Alon Music Records

Total Page:16

File Type:pdf, Size:1020Kb

Alon Music Records ˙Èχ¯˘È†‰˜ÈÊÂÓ ÌȯÁ·†ÌÈÓ·χ Israeli Music Select Albums ∏∑π†Æ†πØ≤∞±±†Æ†‡¢Ú˘˙‰†ÏÂχ ≠†ÏÎÈȯ†Ô„ÈÚ†Ï˘†Ë˜È¯ى ˙‡†ÔÈȈφÌÈ˘˜·Ó†ÏÓÈ‚†Ï‡¯˘È†Ï˜†ÌÚ†ÛÂ˙È˘·†È‡Ï·‰†˙Â¯È˘‰ ¢Á¯·†‡˘È†‰ÏÚ¢†¨®≤∞∞쩆ÌȘÓÚÓÓ ‰˜ÈÊÂӆȯ˜·Ó†ÈίÂÚ†˙¯˘Ú†ÆÌȯÁ·‰†˙Èχ¯˘È‰†‰˜ÈÊÂÓ‰†ÈÓ·χ ÌÚ†˙Èχ¯˘È†‰˜ÈÊÂÓ†·Ï˘Ó˘†¨Ë˜È¯ى†Ï˘†È˘‰†ÂÓ·χ†Â‰Ê ̉ÈÏÚ†Ìȷ‰‡‰†ÌÈÈχ¯˘È‰†ÌÈÓ·χ‰†˙¯˘Ú†˙‡†Â‚¯„†ÌȯÈη ÍÂ˙Ó†ÆÌÂȉ†„Ú†‰È„Ó‰†Ì˜ӆı¯‡·†Â‡ˆÈ˘†¨Ì‰ÈÈÚ·†ÌÈ·Â˘Á‰Â .ÌÏÂÚ†˙˜ÈÊÂÓ ¯ÓϘ†ÏËÈφ∫·ÂˆÈÚ†¨ËÏ·„Ï‚†Èˆ¯·†∫ÌÂÏȈ†¨˜ÈÊÂÈÓ†Ô˜Èω†˙·Ȅ‡· ±≤†®˙ÂȇÏ·†˙ÂÏ·‚Óφ̇˙‰·©†Ô‡Î†Â‡·‰†Â‚¯Â„˘†ÌÈÓ·χ‰†±∞∞ ÏÎ†Ï˘†Ï·Â˘·†ÆÌÈ¢†˙‚ҷ†˙¢†˙ÂÙ˜˙Ó†ÌȯÁ·†ÌÈÓ·χ .χÈÊÂÚ†‰¯ÂÙȈ†∫‚Âφ·ÂˆÈÚ†¨ËÏ·„Ï‚†Èˆ¯·Â .Ï··†˙ȇ¯†Â˙ÙÈËÚ˘†¨ËÈϘ˙‰Ó†¯Á·†¯È˘Ï†ÈÂËÈ·†Ô˙ȆÏ· ≠†Ìȇ„„‰†„Óˆ ¢ÏÈÏÁ‰¢†¨®±πμπ©†≤†‰¯„Ò ≠†ÍÂÁ†ÌÂÏ˘Â†ÔÈÈˢÈȇ†˜È¯‡ ËÈϘ˙†‡Â‰†ÔÂȯ‚†Ï‡¯˘È†ϢʆȘү„Ӈ†È·†Ï˘†È˘‰†ÌÓ·χ ¢·Ïφ˙Á˜Ï†Èφ‰ÓÏ¢†¨®±π∑π©†˙Ù˙¢ӆ‰ÚÙ‰· ÌÈÚ˘˘†¨¢ÏÂÏ·˘¢†Ì·χ·†‰È‰†ÌÂÏ˘Ï†˜È¯‡†ÔÈ·†‰ÏÂÚÙ‰†ÛÂ˙È˘†‡È˘ .ÌÈÁÈψӆÌÈ¯È˘†‰Ú˘˙†Â·Â†®ßıȇ†±∞©†ÈÂÈ·†Ï„‚· ÆȈ¯‡†„‰†˙·Ȅ‡· .‰Ê†‰ÚÙ‰†Ì·χ·†Ìȯ˘ÂÓ†ÂÓÓ†ÌÈ·¯ ∫ÌÈÓÂÏȈ†¨·‚¯†ÌÁÓ†∫¯Âȇ†·ÂˆÈÚ†¨ÁÂÙ˙†Ï‡ÎÈÓ†∫˜ÈÙÓ†¨ÆÒ‡ÆÈ·ÆÈÒ ≠†Ô‡‚†Ì¯Â‰È Æ®ËÓÈÈ˯ˇ†„ËÈÈÂȆÆÈÒÆ̇Æԇφ‰„Â˙©†¯˘¯È˜†‰ÎÈÓ ¢˙˜Â˘‰†„Èφ҄¯Ù·¢†¨®±π∏¥©†Í¯„‰†ÚˆÓ‡ ≠†Èˆ¯‡†‰ÓÏ˘ ‰¯Èȯ˜·†ÌÈÓ·χ†∂∞≠ΆËÈϘ‰†¨Ï‡¯˘È†Ò¯Ù†Ô˙Á†¨Ô‡‚†Ì¯Â‰È ¢¯È‡‰†‚ÊÓ†ÈÈÂÈ˘¢†¨®±π∑π©†ÌÈί„ .̉·˘†ÌÈËÏ·‰†„Á‡†Â‰Ê†¨ÂÏ˘†‰‡ÏÙ‰ ‰È‰†¢„·ȇφÍω†¯·‚¢†Ì·χ‰†¨ÌÈÓ·χ†‰¯˘Ú†ËÈϘ‰˘†È¯Á‡ .χ¯‰†„„†∫¯ÂȈ†ÈÙ¯‚†·ÂˆÈÚ†¨Ô‡‚†Ì¯Â‰È†·È†ÈÙ‡†∫ÌȘÈÙÓ È‡È˘Ï†‰ÎÊ˘†¨¢ÌÈί„¢†¯Á·‰†Ì·χ‰†ÚÈÙ‰†ÂȯÁ‡Ï†¨‰ÙÓ†˙„˜ .ÌÂȉ†„Ú†‰Ù˜˙†‰˙‡·†‰Î¯Ú‰ ¨®±π∏∑©†ÌÈËÈÏى†ȇ·†„‰‡ ÔÂχ†¯‡¯ßʆ∫ÌÂÏȈ†¨Èˆ¯‡†„‰†˙·Ȅ‡· ¢ÚÂÒφÍÈ˘ÓÓ¢ . Â˙‡†‰˙ÂÂÈÏ˘†¨ÌÈËÈÏÙ‰†˙˜‰Ï†ȇ·†„‰‡†Ï˘†‰¯Âη‰†Ì·χ†Â‰Ê ¨®≤∞∞∞©†¯ÓÚ†Âß‚†˙‡†˙Á¯‡Ó†˙ÈÒÂÏ„‡‰†˙¯ÂÓÊ˙‰ .ϢʆËÙχ†ÈÒÂÈ†Ï˘†˙ÈϘÈÊÂÓ‰†Â˙˜Ù‰·†¨‰Ù˜˙†‰˙‡· ¢‰Âψ¯·¢ Æ®ËÓÈÈ˯ˇ†„ËÈÈÂȆÆÈÒÆ̇Æԇφ‰„Â˙©†ÏËÓÈÙ†Ô˙ȇ†∫·ÂˆÈÚ†¨ÆÒ‡ÆÈ·ÆÈÒ ˙¯ÂÓÊ˙‰†Â˙‡†‰ÂÂÏӆ̷χ·†ÆÈÂÎÈ˙≠Ìȉ†¯Óʉ†È·‡†‡Â‰†Ï¢Ê†¯ÓÚ†Âß‚ .‚ÏÊÓ‡†ÆچƇ†¯¢„†Ï˘†ÂÁˆȷ†Â˙ω‰·†˙ÈÒÂÏ„‡‰ ≠†Ï‡Ï‡†Ôȯ˜ ÔÂÈÁ†‰ÊÈÏÚ†∫·ÂˆÈÚ†¨®Ó¢Ú·†ÚÂϘ†˙È˘ÈÏ˘‰†Ôʇ‰©†‰„‚Ó ¢ÌÙ˘†ÌÚ†‰Ë˜†ı¯‡¢†¨®±π∏𩆉˜È˘¯Ë‡ . ·Ï†Ï‡†‰Î¯„†˙‡†ÏÏÒ˘†¨Ï‡Ï‡†Ôȯ˜†Ï˘†È˘ÈÏ˘‰†‰Ó·χ†Â‰Ê ≠†˙¯ÂÂΆ˙˜‰Ï ˙ÈϘÈÊÂÓ†˜Ù‰†Ì·χ‰†Æ‰ÈÁω†ÌÏÂΆ˙‡˘†ÌÈËȉφÌÚ†ÒÂʈ˜‰ ¢Í¯·†Ï˘†ÌÈÈÙ‚Ó‰¢†¨®±π∑≥©†È‚ÂنȯÂÙÈÒ ÆıÈ·¯†˙Ȅ‰ȆȄÈ≠ÏÚ ‰˜ÈÊÂÓφ˘„Á†ÏÈψ†‰‡È·‰†¨ÔÂÒ¯„҆Ȅ†Ï˘†Â˙‚‰‰·†¨˙¯ÂÂΆ˙˜‰Ï Æ®ËÓÈÈ˯ˇ†„ËÈÈÂȆÆÈÒÆ̇Æԇφ‰„Â˙©†Ô¯‡†È¯˘†∫·ÂˆÈÚ†¨ÆÒ‡ÆÈ·ÆÈÒ .̉ÈÈ·†¯·ÚÓ‰†ÈÚ˘·Â†ÌÈ¯È˘·†¨¯ÂÓ‰·†˘ÂÓÈ˘†ÌÚ†˙Èχ¯˘È‰ ÔÓÂȆ¯Ó˙ȇ†∫¯ÂȈ†¨®Ï˘Ù©†‡˘„†Æ‡ ≠†„ÂÚ‰†ÈÏÈψ†˙˜‰Ï . ¢ÌÈÓ˘·Ï†¯Ï¢†¨®±π∑쩆Ô¢‡¯†Ì·χ ¨®±π∑∏©†¯˘Ú≠‰˘˘‰†˘·Î‰ ¨˜Â¯†˙˜ÈÊÂÓ†ÌÚ†˙ÈÂÎÈ˙≠ÌȆ‰˜ÈÊÂÓ†‰Â˘‡¯Ï†‰·ÏÈ˘†‰˜‰Ï‰ ¢¯˘Ú≠‰˘˘‰†˘·Î‰¢ ‰„Â‰È†Ï˘†˙ÈÏÓ˘Á‰†‰¯ËÈ‚‰Â†Í„†ÈÓ¯†Ï˘†Â˙¯È˘†ÏÚ†ÒÒ·˙‰· ÌÈ„ÏȆȄÈ≠ÏÚ†‰Ê‡‰Ï†ÌÈÓȇ˙Ó˘†ÌÈ¯È˘†Ï˘†¯È„†·ÂÏÈ˘†˘È†Ì·χ· .ÌÈÈ˙ÂÎȇ†ÌÈÁφÌÈËҘˆÈÙφ¨¯ÒȘ .̉ȯ‰†È„È≠Ïچ̂ .®È‡ÏÂʇ†ÈËÈϘ˙φ‰„Â˙©†Ò†ÂÈ„ÂËÒ†∫‰˜ÈÙ¯‚†¨ÔÂÙÈϘ .‰Ê¯·†„È„†¨ıÈ·¯†˙Ȅ‰Ȇ¨·Â‚†È„È‚†¨¯Ëί†ÈÂȆ¨ÔÙ‚†Ô˙Â‰È .ËÈÂφÏÎÈÓ†∫·ÂˆÈÚ†¨¯¯‰Ï‡†Â„„†∫˜ÈÙÓ†¨ÆÒ‡ÆÈ·ÆÈÒ „ÈÙφÈχ ≠†¯˜ÈÏÂÙ†‰„Â‰È '‚†Ï‡¯˘È†Ï˜†¨‰¯„Ò‰†Í¯ÂÚ ¢ÔÂÎÈ˙‰†ÌÈφÔÂÏÁ¢†¨®±π∏∏©†˜·‡Â†¯Ù‡ ˙‡†Â¯ˆÈ†„ÚÏ‚†·˜ÚȆ¯˜ÈÏÂÙ†‰„‰Ȇ¨‰‡Â˘†ÈÏÂˆÈ†Ï˘†È˘†¯Â„†È·Î ˙ÓÁÏӆȯÁ‡†Ì‰È¯Â‰†˙˘ÂÁ˙†̉È˙¢ÂÁ˙†ÏÚ†¯ÙÒÓ˘†¨Ì·χ‰ .‰ÈÈ˘‰†ÌÏÂÚ‰ ¯Â„‰≠Ô·†„È„†∫·ÂˆÈÚ Æ®ËÓÈÈ˯ˇ†„ËÈÈÂȆÆÈÒÆ̇Æԇφ‰„Â˙©†˜„‡҆ԇȆ∫ÌÂÏȈ†¨ÆÒ‡ÆÈ·ÆÈÒ Design: David Ben-Hador Israeli Music – Select Albums The Israeli Philatelic Service, in collaboration with Kol Yisrael †Ï·‰†˙ÚÙ‰φÚ¯ȇ†˙Ó˙ÂÁ Gimel Israel Radio, is commemorating select albums in SPECIAL CANCELLATION Israeli music. Dozens of senior music editors and critics ranked their 10 favorite Israeli albums and those they felt were the most important albums ever released, from the founding of the State in 1948 to the present. We present here (within the confines of philatelic limitations) 12 select albums from various periods and in different genres, chosen from among the 100 top-ranked albums. The album covers appear on the stamps and each tab expresses the song selected from that album. Arik Einstein and Shalom Hanoch in Concert (1979), “Why Should I Take it to Heart” Much of the Shablul album, the greatest collaboration The Doodaim – between Arik and Shalom, appears on this live performance Album 2 (1959), “The Flute” album. The second album recorded by the late Benny Amdursky CBS, Producer: Michael Tapuach, Design and Illustration: and Yisrael Gurion was released as a 10” record featuring Menahem Regev, Photos: Micha Kirshner (our thanks to nine successful songs. NMC United Entertainment). Hed Arzi. Shlomo Artzi – Yehoram Gaon – The Middle of the Road (1984), Ways (1979), “Changes in the Weather” “In the Orchard Near the Water Trough” After recording 10 previous albums, the album titled “A Man Israel Prize recipient Yehoram Gaon has recorded some 60 Gets Lost” was a turning point, followed by the selected albums throughout his illustrious career and this is one of album “Ways”, which continues to receive record breaking the most prominent among them. praise to this day. Producers: Efi Niv and Yehoram Gaon, Graphic Design and Hed Arzi, Photo: Gerard Alon. Illustration: David Harel. The Israeli Andalusian Orchestra Hosts Ehud Banai and the Refugees (1987), Jo Amar (2000), “Barcelona” “Continuing to Ride” The late Jo Amar was the father of Mediterranean music. This is the debut album of Ehud Banai and the Refugees, On this album he is accompanied by The Israeli Andalusian the band that accompanied him at the time, with musical Orchestra, conducted by Dr. A.E. Amzaleg. production by the late Yossi Elifant. Magda (The Third Ear Movies LTD.), Design: Aliza Hayon. CBS, Design: Eitan Pimentel (our thanks to NMC United Entertainment). Kaveret - Poogy Tales (1973), “Baruch’s Boots” The Kaveret band, led by Danny Sanderson, brought a new Corinne Allal – Antarctica (1989), sound to Israeli music, also incorporating humor into its songs and transition segments. “A Little Country with a Mustache” Hed Arzi, A. Deshe (Pashanel), Illustration: Itamar Newman. This album, Corinne Allal’s third, paved her way into the hearts of the Israeli mainstream with hits that she composed herself. Musical production by Yehudit Ravitz. HaKeves HaShisha Asar (1978), CBS, Design: Sheri Arnon (our thanks to NMC United “HaKeves HaShisha Asar” Entertainment). This album features a rare combination of songs suited for the listening pleasure of both children and their parents. Yehonatan Geffen, Yoni Rechter, Gidi Gov, Yehudit Ravitz, Lehakat Tsliley Ha’Ud – First Album (1975), David Broza “To the Candle and the Spices” CBS, Producer: Dudu Elharar, Design: Michal Levit. The band incorporated Mediterranean music and rock for the first time, with vocals by Rami Danoch and Yehuda Keissar on bass guitar, performing high quality texts and Yehuda Poliker – Ashes and Dust (1988), melodies. “Window to the Mediterranean” Koliphon, Graphics: Studio Nes (our thanks to Azulay This album expresses the feelings of creators Yehuda Poliker Records). and Yaakov Gilad as children of Holocaust survivors and those of their parents after World War II. Eli Lapid CBS, Photos: Jan Saudek (our thanks to NMC United Entertainment). Series Editor, Kol Yisrael Gimel The Idan Raichel Project – Out of the Depths (2005), “A Leaf in the Wind” This is the project’s second album, incorporating Israeli music with world music. By courtsey of Helicon Music, Photo: Bartzi Goldblat, Design: Lital Kolmar,Bartzi Goldblat, Logo Design: Zipora Uziel. Issue: September 2011 Design: David Ben-Hador Stamp Size: 30 mm x 30 mm ∞∑∂≠∏∏∑≥π≥≥†∫ψ≠†È‡Ï·‰†˙Â¯È˘‰ Plate no: 844 (no phosphor bar) ∂∏∞≤±†ÂÙÈ≠·È·‡≠Ï˙†¨±≤†ÌÈÏ˘Â¯È†˙¯„˘ Sheet of 12 stamps The Israel Philatelic Service - Tel: 972-76-8873933 Tabs: 12 12 Sderot Yerushalayim, Tel-Aviv-Yafo 68021 Printers: Joh. Enschede, The Netherlands www.israelpost.co.il * e-mail: [email protected] Method of printing: Offset.
Recommended publications
  • When Mizrahi Artists Said ‘No’ to Israel’S Pioneer Culture
    Riches To Rags To Virtual Riches: When Mizrahi Artists Said ‘No’ To Israel’s Pioneer Culture Shoshana Gabay. Ills. Joseph Sassoon Semah Upon their arrival in Israel, Mizrahi Jews found themselves under a regime that demanded obedience, even in cultural matters. All were required to conform to an idealized pioneer figure who sang classical, militaristic ‘Hebrew’ songs. That is, before the ‘Kasetot’ era propelled Mizrahi artists into the spotlight, paving the way for today’s musical stars. Part two of a musical journey beginning in Israel’s Mizrahi neighborhoods of the 1950s and leading up to Palestinian singer Mohammed Assaf. Read part one here. Our early encounter with Zionist music takes place in kindergarten, then later in schools and the youth movements, usually with an accordionist in tow playing songs worn and weathered by the dry desert winds. Music teachers at school never bothered with classical music, neither Western nor Arabian, and traditional Ashkenazi liturgies – let alone Sephardic – were not even taken into account. The early pioneer music was hard to stomach, and not only because it didn’t belong to our generation and wasn’t part of our heritage. More specifically, we were gagging on something shoved obsessively down our throat by political authority. Our “founding fathers” and their children never spared us any candid detail regarding the bodily reaction they experience when hearing the music brought here by our fathers, and the music we created here. But not much was said regarding the thoughts and feelings of Mizrahi immigrants (nor about their children who were born into it) who came here and heard what passed as Israeli music, nor about their children who were born into it.
    [Show full text]
  • The Messiah Isn't Coming – Mashiach Lo Ba – אב אל חישמ
    משיח לא בא – The Messiah Isn’t Coming – Mashiach Lo Ba Compiled by David Bryfman and Jessica Fechtor for the 2007 Wexner Graduate Fellowship Summer Institute The texts that follow are organized according to the following themes: I. An introduction to the relationship between Zionism and messianism (p. 2) II. From Messianism to Zionism: Religious Zionism (pp. 3‐4) III. Human Agency and Political Zionism (p. 5) IV. From Messianism to the Socialist Utopian Dream (p. 6) V. “Messianism” in the Labor Zionist Movement (p. 7) VI. Human Agency and the Zionist Dream (p. 8) VII. “Messianism” in Music (pp. 9‐11) VIII. Closing Questions (p. 12) Because of time constraints, it will probably not be possible for you and your chevrutah to cover all of the material on messianism and Zionism. Begin with the introduction (section I), and then choose one or more of the sub-topics that interest you (sections II – VII). Please conclude with the general closing questions (section VIII), which we hope you will find relevant to each of the sub-topics. Save the rest for exploration on your own. 2 משיח לא בא – The Messiah Isn’t Coming – Mashiach Lo Ba I. Introduction What is the relationship between Zionism and messianism? Traditional beliefs about the coming of the Messiah seem incompatible with Zionist ideology. The verse, “‘I adjure you, O daughters of Jerusalem, by the gazelles, and by the hinds of the field, that ye awaken not, nor stir up love, until it please’ (Song of Songs 3:5) has been interpreted as a ban on Jews to ascend the walls, that is, to bring about the return to Zion prior to the coming of the Messiah.”1 And yet, messianism is a constant trope throughout the intellectual history of Zionism.
    [Show full text]
  • Dorot: the Mcgill Undergraduate Journal of Jewish Studies Volume 15
    Dorot: The McGill Undergraduate Journal of Jewish Studies Volume 15 – 2016 D O R O T: The McGill Undergraduate Journal of Jewish Studies D O R O T: The McGill Undergraduate Journal of Jewish Studies Published by The Jewish Studies Students’ Association of McGill University Volume 15 2016 Copyright © 2016 by the Jewish Studies Students’ Association of McGill University. All rights reserved. Printed in Canada. No part of this book may be used or reproduced in any manner whatsoever without permission except in the case of brief quotations embodied in critical articles or reviews. The opinions expressed herein are solely those of the authors included. They do not necessarily reflect those of the Department of Jewish Studies or the Jewish Studies Students’ Association. ISSN 1913-2409 This is an annual publication of the Jewish Studies Students’ Association of McGill University. All correspondence should be sent to: 855 Sherbrooke Street West Montreal, Quebec, Canada H3A 2T7 Editor in Chief Caroline Bedard Assistant Editors Akiva Blander Rayna Lew Copy Editors Lindsay MacInnis Patricia Neijens Cover Page Art Jennifer Guan 12 Table of Contents Preface i Introduction v To Emerge From the Ghetto Twice: Anti-Semitism and 1 the Search for Jewish Identity in Post-War Montreal Literature Madeleine Gomery The Origins of Mizrahi Socio-Political Consciousness 21 Alon Faitelis The “Israelization” of Rock Music and Political Dissent 38 Through Song Mason Brenhouse Grace Paley’s Exploration of Identity 54 Madeleine Gottesman The Failure of Liberal Politics in Vienna: 71 Alienation and Jewish Responses at the Fin-de-Siècle Jesse Kaminski Author Profiles 105 Preface Editor-in-chief, Caroline Bedard, and five contributors put together a terrific new issue of Dorot, the undergraduate journal of McGill’s Department of Jewish Studies.
    [Show full text]
  • Live in Concert Dany Sanderson Synagogenkonzert Lesung Und
    RF DO A IO R REN“ A TO AN M K I E R D E Konzert I D Sandra Kreisler „ Film Der letzte Mentsch Synagogenkonzert Live in Concert Dany Sanderson S A N DR ER A KREISL Lesung und Gespräch Dominique Horwitz E V I L N O S ER R G E R D E AN B S Z NY L DA A S - Z O A I N A F D Z O IT MIN RW Lesung und Gespräch IQUE HO Fania Oz-Salzberger www.juedischekulturwochen2014-frankfurt.de Kulturamt Dr. Dieter Graumann Prof. Dr. Felix Semmelroth Grußwort Sehr geehrte Damen und Herren, die Jüdische Gemeinde Frankfurt veranstaltet jährlich in Zusammenarbeit mit dem Kulturamt der Stadt Frankfurt am Main die Jüdischen Kulturwochen. Unser Bestreben ist es, nicht nur das Vergangene wieder aufleben zu lassen, sondern auch das heutige lebendige jüdische Leben in Frankfurt deutlich zu machen. Wir freuen uns, Ihnen das Judentum, die Religion, die Tradition und Lebensweise, die Philosophie und die Kultur, durch Musik, Lesungen, Vorträge, Filme, Führungen und Ausstellungen transparenter zu machen. Wir möchten darauf hinweisen, wie aktiv die Jüdische Gemeinde Frankfurt ist. Die Jüdische Gemeinde lebt und sie ist mit ihren regel- mäßig stattfindenden Veranstaltungen ein großer und beliebter Bestandteil der kultu- rellen Szene in Frankfurt. „Die rechte Aufgeschlossenheit ist das kostbarste menschliche Gut“ (Martin Buber). Seien Sie aufgeschlossen und neugierig. Wir heißen Sie herzlich willkommen. Dr. Dieter Graumann Prof. Dr. Felix Semmelroth Kulturdezernent der Kulturdezernent der Stadt Jüdischen Gemeinde Frankfurt am Main Frankfurt am Main K.d.ö.R. Eröffnung Sonntag, 7. September 2014, 17.00 Uhr Westend-Synagoge, Freiherr-vom-Stein-Straße 30 Begrüßung: Dr.
    [Show full text]
  • Yoni Rechter
    Yoni Rechter Teev Events Inc. 16501 Ventura Blvd, Encino, CA 91436 Tel (818) 483-8818, Fax (818) 482-2708 www.teev.com Biography Composer, pianist, singer and arranger, Yoni Rechter has made a major contribution to Israeli music in a career spanning more than 40 years, and is considered among Israel’s most important musicians. In the dozens of songs that Yoni composed, he created a wide variety of styles, incorporating numerous influences, from Sixties pop (mostly Beatles) to Jazz, Israeli to classical, east and west, into a fascinating personal statement. Rechter always composes with originality, great sensitivity to text, and for the best performers. He is considered the mark of quality and integrity in Israeli music. Yoni’s music is sophisticated and ever unexpected, constantly shifts tones and beats, and his classical piano training is evident. Many of his compositions have become staples of Israeli music, and one has on several occasions been voted the most popular Israeli song of all times. Yoni has worked closely with many of Israel’s top artists, including Arik Einstein, Gidi Gov, and Yehudit Ravitz. Perhaps his two most well-known collaborations are the legendary Kaveret group (a.k.a. Poogy), and Hakeves Ha-16 (The 16th Sheep), released in 1978 and still Israel’s most-popular album of children’s songs. A sought-after musical director, producer and arranger, Yoni has worked on numerous musicals, films, dance and albums. Rechter has also written classical music, and the Israeli Philharmonic Orchestra performed a concert dedicated to his songs and compositions. Hebrew University, Honoris causa Born in Tel Aviv, Yoni started playing piano at the age of 7, and decided to be a musician at age 12 when he discovered the Beatles.
    [Show full text]
  • Yehuda Poliker Is One of Israel’S Premier and Most Important Artist of All Times
    Yehuda Poliker is one of Israel’s premier and most important artist of all times. With a career that spans over 40 years, Poliker’s songs became a cornerstone of Israeli music and redefined Israeli contemporary pop/rock with his unique combination of electric guitars and bouzouki with Greek-Mediterranean rhythms and a rock flavor. All of Poliker’s albums achieved gold and platinum status and in 2012 Yehuda Poliker received the Life Time Achievement Award for his contribution to Israeli Culture. In his new show Yehuda Poliker, accompanied by 9 of Israel’s most talented musicians, is performing all the greatest hits from the early days of “Benzin” to the Greek classics from “Enayim Sheli” and to the latest 2014 album “Dreams Museum”. This show is a must see for anyone that loves Israeli music, Rock music and Mediterranean music and especially for those who admire the musical magic of the melting pot of Israel. “For three hours he turned the Caesarea Amphitheatre into a tremendous celebrations, with his world class production. The most Israeli artist is presenting the best most valuable performance in Israel.” Amit Salonim— Mako “From a Greek “Hafla” to a Rock Party, Poliker is one of the few that is blessed with an audience that will run to see him in any version. In this new tour he is sharp, warm and more exciting than ever before”. Amir Schwartz - Yediot Acharont DISCOGRAPHY Biography Yehuda Poliker was born in Kiryat Haim to Holocaust survivors from Salonika, Greece. As a teenager, Poliker played in several bands, such as FBI, HaNamerim (the Leopards), and Bareket.
    [Show full text]
  • Jerusalem Weimar 2015 Es Ist Mir Wichtig, Gerade Mit Den Deutschen in Anbetracht Unserer Geschichte Auf Einer Guten Basis Eine Andere Verbindung Zu Schaffen
    Young Philharmonic Orchestra Jerusalem Weimar 2015 Es ist mir wichtig, gerade mit den Deutschen in Anbetracht unserer Geschichte auf einer guten Basis eine andere Verbindung zu schaffen. It is important to me to achieve a different connection to Germans in particular, considering our history, on a good basis. Nitzan Gal Violoncello Jerusalem Academy of Music and Dance 1 Erinnern mit Musik Remembering with Music Geschichte wird lebendig in der Perspektive des From another person’s perspective, history can Anderen. Ihr Musizieren ist eine Verheißung für come alive. Making music together is promising die Zukunft. Junge Musiker aus Israel und Deutsch- for the future. Young musicians from Israel and land bilden ein Orchester. Sie studieren an der Germany form an orchestra. They study at the Jerusalem Academy of Music and Dance und Jerusalem Academy of Music and Dance and in Weimar an der Hochschule für Musik Franz in Weimar at the University of Music Franz Liszt. Liszt. Ihr Repertoire sind Werke, in denen die ge- Their repertoire consists of works that reflect the schichtlichen Brüche und Katastrophen, die sie historic disruptions and catastrophes that separa- trennt und eint, aufscheinen und denen sie über te and unify them, giving them another chance to Leugnen und Vergessen neues Gehör geben. Sie be heard, after denial and forgetting. They play musizieren gemeinsam in einem Orchester. Sie together in one orchestra. They rehearse, give proben, geben Konzerte, diskutieren und feiern. concerts, have discussions and celebrate. During Im Sommer 2011 spielten sie erste Konzerte zum the summer of 2011, they performed their first Gedächtnis Buchenwalds, auf der Wartburg in concerts in memory of Buchenwald at the Wart- Eisenach, in Berlin, im Dezember dann in Sde Bo- burg castle in Eisenach, in Berlin, and then in De- ker, Jerusalem und Tel Aviv.
    [Show full text]
  • ¿La Hora De La Diplomacia?
    Año 63 | # 974 | Diciembre 2013/Enero 2014 | $ 10,00.- ATENTADO A LA AMIA: 232 MESES SIN JUSTICIA Periodismo judeoargentino con compromiso Fundado en 1948 Relaciones Occidente-Irán- Medio Oriente ¿La hora de la Diplomacia? Escriben: Ricardo Aronskind, Damián Svalb y Carlos Escudé 30 años de democracia en Argentina “Entre esperanzas, explosiones, festejos y dilemas” por Guillermo Levy | Pag. 10 Entrevista a Luis Tonelli, director de la carrera de Ciencia Política de la UBA Pag. 9 “El día en que Hashomer Hatzair copó la plaza” , por Jonatan Lipsky | Pag. 14 “En Israel: muchos Madibas, ningún Mandela” , por Rodrigo “Afro” Remenik | Pag. 20 Diciembre 2013 - Enero 2014 Periodismo judeoargentino con compromiso | Staff-Humor 2 NUEVA SION #974 Sumario Chau 2013, otro año STAFF/HUMOR 2 EDITORIAL 3 que pasó y no volverá MEDIO ORIENTE 4 | 6 ARGENTINA 7 | 11 Por Por Roberto Moldavsky ISRAEL 12 | 13 relato contra la grieta, Lilita contra Moreno, Ventura contra Lanata y para terminar de hundir - COMUNITARIAS 14 | 16 Sacando los comerciantes del Once y Flores, todo nos la inconcebible separación de Wanda Nara y CULTURA 16 | 19 el resto de los humanos intentamos hacer un Maxi, el país esta dividido en 2 y encima Icardi balance en esta época del año y tratar de entender profundiza la división. REFLEXIONES 20 que pasó y donde estamos parados o acostados como mi caso. En el ámbito judío seguimos luchando, acá entre Duran Barba y los descerebrados que Sin duda, la noticia mas importante del irrumpieron en la catedral le dieron laburo a la año vino de Roma
    [Show full text]
  • The Story of Israel at 66 Through the Songs of Arik Einstein
    1 The Soundtrack of Israel: The Story of Israel at 66 through the songs of Arik Einstein Israel turns sixty six this year and a so much has happened in this seemingly short lifetime. Every war, every peace treaty, every struggle, and every accomplishment has left its impact on the ever changing character of the Jewish State. But throughout all of these ups and downs, all of the conflicts and all of the progress, there has been one voice that has consistently spoken for the Jewish nation, one voice that has represented Israelis for all 66 years and will continue to represent a people far into the future. That is the voice of Arik Einstein. Einstein’s music, referred to by Prime Minister Benjamin Netanyahu as the “soundtrack of Israel,” transcended generations. Einstein often took the words of high-brow Israeli poets such as Chaim Nachman Bialik, Rahel, Nathan Alterman and Avraham Halfi and turned them into rock anthems sung by vibrant Israeli youth. Einstein captured the heart and soul of Israelis old and young. For every Zionist, peacenik, settler, hopeless romantic, nostalgia aficionado and child (or child at heart) in Israel, there is at least one Arik Einstein song that speaks to them. For every historic Israeli moment, there is an Arik Einstein song that represents the emotion of a united nation, or a shuttered people. Although fairly unknown outside of Israel, Arik Einstein was loved by all, and mourned by all after his sudden death in November of 2013, when tens of thousands of Israelis joined together to pay their respects to the iconic Sabra at a memorial service in Rabin Square in Tel Aviv.
    [Show full text]
  • Identity, Spectacle and Representation: Israeli Entries at the Eurovision
    Identity, spectacle and representation: Israeli entries at the Eurovision Song Contest1 Identidad, espectáculo y representación: las candidaturas de Israel en el Festival de la Canción de Eurovisión José Luis Panea holds a Degree in Fine Arts (University of Salamanca, 2013), and has interchange stays at Univer- sity of Lisbon and University of Barcelona. Master’s degree in Art and Visual Practices Research at University of Castilla-La Mancha with End of Studies Special Prize (2014) and Pre-PhD contract in the research project ARES (www.aresvisuals.net). Editor of the volume Secuencias de la experiencia, estadios de lo visible. Aproximaciones al videoarte español 2017) with Ana Martínez-Collado. Aesthetic of Modernity teacher and writer in several re- views especially about his research line ‘Identity politics at the Eurovision Song Contest’. Universidad de Castilla-La Mancha, España. [email protected] ORCID: 0000-0002-8989-9547 Recibido: 01/08/2018 - Aceptado: 14/11/2018 Received: 01/08/2018 - Accepted: 14/11/2018 Abstract: Resumen: Through a sophisticated investment, both capital and symbolic, A partir de una sofisticada inversión, capital y simbólica, el Festival the Eurovision Song Contest generates annually a unique audio- de Eurovisión genera anualmente un espectáculo audiovisual en la ISSN: 1696-019X / e-ISSN: 2386-3978 visual spectacle, debating concepts as well as community, televisión pública problematizando conceptos como “comunidad”, Europeanness or cultural identity. Following the recent researches “Europeidad” e “identidad cultural”. Siguiendo las investigaciones re- from the An-glo-Saxon ambit, we will research different editions of cientes en el ámbito anglosajón, recorreremos sus distintas ediciones the show.
    [Show full text]
  • Cohen V. Facebook
    Case 1:16-cv-04453-NGG-LB Document 1-1 Filed 08/10/16 Page 1 of 113 PageID #: 70 EXHIBIT A Case 1:16-cv-04453-NGG-LB Document 1-1 Filed 08/10/16 Page 2 of 113 PageID #: 71 ~ SUPREME COURT OF THE STATE OF NEW YORK COUNTY OF KINGS --------------------------------------------------------------------- Index No: Pa~1, / l 5 RICHARD LAKIN; and additional plaintiffs listed on Rider A, Date Purchased: 10/~(~C~/ 15 Plaintiffs designate Kings County as the Plaintiffs, place of trial. The basis of vcnue is CPLR 503(a), -against- SUMMONS FA=CEBOOK, Q Plaintiffs residcs at: Defendant. c/o Shurat HaDin — Israel Law Center, 10 ---------------------------------------------- X flata'as Street, Ramat Gan, Israel TO THE ABOVE NAMED DEFENDANTS: YOU ARE HEREBY SUMMONED to answer the complaint in this action and to serve a copy of your answer, on the plaintiff s Attorneys within 20 days afi.er the service of this summons, exclusive ot'the day of service (or within 30 days aftcr scrvice is complctc if this summons is not personally delivered to you within the State ofNew York) and to file a copy of your answer with the Clerk of the above-named Court; and in case of your failure to appear or answer, judgment will be taken against you by default for the relief demanded in the complaint. Dated: Brooklyn, New York Octobcr 26, 2015 Yours, THE BERKMAN LAW OFFICE, LLC 0~ ~ ~ Atull~,r~.Jor he~+f zti/r ~ S`~ a by: 7 +~ '/ ° O' Q _.J Robert J. 111 Livingston Street, Suite 1928 Brooklyn, New York 11201 (718) 855-3627 ZECIA L 1 STS \~ NITSANA DARSHAN-LEITNER & CO Nitsana Darshan-Leitner .
    [Show full text]
  • Transdenominational MA in Jewish Music Program, Preparing
    THIS IS THE INSIDE FRONT COVER EDITOR: Joseph A. Levine ASSOCIATE EDITOR: Richard Berlin EDITORIAL BOARD Rona Black, Shoshana Brown, Geoffrey Goldberg, Charles Heller, Kimberly Komrad, Sheldon Levin, Laurence Loeb, Judy Meyersberg, Ruth Ross, Neil Schwartz, Anita Schubert, Sam Weiss, Yossi Zucker TheJournal of Synagogue Music is published annually by the Cantors As- sembly. It offers articles and music of broad interest to theh azzan and other Jewish professionals. Submissions of any length from 1,000 to 10,000 words will be consid ered. GUIDELINES FOR SUBMITTING MATERIAL All contributions and communications should be sent to the Editor, Dr. Joseph A. Levine—[email protected]—as a Word docu- ment, with a brief biography of the author appended. Musical and/or graphic material should be formatted and inserted within the Word document. Footnotes are used rather than endnotes, and should conform to the fol- lowing style: A - Abraham Idelsohn, Jewish Liturgy (New York: Henry Holt), 1932: 244. B - Samuel Rosenbaum, “Congregational Singing”; Proceedings of the Cantors Assembly Convention (New York: Jewish Theological Seminary), February 22, 1949: 9-11. Layout by Prose & Con Spirito, Inc., Cover design and Printing by Replica. © Copyright 2009 by the Cantors Assembly. ISSN 0449-5128 ii FROM THE EDITOR: The Issue of Niggunim in Worship: Too Much of a Good Thing? ..................................................4 THE NEO-HASIDIC REVIVAL AT 50 Music as a Spiritual Process in the Teachings of Rav Nahman of Bratslav Chani Haran Smith. 8 The Hasidic Niggun: Ethos and Melos of a Folk Liturgy Hanoch Avenary . 48 Carlebach, Neo-Hasidic Music and Liturgical Practice Sam Weiss.
    [Show full text]