I asked Hila (who was born and raised in Jerusalem), to write me afew'postcards' in her native tongue, and a few days later she presented me with these exquisite and delicate Hebrew poems. I set them while we vacationed in a small skiing village in the Swiss Alps, and we performed them forthefirst time a week later in Speyer.
In 2001, the University of Miami commissioned me to adapt the songs for SATB chorus and string quartet, and the Efroni Choir in Israel commissioned me to adapt them for SA, ViolinandPiano, leaving me now with five(!) different versions of the same work: SATB and String Quartet; SATB, Violin, and Piano; SA and String Quartet; SA, Violin, and Piano; and the original Soprano, Violin, and Piano.
Eachof the songs captures a moment that Hila and I shared together. 'Kalá kallá' (which means 'light bride') was a pun I came up with while she was first teaching me Hebrew. The bells at the beginning of'Éyzeshélleg' are the exact pitches that awakened us each morning in Germany as they rang from a nearby cathedral.
These songs are profoundly personal for me, born entirely out of my new love for thissoprano, poetand now my beautiful wife, Hila Plitmann.
Eric Whitacre
