Jascha Nemtsov• “The Scandal Was Perfect”
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
559188 Bk Harbison US
AMERICAN CLASSICS Ernst TOCH Violin Sonata No. 1 • Cello Sonata Divertimento • String Trio • Adagio elegiaco Spectrum Concerts Berlin Ernst Toch (1887-1964) Music from the 1920s: the passages of heightened motion and power, the ebbing Violin Sonata No. 1 • Cello Sonata • Divertimento • String Trio • Adagio elegiaco the Divertimento and the Cello Sonata away, the way in which the movement dissolves at the end. Classical forms are here no longer normative; they Survey of the Life of a Creative Artist From Toch’s Early Works: The duo Divertimentos, Op. 37, and the Cello Sonata, have become the subject of the composition. Violin Sonata No. 1, Op. 21 Op. 50 , were written in 1927 and 1929, during what was Toch headed the central movements of both works This is Spectrum Concerts Berlin’s third recording of probably Toch’s most productive period. In them, he “intermezzo”, but they are anything but short intermezzos chamber music by Ernst Toch. Its musicians give concerts The First Violin Sonata, which Toch’s friends used to refer engaged in a creative dialogue with his artistic milieu in or interludes. Toch employs the term in the late above all in Berlin and New York and are passionate to as “Brahms’s Fourth”, was a product of this two ways: in the music itself and in the dedications of the Brahmsian sense, as a deliberate understatement, about exploring and highlighting the cultural links between understanding of tradition. Two reasons lie behind its pieces. The Cello Sonata he dedicated to Emanuel indicating a particular limitation of the musical material. -
A Century Later
The Hebrew University of Jerusalem The National Library of Israel Faculty of Humanities Music Department Jewish Music Research Centre Leonid Nevzlin Center for the Research of Pro Musica Hebraica (USA) Russian and Eastern European Jewry A Century Later Concert of Music by Composers of the Saint Petersburg Society for Jewish Folk Music On the Occasion of the Centennial of the Society’s Foundation Performers: Sivan Rotem, soprano Gilad Hildesheim, violin Jascha Nemtsov, piano Weintraub Hall, The National Library of Israel Thursday, January 8, 2009, 8:00 PM התכנית Program יואל אנגל ניגון חב ד" Joel Engel Chabader melody ( -1868 1927) פריילעכס Freilechs (1868-1927) לכינור ופסנתר for violin and piano אומרים ישנה ארץ Omrim yeshnah eretz לקול ופסנתר for voice and piano לזר סמינסקי אגדה עברית Lazare Saminsky Hebrew Fairy Tale ( -1882 1959) ריקוד שבת Danse rituelle du Sabbath (1959–1882) לפסנתר for piano שיר השירים Shir hashirim רחלינה Rachelina אומר ר ' אלעזר Omar Rabbi Eleazar לקול ופסנתר for voice and piano משה מילנר בחדר Moshe Milner In kheyder ( -1883 1953 ) לקול ופסנתר for voice and piano (1883-1953) אלכסנדר קריין קפריצ' ו עב רי Alexander Krein Caprice hebraïque ( -1883 1951) לכינור ופסנתר for violin and piano (1883-1951) יוסף אחרון וריאציות על נושא יהודי Joseph Achron Symphonic Variations on a Jewish ( -1886 1943) " אל יבנה הגליל " ”Theme “El yivneh hagalil (1943–1886) שישה קטעים Six pieces from the מתוך הסוויטה ליל םיד Childrens’ Suite לפסנתר for piano אלול בשדרה ( קנצונטה ) (Elul zum Garten (Canzonetta אין א קליינעם שטיבלה In a kleynem shtibele לקול ופסנתר for voice and piano אלת רו ריקודי Dance Improvisation שיר ערש עברי Hebrew Lullaby סוויטה מ תוך " סטמפניו Suite from the music for הכנר (" על פי שלום עליכם ) Stempenyu the Fiddler לכינור ופסנתר (after Shalom Aleichem) for violin and piano ניגון Hebrew Melody לקול , פסנתר וכינור for voice, violin and piano ההה טקסטי The Texts יואל אנגל Joel Engel אְמִרי : ֶיְָנ ֶאֶר ( שאול טשרניחובסקי ) Omrim yeshna eretz (by Shaul Tchernichovsky), Op. -
Association for Jewish Studies
42ND ANNUAL CONFERENCE OF THE ASSOCIATION FOR JEWISH STUDIES DECEMBER 19– 21, 2010 WESTIN COPLEY PLACE BOSTON, MASSACHUSETTS ASSOCIATION FOR JEWISH STUDIES C/O CENTER FOR JEWISH HISTORY 15 WEST 16TH STREET NEW YORK, NY 10011-6301 PHONE: (917) 606-8249 FAX: (917) 606-8222 E-MAIL: [email protected] www.ajsnet.org President AJS Staff Marsha Rozenblit, University of Maryland Rona Sheramy, Executive Director Vice President/Membership Karen Terry, Program and Membership and Outreach Coordinator Anita Norich, University of Michigan Natasha Perlis, Project Manager Vice President/Program Emma Barker, Conference and Program Derek Penslar, University of Toronto Associate Vice President/Publications Karin Kugel, Program Book Designer and Jeffrey Shandler, Rutgers University Webmaster Secretary/Treasurer Graphic Designer, Cover Jonathan Sarna, Brandeis University Ellen Nygaard The Association for Jewish Studies is a Constituent Society of The American Council of Learned Societies. The Association for Jewish Studies wishes to thank the Center for Jewish History and its constituent organizations—the American Jewish Historical Society, the American Sephardi Federation, the Leo Baeck Institute, the Yeshiva University Museum, and the YIVO Institute for Jewish Research— for providing the AJS with offi ce space at the Center for Jewish History. Cover credit: “Israelitish Synagogue, Warren Street,” in the Boston Almanac, 1854. American Jewish Historical Society, Boston, MA and New York, NY. Copyright © 2010 No portion of this publication may be reproduced by any means without the express written permission of the Association for Jewish Studies. The views expressed in advertisements herein are those of the advertisers and do not necessarily refl ect those of the Association for Jewish Studies. -
Music from the Archive of Lazare Saminsky
YIVO INSTITUTE FOR JEWISH RESEARCH PRESENTS JEWISH SONGS AND DANCES: Music from the Archive of Lazare Saminsky SIDNEY KRUM YOUNG ARTISTS CONCERT SERIES In Partnership with Temple Emanu-El · 5th Avenue at 65th Street, NYC June 21, 2017 · 7:00pm PROGRAM The Sidney Krum Young Artists Concert Series is made possible by a generous gift from the Estate of Sidney Krum. In partnership with Temple Emanu-El. Saminsky, Hassidic Suite Op. 24 1-3 Saminsky, First Hebrew Song Cycle Op. 12 1-3 Engel, Omrim: Yeshnah erets Achron, 2 Hebrew Pieces Op. 35 No. 2 Saminsky, Second Hebrew Song Cycle Op. 13 1-3 Saminsky, A Kleyne Rapsodi Saminsky, And Rabbi Eliezer Said Engel, Rabbi Levi-Yitzkah’s Kaddish Achron, Sher Op. 42 Saminsky, Lid fun esterke Saminsky, Shir Hashirim Streicher, Shir Hashirim Engel, Freylekhs, Op. 21 Performers: Mo Glazman, Voice Eliza Bagg, Voice Brigid Coleridge, Violin Julian Schwartz, Cello Marika Bournaki, Piano COMPOSER BIOGRAPHIES Born in Vale-Gotzulovo, Ukraine in 1882, LAZARE SAMINSKY was one of the founding members of the Society for Jewish Folk Music in St. Petersburg – a group of composers committed to forging a new national style of Jewish classical music infused with Jewish folk melodies and liturgical music. Saminksy’s teachers at the St. Petersburg conservatory included Rimsky-Korsakov and Liadov. Fascinated with Jewish culture, Saminsky went on trips to Southern Russia and Georgia to gather Jewish folk music and ancient religious chants. In the 1910s Saminsky spent a substantial amount of time travelling giving lectures and conducting concerts. Saminsky’s travels brought him to Turkey, Syria, Palestine, Paris, and England. -
Piano Trio Repertoire Discography & Review Index: "S” Composers Compiled by David Barker
An A to Z of the Piano Trio Repertoire Discography & Review Index: "S” Composers Compiled by David Barker Project Index Kaija Saariaho Caecilian Trio 1952-, Finland (+ Fauré, Lalo 1, Ravel; Debussy, Fauré, Ravel & Roussel: String quartets, Ravel: Violin Je sens un deuxième coeur (2003) sonata) Vox CD3X3031 (+ Sibelius 2-4; Lefkowitz: Ruminations, Schissi: Nene, Wennakoski: Paarme) Trio Daphnis Yarlung Records YAR52638 [review] (+ Trio 2) UT3 Records UT3009 Leonid Sabaneev Florestan Trio 1881-1968, Russia (+ Trio 2) Hyperion CDA67538 [review][review] Trio-Impromptu (1907) Göbel Trio Berlin Michael Schäfer, Ilona Then-Bergh, Wen-Sinn SWR Music SWR10379 Yang (+ Sonata) Golub-Kaplan-Carr Trio Genuin GEN12236 [review] (+ Debussy, Faure) Arabesque 6643 Sonata (1924) Gould Piano Trio Michael Schäfer, Ilona Then-Bergh, Wen-Sinn (+ Trio 2, La muse) Yang Champs Hill CHRCD140 [review] (+ Trio-Impromptu) Genuin GEN12236 [review] Grumiaux Trio (+ Trio 2) Talent 66 Camille Saint-Saëns 1835-1921, France Guarneri Trio (+ Martin, Ravel) Trio 1 in F, op. 18 (1863) Ottavo 28922 Altenberg Trio Wien Horszowski Trio (+ Trio 2) (+ Fauré, d’Indy) Challenge Classics SACC72111 Bridge 9441 [review][review] Aquinas Piano Trio Joachim Trio (+ Trio 2) (+ Trio 2) Guild GMCD7408 [review] Naxos 8.550935 Australian Trio Trio Latitude 41 (+ Trio 2, Muse, Swan, Septet, Cello & violin (+ Trio 2) sonatas) Eloquentia EL1547 ABC Classics 4766435 ABC Classics 4764327 Nash Ensemble MusicWeb International Updated: October 2020 Piano Trios: S Composers (+ Septet, Carnival of the -
Jascha Nemtsov: Publikationen
Jascha Nemtsov: Publikationen Monographien – Doppelt vertrieben: deutsch-jüdische Komponisten aus dem östlichen Europa in Palästina /Israel (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 11), Harrassowitz Verlag, Wiesbaden 2013; – Louis Lewandowski. „Liebe macht das Lied unsterblich!“ (=Jüdische Miniaturen, Band 114), Verlag Hentrich & Hentrich, Berlin 2011 (zusammen mit Hermann Simon); Englischsprachige Version: Louis Lewandowski. „Love makes the melody immortal!“ (=Jewish Miniatures, Vol. 114a), Verlag Hentrich & Hentrich, Berlin 2011; – Deutsch-jüdische Identität und Überlebenskampf: jüdische Komponisten im Berlin der NS-Zeit (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 10), Harrassowitz Verlag, Wiesbaden 2010; – Der Zionismus in der Musik: jüdische Musik und nationale Idee (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 6), Harrassowitz Verlag, Wiesbaden 2009; – Oskar Guttmann (1885–1943) und Alfred Goodman (1919–1999) (= Jüdische Miniaturen, Band 89), Verlag Hentrich & Hentrich, Berlin 2009, – Arno Nadel (1878–1943). Sein Beitrag zur jüdischen Musikkultur (= Jüdische Miniaturen, Band 77), Verlag Hentrich & Hentrich, Berlin 2009, – Enzyklopädisches Findbuch des Potsdamer Archivs der Neuen Jüdischen Schule in der Musik (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 8), Harrassowitz Verlag, Wiesbaden 2008; – Die Neue Jüdische Schule in der Musik (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 2), Harrassowitz Verlag, -
Gained in Translation
Jascha Nemtsov, Dr habil., born in 1963 in Magadan (Russia). Studied piano at the Leningrad Conservatory (Concert The research project “Cultural Continuity Diploma with honors). In Germany since in the Diaspora – The Experience of Rus- 1992. Apart from the classical and ro- sian Jews in an Era of Social Change” is Gained in mantic piano repertoire, several concert based at the Department of European programs with works by Jewish and Rus- Studies and Modern Languages, Univer- sian composers of the 20th century. sity of Bath, and funded by the Lever- Translation Numerous radio recordings and by now 25 CDs as soloist and with partners hulme Trust UK. David Geringas (violoncello), Tabea Zim- www.bath.ac.uk/esml/rjccp/index.htm mermann (viola), Kolja Blacher, Dmitry Translations and Sitkovetsky and Ingolf Turban (violin), Chen Halevi (clarinet), the Vogler Quar- Their Influence tet and others. His CDs have been awar- ded many distinctions like “Audiophile Upon the Continuity Reference – The Best of 200”, “Klassik heute Empfehlung”, “CHOC - Le Mon- of Russian Jewish de de la Musique”, “Recording of the Culture in the West Month (MusicWeb)”, “Disc of the Month April 2006” (BBC Music Magazine), or the German Record Critics Prize (2007). Third international conference of the research project “Cultural Continuity in the Diaspora” For further information please contact: Jörg Schulte Department of Hebrew and Jewish [email protected] Studies & Institute of Jewish Studies University College London September 21-22, 2009 Monday, September 21 Tuesday, -
Ben-Haim · Bloch · Korngold
Ben-Haim · Bloch · Korngold Cello Concertos Raphael Wallfisch BBC National Orchestra of Wales Łukasz Borowicz VOICES IN THE WILDERNESS CELLO CONCERTOS BY EXILED JEWISH COMPOSERS Paul Ben-Haim (1897–1984) Cello Concerto (1962) 22'01 1 Allegro giusto 9'01 2 Sostenuto e languido 6'23 3 Allegro gioioso 6'37 Ernest Bloch (1880–1959) Symphony for Cello & Orchestra (1954) 17'52 4 Maestoso 3'25 5 Agitato 9'23 6 Allegro deciso 5'04 Erich Wolfgang Korngold (1897–1957) All rights of the producer and of the owner of the work reserved. 7 Concerto in D in one movement 13'17 Unauthorized copying, hiring, renting, public performance and broadcasting 8 Tanzlied des Pierrot (from the opera Die tote Stadt) 4'17 of this record prohibited. cpo 555 273–2 (1880–1959) Ernest Bloch Recorded 31 October – 2 November 2018, BBC Hoddinott Hall 9 Vidui (1st movement of the Baal Shem-Suite) 3'00 Recording produced by Simon Fox-Gál Balance engineer: Simon Smith, BBC Wales 10 Nigun (2nd movement of the Baal Shem-Suite) 6'53 Edited by Jonathan Stokes and Simon Fox-Gál T.T.: 63'25 Executive Producers: Burkhard Schmilgun/Meurig Bowen Cover Painting: Felix Nussbaum, »Der Leierkastenmann«, 1931, Raphael WallfischVioloncello Berlin, Berlinische Galerie BBC National Orchestra of Wales © Photo: akg-images, 2019; Design: Lothar Bruweleit cpo, Lübecker Str. 9, D–49124 Georgsmarienhütte Łukasz Borowicz Conductor ℗ 2019 – Made in Germany Łukasz Borowicz © Katarzyna Zalewska Anmerkungen des Cellisten Paul Ben-Haim: sich alsbald Paul Ben-Haim (hebr. »Sohn des Hein- Konzert für Violoncello und Orchester rich«) nannte, ins Exil ging. -
Herzlian Zionism and the Chamber Music of the New Jewish School, 1912-1925 Erin Fulton
Q&A How did you become involved in doing research? I first began to do some musicological research around the age of 11 or 12 when I became curious about the musical traditions of a nearby sect of Holdeman Mennonites. Those first inquiries led me to become interested in the larger tradition of Anglo-American hymnody, and shape-note and dispersed-harmonic music in particular, which remains my primary research interest. How is the research process different from what you expected? The unusual resources that turn out to be helpful constantly surprise me. I About Erin Fulton always expected my research to draw primarily on books and sheet music, but correspondence and ephemera have proven increasingly useful to my HOMETOWN recent endeavors. Lane County, Kan. What is your favorite part of doing research? MAJOR I am a bibliophile at heart and love the smell and touch of old books. Musicology Working with 19th-century tune books at Spencer Research Library has become one of my fondest memories of KU. ACADEMIC LEVEL Senior RESEARCH MENTOR Ryan Dohoney Assistant Professor of Musicology Herzlian Zionism and the chamber music of the New Jewish School, 1912-1925 Erin Fulton The stated goals of the St. Petersburg scholarship has emphasized ease presenting compositions inspired Society for Jewish Folk Music—the of performance in encouraging by Russian Jewish folk music as organization around which the New chamber music composition during an expression of Herzlian Zionism. Jewish School of composition arose— these years. While smaller works By programming newly-written focused on the creation of opera and doubtless presented reduced fiscal works alongside canonic chamber large-scale choral and symphonic and logistical challenges, two political pieces, these composers drew on works. -
The Influence of Klezmer on Twentieth-Century Solo And
THE INFLUENCE OF KLEZMER ON TWENTIETH-CENTURY SOLO AND CHAMBER CONCERT MUSIC FOR CLARINET: WITH THREE RECITALS OF SELECTED WORKS OF MANEVICH, DEBUSSY, HOROVITZ, MILHAUD, MARTINO, MOZART AND OTHERS Patricia Pierce Card B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2002 APPROVED: John Scott, Major Professor and Chair James Gillespie, Minor Professor Paul Dworak, Committee Member James C. Scott, Dean of the College of Music C Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Card, Patricia Pierce, The influence of klezmer on twentieth-century solo and chamber concert music for clarinet: with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others. Doctor of Musical Arts (Performance), December 2002, 60 pp., 35 titles. The secular music of the Eastern European Jews is known today as klezmer. Klezmer was the traditional instrumental celebratory music of Yiddish-speaking Ashkenazi Jews who eventually populated the Pale of Settlement, which encompassed modern-day Poland, Lithuania, Ukraine, Belarus and Romania. Due to the rise of oppression and expulsion, many klezmer musicians or klezmorim immigrated to the United States between 1880 and the early 1920s. These musicians found work in klezmer bands and orchestras as well as Yiddish radio and theater. Some of the most influential klezmorim were clarinetists Naftule Brandwein and Dave Tarras who helped develop an American klezmer style. While the American style flourished, the popularity of pure klezmer began to diminish. As American-born Jews began to prefer the new sounds of big band and jazz, klezmer was considered old-fashioned and was in danger of becoming a lost art form. -
The Jewish Experience in Classical Music: Shostakovich and Asia
The Jewish Experience in Classical Music The Jewish Experience in Classical Music: Shostakovich and Asia Edited by Alexander Tentser The Arizona Center for Judaic Studies Publication Series 1 The Jewish Experience in Classical Music: Shostakovich and Asia, Edited by Alexander Tentser This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Alexander Tentser and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5467-0, ISBN (13): 978-1-4438-5467-2 TABLE OF CONTENTS Preface ....................................................................................................... vii Alexander Tentser Acknowledgements .................................................................................... xi Introduction .............................................................................................. xiii A Legacy of Honor and Risk in Jewish Music Janet Sturman Part I: Shostakovich Dmitri Shostakovich and Jewish Music: The Voice of an Oppressed People .......................................................................................................... 3 Alexander Tentser Self-Imagery and Resilience: -
Nr 34 (3/2017) ISSN: 2353-7094 Advisory Board Dr Vaclav Kapsa (Akademie Věd České Republiky) Dr Hab
nr 34 (3/2017) ISSN: 2353-7094 advisory board dr Vaclav Kapsa (Akademie věd České republiky) dr hab. Aleksandra Patalas (Uniwersytet Jagielloński w Krakowie) prof. Matthias Theodor Vogt (Institut für kulturelle Infrastruktur Sachsen) dr hab. Piotr Wilk (Uniwersytet Jagielloński w Krakowie) editorial staff Katarzyna Babulewicz Jolanta Bujas Marek Dolewka (Editor-in-Chief) Agnieszka Lakner Martyna Rodzeń Hubert Szczęśniak Justyna Szombara cover design and typesetting Agnieszka Bień proofreading Jolanta Bujas KMM UJ Editorial Staff abstracts’ translation Jolanta Bujas address Koło Naukowe Studentów Muzykologii UJ ul. Westerplatte 10 31–033 Kraków [email protected] This publication is supported by the Council of Scientific Students’ Organisations of the Jagiellonian University (Rada Kół Naukowych UJ). The participation of foreign reviewers in the evaluation of the publication was financed under the agreement No. 613/P-DUN/2017 from the funds of the Minister of Science and Higher Education for popularisation of science. Table of Contents Introduction 5 Federica Marsico 7 A Queer Approach to the Classical Myth of Phaedra in Music Marta Beszterda 29 At the Intersection of Musical Culture and Historical Legacy: Feminist Musicology in Poland Barbora Kubečková 51 Zdeněk Fibich (1850–1900) and his Songs to Goethe: Forgotten Settings? Clare Wilson 75 From the Inside Out: An Analytical Perspective of André Caplet’s Harmonic Evolution Through Selected Mélodies, 1915-1925 Nana Katsia 97 The Modification of the Genre of Mystery Play in the Wagner’s, Schoenberg’s and Messiaen’s Compositions Michał Jaczyński 115 The Presence of Jewish Music in the Musical Life of Interwar Prague Sylwia Jakubczyk-Ślęczka 135 Musical Life of the Jewish Community in Interwar Galicia.