מרכז למוסיקה ירושלים ]חל״צ[ Jerusalem Music CentRe נשיא: מארי פרחיה

Young Musicians for Holocaust Survivors and the Elderly A joint project of the Jerusalem Music Centre and the Jerusalem Foundation Online concerts and conversations with ensembles of the David Goldman Programme for Outstanding Young Musicians of the Jerusalem Music Centre

Host: Oded Shomroni

Monday, 14.12.20 at 17:00 The fifth night of Hanukah Broadcast from the Jerusalem Music Centre's web site www.jmc.org.il For Donations: [email protected] | 02-6234347 (ext. 200) Bank transfer details UBANK no. 26 Jerusalem branch no. 288, Keren Ha'yesod 32, Account no. 11609-2 Cheques The Jerusalem Music Centre P.O. Box 4568, Jerusalem 9104402 Donations are tax deductible under Article 46 of the Income Tax Programme:

GLINKA from Trio Pathetique in D minor I. Allegro Moderato

Alma Shapiro - Piano Yael Kuznik - Clarinet Zohar Izhack - Cello Coached by Ariel Halevy and Ariel Tushinsky

MENDELSSOHN from String Quartet No.1 in E Flat Major, Op.12 I. Adagio non troppo – Allegro non tradante IV. Molto Allegro vivace

Ravani Loushy Kay, Shai Loustig - Violins Daniel Ron - Viola Noey Gvili - Cello Coached by Sergei Bresler

SCHUBERT from String Quintet in C Major, D.956 I. Allegro ma non troppo

Hila Brosh, Eden Tsemach - Violins Jehonathan Sher Lipschietz - Viola Itamar Gadol, Yael Shmila - Cellos Coached by Felix Nemirovsky Mikhail Glinka (1804-1857) Trio Pathétique (1832)

Mikhail Glinka is considered as Father of National Russian music, stemming from Russian folk tunes, except that in the case of this Trio, he can be considered as Father of Russian Trio as well, since trios were not present in Russian musical tradition before Glinka’s Trio Pathétique. Excluding some music classes during his youth, Glinka’s musical education relied on self-tutoring. Only at the age of 26 did he begin studying music seriously. Yet, he had not yet begun composition studies when he wrote Trio Pathétique two years later.

The Trio Pathétique title attests to the work’s purpose – to evoke pathos within the listener. In his essay, the 4th century BC Greek philosopher Aristotle wrote that Pathos is one of the three rhetoric elements, along with Logos and Ethos. Logos – logics, convincing the listener with logical- rational argument, relying on intelligence. Ethos – Authenticity, convincing the listener with reliable argument based on the presenter’s expertise. And Pathos – pain or emotional experience, convincing the audience by evoking his feelings of sorrow, sympathy and compassion.

For Glinka this title had double meaning. The first was physical and originated from his long-term nerve injury, him mentioning in his memoires that composing Trio Pathétique had been the leading weapon in the struggle between the body and spirit. The other one was emotional, stemming from a broken heart, as he had written on the work’s score: “The only way I know love is through the pain it causes”.

Two year before writing this trio, at the recommendation of his physician, Glinka decided to move to Italy, where he wrote the piece. For the premiere, with Glinka at the piano, two of his colleagues from the La Scala Orchestra in Milan joined him. When one of them heard his friend's new work he exclaimed: “Now, this is despair!”. Felix Mendelssohn Bartholdy (1809-1847) String Quartet No. 1 in E-flat major, Op. 12 (1812)

The beginning of the nineteenth century was a stormy period for the Jews in Germany. Their civil rights were limited and uncertainty reigned. The threat of pogroms and its consequence of leaving no economic means was imminent and lead to their emphasis on developing artistic and intellectual faculties, so that no one could rob them of these.

Unfortunately, Jewish children were not accepted to public schools, and since Abraham and Lea Mendelssohn – Felix’s parents, our composer – were of some wealth, it enabled them to hire excellent private tutors for their children, who learned Latin, Greek, Mathematics, History, Geography, English, French, Drawing and wide musical education that included singing, piano and violin playing as well as composing.

The String Quartet No. 1 published by Mendelssohn was actually the third of seven string quartets that he had written, and only 7 months after the secret dedication on its score “the P.B. Quartet” that gave it its sobriquet, he decided that it would rather be changed…

Three years before writing this quartet, the 17-year old Felix began a relationship with a next-door girl, Betty Pistor. She had been a friend of his sister Rebecka, his co-member at the Berlin and the Berliner Singakademie choirs and a frequent visitor with the Mendelssohn family. Yet, the rumors concerning Betty’s “love for Jews” were not welcome in her family. Her father deemed the relations inappropriate, yet the Mendelssohns detected underlying threats of anti-Semitism and apprehension.

While still friends, Felix told Betty that he was writing a quartet for her. She was not aware of the fact that the dedication “Quarter for BP” would appear on the score and that he would refer to it in his letters to his family and friends. Before he could update her of this dedication, a few months later he was surprised with the abrupt rapture of their relationship. In a letter he wrote to his friend Ferdinand David, who held the quartet‘s manuscript, he expressed his utter surprise concerning Betty. Nevertheless, the problem was graphically very simple and amusing to solve…

From Felix’s letter to Ferdinand David: 13 April 1830 “Hear that and be shocked! Betty Pistor is engaged. Totally engaged. She belongs to a Doctor and Professor of Law, Rudorff. As soon as their marriage is announced in the paper, I authorize you to change the BP (Betty Pistor) on my manuscript to BR (Betty Rudorff). This will require only a light and skilled feather stroke. It is quite simple…”

Franz Schubert (1797-1828) String Quintet in C major, D. 956 (1828)

Schubert’s last chamber piece – the String Quintet in C major – entails the special and close friendship between one Moritz and three Franzs: Moritz von Schwind – a painter and drawer of stories and tales, renowned for his antagonism towards Richard Wagner; Franz Lachner – composer, organ player and active opponent to Wagner; Franz Schober – poet and actor, the initiator of the Schubertiades and parties’ lively spirit; and the quintet’s composer, Franz Schubert.

To enable his sick friend to compose freely, Franz Schober put his apartment in the center of Vienna at Schubert’s disposal for a long period, as well as supported him financially and morally. After a year and his health deterioration, Schubert finally, in September 1828, two and a half months before his death, moved to his brother’s residence in rural Wieden neighborhood. One month later, their mutual friend Franz Lachner paid Schubert a visit. Listening to details concerning his health and after a visit to Josef Haydn’s grave, he happened to see a new work on the piano, a quintet for two violins, viola and two celli. He immediately sat at the piano, began reading it and a few minutes later asked Schubert: “Where did you take the idea for a quintet with two celli? As far as I know, Beethoven and others wrote quintets for two violas and one cello”. Schubert replied: “I prefer this ensemble. You would not suggest that I should imitate Beethoven in ensembles or in any other mater. Although his influence is great on all of us, his taste might be different and I may have taken this ensemble after listening to a concert of quintets by George Onslow, himself a cellist. Boccherini too, also a cellist, wrote for such ensembles, with two celli. I think he has about a hundred of them”.

Lachner returned to the piano, continued playing and said: “Franzi, this seems like a symphony. You succeeded in making a quintet sound like an orchestra. Did you present it to any publisher?” “I did”, said Schubert, “but they declined”. “Sadly, this happens to all good works”, said Lachner, “you always have to discover the one publisher with guts”. After this visit Lachner met their mutual friend Moritz von Schwind, who asked about Schubert’s health. Lachner also told him about the new powerful quintet, its moving passages, its special Schubertian lyrical parts, and mentioned that while playing it on the piano in some passages he had the urge to get up and dance. Schwind suggested to arrange a special event to premiere the work. And so it was.

All they had to do was mention to musicians that this event is about a new work by Schubert, and they had all accepted to participate with enthusiasm. Schober suggested that Schubert would play the viola part but Lachner thought that Schubert would prefer listen to the piece rather than play it. Rehearsals began soon and the premiere was set for November 10 at Bogner's Café.

Many friends attended the quintet’s premiere concert, except for Schubert himself. His health had deteriorated rapidly. In addition to the syphilis he suffered from, he caught typhus too, and nine days later, on November 19, 1828, he died prematurely at 31 years of age. The David Goldman Programme for Outstanding Young Musicians

The David Goldman Programme creates, supports and nurtures outstanding young chamber ensembles throughout Israel. The JMC believes that chamber music playing is a central and necessary part of any complete musician's education and development.

Chamber music exposes young musicians to a wide range of repertoire outside of the confines of their solo activities, encourages cooperation, teamwork, mutual listening and sensitivity, and brings participants into contact with a broad cross section of teachers and peers.

The programme includes participants between the ages of 12 and 25, who receive weekly coaching by senior teachers throughout the academic year, intensive residential courses, and numerous performances throughout the year.

The Programme's outstanding young musicians also receive masterclasses from leading ensembles from all over the world, as well as meetings with leading Israeli composers and music theorists that broaden their musical and intellectual horizons. The programme also supports ensembles made up of Outstanding Young Musicians in the IDF and academy students.

In 2010, the programme was named after the late David Goldman, whose family made, through the Jerusalem Foundation, a major donation in his memory that ensures the programme's future for generations to come.

Café Europa - For Holocaust survivors Supported by The Jerusalem Foundation

The 22,000 Holocaust survivors living in Jerusalem represent one of the most vulnerable populations in the city, facing psychological, physical and financial challenges that require immediate and substantive solutions. The Café Europa network offers social and support opportunities for the city’s Holocaust survivors. Each café serves as: A meeting place where survivors can enjoy a social and cultural experience. A resource center where trained professionals assist survivors in accessing and maximizing the rights and services to which the city’s general elderly sector, and the survivor population in particular, are entitled. A mobile “Café on Wheels” for homebound survivors provides computers, a library and visits by trained multi-lingual volunteers. Over 300 men and women attend Café Europa each week, with the programme’s eight branches dispersed among the city’s quadrants to enable easy accessibility for each area’s target population. Another 80-100 survivors benefit weekly from the Homebound Services programme.

Programme notes: Oded Shomroni English version: Tsilli Rudik Photos: Yael Ilan Design: Revital Toren