Inspired and moved by the events of the last year, I was taken on a journey which led to the composition of a song cycle for Tenor and Piano on the conflict happening in Israel and Gaza. A deeply reflective emotional piece, the work comments on major events of the conflict that left a deep impression on me, events which I felt compelled to remember and honour.

The work begins with a prayer for peace, moving to Hillel’s eternal question “If Not Now, When?”, and remembering particular tragic milestones of the conflict. It concludes on a note of hope with the piece “Reimagine Zion” as a place of peace.

This sensitive work is not meant to be a political statement but rather the exploration and sharing of my inner turmoil as one event proceeded the next. I felt compelled to remember the victims of the conflict, such as the innocent loss of life throughout the region.

After a year long struggle and still feeling stuck in Oct 7, the seventh work remembers Oct 7, the massacre. I remember the hostages taken and the 6 who were executed. I speak about the recurring theme of Jew Hate in “Where Will We Go?” and about the feeling of shattering like the broken shards referred to in Kabbalah from the fire bombing of the Adass Synagogue in Melbourne. By then I was completely exhausted from all the hate and the process of translating and expressing my journey through music was a healing, cathartic experience.

I have been compelled to write more after these last few weeks of Jew hatred that we have received in the Australian Jewish community.

Disclaimer: The evening will include moments which are confronting, including some works that refer to the events and trauma of Oct 7. As part of the artistic process I felt called to share like artists have done in the past and continue to do today. If you feel that the subject nature is too raw and real I kindly suggest not attending. I do however welcome with open arms curious minds and considerations to the work.

The first half of the evening will feature other compositions that I have written in 2024, opening with an unrelated string quartet piece called Undulating Forces movements I and II and The Eyes of a Child in Times of War. Following this a video will be shown by National Council of Jewish Women on the last year of antisemitism / Jew Hate in Australia. The second half of the night will be my work Amidah – A Silent Prayer and conclude with a question and answer session with my Tenor and myself about the work.

Anna Hirst Friedman

Anna was captivated by Mozart’s The Magic Flute from as early as she can remember. Growing up in Sydney Australia Anna gave nothing less than her all to music, diligently studying the piano, French Horn and singing with the Australian Children’s Choir.

Anna was selected as a handful of students to study at the University of Sydney composition. After completing her degree Anna moved to the UK where she began exploring Hindustani music and composition. She studied intensely classical Tabla from the Benares Gharana & toured with the Middle Eastern band Rivers of Babylon playing percussion and back-up vocals across the UK.

Now residing in Sydney as a mother of 2, Anna recently returned to writing music. With an explosion of ideas, she has commented on themes of mother, war & mythology. Since 2023 Anna has completed a wide range of works that include: orchestral, string quartet, chamber ensemble & choral. She has enjoyed writing the accompanying musical works for the poetry book MADRE, written by Jessica Chapnik Kahn. These works are a companion piece for the poems and are written for choir and vocal soloists.

In 2024 Anna won a portrait composition prize for the acclaimed classical group Notturno who specialise in traditional instruments. Written for Rabbi Jacqualine Ninio it was premiered in June 2024 at the Sydney Jewish Museum and again performed at her Silver Jubilee in September. 2024 also propelled Anna into writing new works that included a string quartet piece called The Eyes of a Child in Times of War and a Song Cycle for Tenor and Piano – Amidah A Silent Prayer.

2025 marks new beginnings for Anna. So far, Anna has received 3 opportunities to have her compositions performed. She has received two grants – the first from Shalom to have her work Amidah A Silent Prayer premiered at the Goethe Institute in March, and secondly to write a Song Cycle for Hourglass Ensemble where she has been offered to select a vocalist from The Song Company. Her choice soprano.

Anna is once again joining hands with published author Jessica Chapnik Kahn for the libretto. Titled ‘The fire always says yes’, she is very much looking forward to completing and having this work performed. Lastly, Anna’s choral work MADRE will be performed at a Poetica evening in May. She has written a new work for the event called ‘A Burning Bush’.

Anna still pursues the charm of the magic flute that all these years later continues to show her the power inherent in music and the human capacity to overcome obstacles at all costs.

Doors open 7pm for a prompt 7:30 start.

AMIDAH A Silent Prayer

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