Jewish Museum in Prague – 2008 Annual Report
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THE MAHARAL of POZNAŃ – the ERA of the POLISH LITHUANIAN COMMONWEALTH, 16Th–18Th CENTURY
COEXIST: POZNAŃ AND JEWS THE MAHARAL OF POZNAŃ – THE ERA OF THE POLISH LITHUANIAN COMMONWEALTH, 16th–18th CENTURY The establishment of a powerful dualistic state of the kingdom of Poland and the grand duchy of Lithuania, which since 1569 bore the name of Rzeczypospolita Obojga Narodów (lit.: Republic of Two Nations), created new conditions for the com- munity to thrive and develop. Given the amount of the coronation tax paid in 1507, the Jewish com- munity in Poznań was the third largest in Poland, after Lvov and the Kazimierz quarter of Cracow. This state of affairs continued until the end of the 18th century, though the recurrent natural disas- ters and numerous wars of the latter half of the 17th century brought many hardships to be faced. For COEXIST: POZNAŃ AND JEWS instance, after the great fires which ravaged the city in 1590 and 1613, Jews had to relocate to the suburbs and live there for a number of years. Yet they returned soon, as by 1619 their quarter boast- ed 134 new dwellings and burgher houses, inhabit- ed by around 1,500 people. The community had its synagogue, school and hospital. One of the prom- inent figures associated with Renaissance Poznań was rabbi Judah Loew ben Bezalel, known as Ma- haral of Prague, alleged creator of the Golem. Born in 1520 and native of Poznań, the famed Talmudist, philosopher, Kabbalist, astrologer, and possibly al- chemist twice assumed the leadership of the local community as a rabbi. The Jews of Poznań and Greater Poland were represented in substantial numbers at the so-called Council of Four Lands (Va’ad Arba’ Aratzot) formed around 1580. -
Finding Golem
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Senior Thesis Projects, 2003-2006 College Scholars 2005 Finding Golem Elizabeth Abbot Follow this and additional works at: https://trace.tennessee.edu/utk_interstp3 Recommended Citation Abbot, Elizabeth, "Finding Golem" (2005). Senior Thesis Projects, 2003-2006. https://trace.tennessee.edu/utk_interstp3/3 This Project is brought to you for free and open access by the College Scholars at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Senior Thesis Projects, 2003-2006 by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. ,i 1 FORMC COLLEGE SCHOlARS PROJECT APPROVAL EhzabettA. Abbo-\-\ Scholar Mentor r; (\ d d\ 3 <; D \e VV\ Project Title COMMITTEE MEMBERS (Minimum 3 Required) Name Signature .~~ 2J7{0I¥J k~ PLEASE ATTACH A COpy OF THE SENIOR PROJECT TO THIS SHEET AND RETURN BOTH TO THE PROGRAM DIRECTOR. THIS PAGE SHOULD BE DATED AND COMPLETED ON THE DATE THAT YOUR DEFENSE IS HELD . ..-:1' i I /" DATE COMPLETED ----.t-S."../-!2-..\0.1 ....... / L_'?_~_ Finding Golem 1 Finding Golem Elizabeth Abbott University of Tennessee Finding Golem 2 Letter to the Reader In our society, we often focus entirely on producing a desired result without taking the process of creation into account. This project, however, is more about the journey taken than the product achieved. Behind all of my research on Golem, personal questions about the roles of language and creativity have motivated my work. The four separate parts of the following project are intended to highlight the distinct paths I have taken over the last two years to get to this point. -
Diskographie D. Öst. Populärmusik 1900
1 Diskographie öst. Populärmusik Diskographie der österreichischen Populärmusik Tanz-, Jazz- und U-Musikaufnahmen 1900 - 1958 Wolfgang Hirschenberger Herbert Parnes 2013 2 Diskographie öst. Populärmusik VORWORT Die vorliegende Diskographie ist ein Produkt aus 30 Jahren Sammelleidenschaft und Dokumentation. Sie stellt in dieser Form eine Novität dar. Viele wichtige Diskographien entstanden seit dem 2. Weltkrieg. Allen voran die Standardwerke von Brian Rust, der die amerikanischen Jazz- und Tanzorchester listete. Später kamen die englischen Tanzorchester sowie wichtige Label-Diskographien hinzu. In Deutschland brachte Horst Lange bereits Mitte der 1950er-Jahre die erste „Diskographie der deutschen Hot-Dance-Musik“ heraus, in die neben deutschen auch ausländische Aufnahmen auf deutschen Pressungen inkludiert waren. Schließlich wurde Ende der 1980er-Jahre begonnen, die deutschen Aufnahmen in ihrer Gesamtheit zu erfassen und in verschiedenen Serien im Rahmen der „German National Discography“ unter der Ägide von Dr. Rainer Lotz zu veröffentlichen. Der Österreichbezug in dieser Serie ist aber leider nur äußerst marginal. Diese Lücke galt es zu schließen. Die Vorarbeiten zu diesem jetzt vorliegenden Werk begannen bereits in den 1980er-Jahren. Ursprünglich war angedacht, nur Ragtime- sowie Foxtrott- und Slowfox-Aufnahmen zu erfassen. Etwas später erweiterte sich der musikalische Rahmen und auch Tangos sowie der eine oder andere Walzer fanden Einzug in das Werk. Die Frage des Inkludierens bzw. Exkludierens einer Aufnahme oder eines Interpreten stellte sich im Laufe der Jahre immer wieder. Bis zum Ende der Monarchie ist auch der Rahmen dessen, was inkludiert wurde, etwas enger gesteckt und erstreckt sich nur auf Ragtime und synkopierte Marschmusik sowie einige wenige Aufnahmen, die technische Innovationen porträtierten. Ab den 1920-er Jahren sind die Grenzen offener. -
Czech Music Quarterly
czech music quarterly Ivana Loudová Old & Contemporary Jazz Tomáš Pálka 1 | 2 0 1 0 MEZINÁRODNÍ FESTIVAL KOMORNÍ HUDBY EUROART PRAHA 2009/2010 www.euroart.cz EuroArt Prague Festival is an independent, not-for-profi t festival dedicated to promoting the performance and appreciation of chamber music in Prague and neighbouring communities in the Czech Republic. Monthly, from September to June, the guests of Festival EuroArt Praha are invited to perform in the famous Prague Martinů Hall at the Liechtenstein Palace in Malá Strana. All concerts are organised under the auspices of the wife of the President of the Czech Republic, Mrs. Livia Klausová. Co- partners is the City of Prague as well as Cultural Institutes and Embassies of participating countries. Almost all concerts are repeated also in regional towns of Czech Republic. 13. 4. 2010 Praha, Martinů Hall, Liechtenstein Palace at 7. 30 p.m. Václav Vonášek – bassoon, Prague Bassoon Band - Václav Vonášek, Martin Petrák, Radek Dostál, Tomáš Františ, j.h. W. A. Mozart: Divertimento in B fl at Major J. S. Bach: Partita in d minor BWV 1014 (arr. for bassoon solo W. Waterhouse) J. S. Bach: Chorals overtures K. Stockhausen: In Freundschaft K. Hába: Quartet for 4 Bassoons op.74 A. Piazolla: Tango 18. 5. 2010 Praha, Martinů Hall, Liechtenstein Palace at 7. 30 p.m. Danish String Quartet Rune Tonsgaard Sørensen, Frederik Øland – Violin, Asbjørn Nørgaard – Viola, Fredrik Sjølin – Cello F. Schubert: Quartet movement in c minor, op. posth. J. Haydn: String Quartet in d minor No. 2, op. 76 C. Nielsen: String Quartet in g minor, No. -
Production Notes
A Film by John Madden Production Notes Synopsis Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers… Filmed on location in Tel Aviv, the U.K., and Budapest, the espionage thriller The Debt is directed by Academy Award nominee John Madden (Shakespeare in Love). The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize. The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait. At great risk, and at considerable personal cost, the team’s mission was accomplished – or was it? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands. -
The Jewish Museum in Prague (Founded in 1906), U Staré Školy 1, 3, 110 01, Praha 1, IČO 60459263 Sousedy Evropská Komise 14
koupeno album svatebních telegramů v sametové when the synagogue was also given a Neo-Gothic vazbě. Sbírka vizuálního umění je bohatší o sou- façade. The current restoration was prepared bor šesti obrazů Adolfa Kohna z doby kolem roku and undertaken in co-operation with heritage 1910 a tři kresebné studie Bedřicha Feigla. protection specialists from Prague City Hall, who arranged to have the railing painted blue OPLOCENÍ MAISELOVY SYNAGOGY following a restoration survey which revealed V prosinci byla dokončena restaurátorská this to be the original colour. oprava oplocení před Maiselovou synagogou. Historické oplocení prostoru souviselo s asanač- PROMINENT VISITS ními úpravami Židovského Města kolem roku October 1900, kdy byla provedena nejen novogotická A group of sponsors of the United States Holo- fasáda synagogy, ale i nové oplocení, charakteris- caust Memorial Museum, Washington. tické především kvalitně provedenou mříží a kamennou korunou. Současná oprava se připra- November vovala a uskutečnila v úzké spolupráci s odbor- Participants of the Conference of European 4 2008 nými pracovníky památkové péče z pražského Rabbis. magistrátu. Ti také rozhodli o modrém odstínu THE JEWISH mříže, který byl zjištěn restaurátorským průzku- December mem jako nejstarší. Supermodel Tereza Maxová. MUSEUM IN PRAGUE VÝZNAMNÉ NÁVŠTĚVY Říjen Skupina sponzorů United States Holocaust Memorial Museum z Washingtonu. Prvním mediálním partnerem výstavy Cesta života se stal Český rozhlas. (Zprava) ředitel Českého rozhlasu Pavel Kasík a ředitel Židovského muzea Leo Pavlát slavnostně podepsali deklaraci o spolupráci 10. listopadu 2008. Listopad CESTA ŽIVOTA. RABI JEHUDA LEVA BEN PATH OF LIFE: RABBI JUDAH LOEW BEN Czech Radio is the first media partner of the exhibition Path of Life. -
How the Golem Came to Prague EDAN DEKEL and DAVID GANTT GURLEY
T HE J EWISH Q UARTERLY R EVIEW, Vol. 103, No. 2 (Spring 2013) 241–258 How the Golem Came to Prague EDAN DEKEL AND DAVID GANTT GURLEY THE LEGEND OF THE G OLEM, the mute clay servant brought to life by Rabbi Judah Loew of Prague and who ran amok one Sabbath, is one of the most enduring and imaginative tales in modern Jewish folklore. Although its roots ultimately lie in late antique rabbinic literature, the story dilates somewhat dramatically in the nineteenth century.1 While 1. On the Golem tradition in general, see Elaine L. Graham, ‘‘Body of Clay, Body of Glass,’’ in Representations of the Post/Human: Monsters, Aliens, and Others in Popular Culture (Manchester, 2002), 84–108; Lewis Glinert, ‘‘Golem: The Making of a Modern Myth,’’ Symposium 55 (2001): 78–94; Peter Scha¨fer, ‘‘The Magic of the Golem: The Early Development of the Golem Legend,’’ Journal of Jewish Stud- ies 46 (1995): 249–61; Moshe Idel, Golem: Jewish Magical and Mystical Traditions on the Artificial Anthropoid (Albany, N.Y., 1990); Emily D. Bilski, Golem! Danger, Deliverance, and Art (New York, 1988); Byron L. Sherwin, The Golem Legend: Ori- gins and Implications (Lanham, Md., 1985); Gershom Scholem, ‘‘The Idea of the Golem,’’ in On the Kabbalah and Its Symbolism (New York, 1965), 158–204; Fred- eric Thieberger, The Great Rabbi Loew of Prague: His Life and Work and the Legend of the Golem (London, 1955); Hans L. Held, Das Gespenst des Golem (Munich, 1927); Chaim Bloch, Der Prager Golem (Berlin, 1920); Konrad Mu¨ ller, ‘‘Die Golemsage und die Sage von der lebenden Statue,’’ Mitteilungen der Schlesischen Gesellschaft fu¨r Volkskunde 20 (1919): 1–40; Nathan Gru¨ n, Der hohe Rabbi Lo¨w und sein Sagenkreis (Prague, 1885); and passim the various essays in Alexander Putik, ed., Path of Life: Rabbi Judah Loew ben Bezalel (Prague, 2009). -
Karl Goldmark on Early Recordings Discography of the 78 Rpm Recordings of Goldmark’S Compositions
SZABÓ, Ferenc János (Institute for Musicology, RCH, Hungarian Academy of Sciences) 1 September, 2017 Carl Goldmark on Early Recordings. Discography of the 78 rpm recordings of Goldmark’s compositions. OTKA/NKFIH K108.306 Ferenc János Szabó Institute for Musicology (Research Centre for the Humanities, Hungarian Academy of Sciences) Karl Goldmark on Early Recordings Discography of the 78 rpm recordings of Goldmark’s compositions This discography is the first attempt to compile a systematic list of early recordings of Karl Goldmark’s compositions. Up to now, these early recordings were not in the focus of the musicological research. There are only a few Goldmark monographies1 or bibliographies2 and they do not discuss the sound recordings, except the latest one, written by Johannes Hofer, which listed many recordings and their reissues, mainly from the second half of the 20th and the first years of the 21st century.3 Even Goldmark himself did not mention the sound recordings of his works in his memoires.4 The early recordings of Goldmark’s works are mostly unknown, except some famous ones, for example the recordings from Die Königin von Saba made in Vienna after the highly successful revival directed by Gustav Mahler,5 and, of course, the recordings of Enrico Caruso which were reissued many times on LP and CD because of the popularity of the performer. The rest of the recordings are part only of the knowledge of the specialized gramophone disc collectors and opera aficionados who are interested in the recordings of opera singers of the past.6 Based on the recording dates, two waves of recording activity of Goldmark’s oeuvre can be distinguished during the first half of the twentieth century. -
Albert Alberti
Discographie der österreichischen Populärmusik Erfassung österreichischer Tanz-, Jazz- und U-Musikaufnahmen 1900 - 1958 Abkürzungen der Instrumente acc Akkordeon ld Leader as Altsaxophon org Orgel arr Arrangement p Klavier b Bassgeige sax Saxophon (allgemein) bb Brassbass (Tuba, Sousaphon) sous Sousaphon bj Banjo tb Posaune bs Baritonsaxophon tp Trompete c Kornett ts Tenorsaxophon cel Celeste tu Tuba cemb Cembalo vib Vibraphon cl Klarinette vn Violine comp Kompositeur voc Vokal dr Schlagzeug xyl Xylophon g Gitarre RG Refraingesang harp Harfe Abkürzungen der Plattenfirmen Aus Austroton Hom Homocord Col Columbia Kal Kalliope CR Concert Record (Gramophone) Nov Novaphon Dec Decca Od Odeon El Electrola Pal Paloma ES Elite Spezial Par Parlophon Fav Favorite Ph Philips Gl Gloria Phö Phönix Gr Grammophon Pol Polydor Gram Gramola Tel Telefunken Har Harmona Ultr Ultraphon Hel Heliodor Vic Victor HMV His Masters Voice Vie Viennola Abkürzungen der Rhythmen Bl Blues PD Paso Doble BW Boogie Woogie QF Quick Fox EW English Waltz Ru Rumba F Fox Trot Sh Shimmy L Lied SF Slow Fox LF Langsamer Foxtrott Sw Swing LW Langsamer Walzer T Tango MF Marschfox W Waltz OS One Step Discographie der österreichischen Populärmusik 1 AALBACH JACQUES AALBACH JACQUES, A FÖVÁROSI ORFEUM TAGJA Jacques Aalbach (voc) von der Vereinigung "Fövárosi Orfeum" (Capital Orpheum) Budapest, 1910 Ajaj-jaz, ez már baj (Mátyás Erdös) Gr 272095 Neger Don Juan (Béla Wollner-Jacques Aalbach-Zoltan Somlyó, Op. 80) Gr 272098 ______________________________________________________________________________________________ ADORJÁN ÉS GÖNDÖR ÁDORJÁN ES GÖNDÖR Ungarisches Duett Budapest, vor 1913 A szengáliak Pesten Gr 101102 ______________________________________________________________________________________________ ALBERT ALBERTI ALBERT ALBERTI, TENOR MIT SALONKAPELLE HIMMEL, WIEN Wien, ? Ve Braunes Isonzomädel, vocAA Od 306584 Ve Das Glückerl, vocAA Od 306576 Anm.: mx waren nicht zu erkennen! ______________________________________________________________________________________________ KLAUS ALZNER geb.: 16. -
What Is Tikkun Olam and Why Does It Matter?
11 What Is Tikkun Olam and Why Does It Matter? What Is Tikkun Olam and Why Does It Matter? An Overview from Antiquity to Modern Times Elliot N. Dorff Jews today speak of tikkun olam as a central Jewish precept; concern for literally “fixing the world” by making it a better place, through activities we often call “social action,” is certainly at the heart of a contemporary Jewish perspective on life. That meaning of the term tikkun olam, however, is itself very new in Jewish history. The first occurrences of the phrase tikkun olam in the Jewish tradition appear in the Mishnah and Tosefta (both edited c. 200 C.E.), which state that the rabbis instituted a number of changes in Jewish law mi-p’nei tikkun ha-olam, “for the sake of tikkun olam.”1 In these earliest usages, the term probably means—as the Alcalay and Even-Shoshan dictionaries suggest as their first definition— guarding the established order in the physical or social world (with derivative nouns t’kinah, meaning “standardization,” and t’kinut, meaning “normalcy, regularity, orderliness, propriety”).2 In the twelfth century, Maimonides expands on this considerably, claiming that the rabbis created all of their rulings, customs, and decrees—that is, the entire rabbinic legal tradition—in order “to strengthen the religion and order [i.e., fix] the world.”3 In this earliest meaning of the term, then, the rabbis sought to repair the legal and social worlds by making Jewish law apply fairly and effectively in their contemporary circumstances, thus giving the world proper proportion and balance. -
The Golem of Prague in Recent Rabbinic Literature,The Letter of The
The Golem of Prague in Recent Rabbinic Literature The Golem of Prague in Recent Rabbinic Literature by: Shnayer Z. Leiman a rabbinic journal of repute – an – המאור In a recent issue of anonymous notice appeared on the Golem of Prague.1 Apparently, a rabbi in Brooklyn had publicly denied the authenticity of the Maharal’s Golem, claiming that R. Yudel Rosenberg (d. Piotrkow, 1909) – was the first) נפלאות מהר"ל in his – (1935 to suggest that the Maharal had created a Golem. According to the rabbi based his claim, in part, on ,המאור the account in the fact that no early Jewish book records that the Maharal had created a Golem. In response to the denial, the anonymous notice lists 6 “proofs” that the Maharal of Prague, in fact, created a Golem. Here, we list the 6 “proofs” in translation (in bold font) and briefly discuss the weight they should be accorded in the ongoing discussion of whether or not the Maharal created a Golem. 1. How could anyone imagine that a [Jewish] book written then [i.e., in the 16th century] could include a description of how Jews brought about the deaths of numerous Christians? At that time, the notorious censors censored even more fundamental Jewish teachings. Fear of the Christian authorities characterized every move the Jews made, from the youngest to the oldest. The argument is presented as a justification for the lack of an early account of the Maharal and the Golem. Only in the 20th century could the full story appear in print, as it Apparently, the author of the .נפלאות מהר"ל appears in The volume does .נפלאות מהר"ל anonymous notice has never read not depict how “Jews brought about the deaths of numerous Christians.” If the reference here is to the punishment meted out by the Golem to the Christian perpetrators of the blood never depicts the Golem as bringing about נפלאות מהר"ל ,libel the death of anyone, whether Christian or Jew. -
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554 Bookwalter New (' rlisle, Ohio, 45344 December 1; 1986 Deer Jim, I Thank you for your prompt l~ttar to me. ·You must have gone immediately back to iiiscondn after the symposiur.o. nui ov8r. I went to the Austin and Fort iorth-Dallas areas to see family and friends before returning to Ohio the following Friday. I am sorry to delay responding to your letter, but I have been busy with all kinds of things since coming back herea '.!.'hat was a. very interesting lecture you delivered about the different sounds of diverse polka bands in different parts of the U.S. 1 at different periods of history. I wish you could have dwelled more on sone of our better Texas bands, howevero I guess you may have the impression that I prefer the 11 old-country11 brass-band.sound of polka music. As l see it, the_pol1 a music ohould resemble the old-country sound as much as possible. I're2lize one should t:ry to keep an open mind, bu~ after listening to polka ruusic foD over 50 years, I have quite made up my mind as to what I like and do not like I do hot know how 11 11 familiar you a:re 1ith the music of Whoopie John vilfahrt or not, but there is a marked difference in the way his music sounds i~ the late'20 1 s and the )0 1 s when the ili:x: Fat. Dutchmen$ ,u inf'luenco caught on. I:R the recordings of the 120 1 s, 11 Whoopia 11 John so'llnded more like,tha old c6untr.§-~ From the '?O's on, he adds th4 11 bouncing bass" of the Six 1 Fat Dutch.meno As I erceive it, the b6i.:mcing bass is T&n influence of jazz.