(Auto-)Biographisches Heinz Abosch: Flucht Ohne Heimkehr
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Josef Tal on the Cusp of Israeli Statehood, Or, the Simultaneity of Adjacency and Oppositionality
Josef Tal on the Cusp of Israeli Statehood, or, The Simultaneity of Adjacency and Oppositionality Assaf Shelleg Acta Musicologica, Volume 91, Number 2, 2019, pp. 146-167 (Article) Published by International Musicological Society For additional information about this article https://muse.jhu.edu/article/741611 Access provided at 28 Nov 2019 16:05 GMT from Tel Aviv University i i i i Josef Tal on the Cusp of Israeli Statehood, or, The Simultaneity of Adjacency and Oppositionality Assaf Shelleg Jerusalem To the amateur composer who comes to this country with an inheritance of Russian of Balkan folk tunes, the absorption of the Oriental Jewish and Arabian music is a gain. The traditionalism of his original country receives a new accent. To the professional composer whose material is the European art-music, the Jewish and Arab-Palestinian folklore opens up a fertile and rejuvenating world. A few will attach certain ourishes, some popular syl- lables to the iron structure of modern art-language; in other words they write a kind of “quotation-music” with wrong notes.1 [Sharett’s music] demonstrates neither melodic templates in their conven- tional form nor harmonies using parallel fourths and fths mixed with seconds—a falsied acoustic substitute; nor is there any articial immer- sion in the past in the form of shallow mimicry of biblical chants. We must not follow the easy path of success, but rather aspire to achieve in our spiritual creation what we had accomplished politically.2 The statements “‘quotation music’ with wrong notes,” “fal- sied acoustics,” and “shallow mimicry of biblical chants” could have equally come from either of the composers, Stefan Wolpe or Josef Tal. -
Past, Present and Future
[1993; IMI 6970]); four German operas (Ashmedai [1968; IMI 109], Die Versuchung [1975; IMI 292]; Der Turm [1983; IMI 6453], Der Garten [1987; IMI 6582]); dramatic scene~ (e.g., Sau/at Ein Dor [1955; IMI 6617], Else - Hommage [1975; IMI 383]); six symphonies; thirteen concerti; chamber music, including three string quartets; instrumental works; and electronic compositions. lt is now possible to appreciate his distinctive contribution as one of the "Founding Fathers" of Israeli art music, and as a composer who received international acclaim since the 1960s. Tal's life story is presented in Reminiscences, Reflection, Summaries (Retold in Hebrew by Ada Brodsky), published in 1987.t Brodsky was a close friend of Tal's; and the book faithfully represents Tal's personality, which I had the privilege of knowing after many years of working tagether (as colleagues at the Hebrew University's Department of Musicology). Tal's attitude towards his music and his audience was inspired by the uncompromising approach of Beethoven and Arnold Schönberg, two composers whom Tal particularly admired.§ He places high demands upon his listeners: his works are intense, dissonant and densely eventful, and cannot be fully comprehended in one hearing. ln this brief, preliminary summary, I wish to offer general guidelines to readers who wish to approach the music of this great composer. Two statements from Reminiscences, Reflection, Summaries will serve as my starting points. ln a short dialogue entitled "lnterlude: And WhatAbout Pleasure?", Brodsky contrasts the experience of listening to contemporary music (including Tal's own) with the sheer joy provided by Schubert's music, and asks Tal: "Can I ever fully identify with [your] music without this sense of joy?" Tal responds: I was bom and raised in the early 2(Jh century, and Classical and Romantic music became, through these early experiences, my musical native tongue. -
The Israeli Mediterranean Style: Origins, 1930S—1950S Ronit Seter
The Israeli Mediterranean Style: Origins, 1930s—1950s Ronit Seter © 2013 The term Mediterranean style, as it has been used in Israel, originally referred to selected versions of European Mediterranean styles in art music that Jewish composers—the founders of Israeli music, among them the Israeli Five: Paul (Frankenburger) Ben-Haim (1897-1984), Oedoen Partos (1907-1977), Alexander U. Boskovich (1907-1964), Mordecai (Starominsky) Seter (1916-1994), and Josef (Grünthal) Tal (1910-2008)— developed first in British Palestine in the late 1930s throughout the 1940s, then in Israel mostly until the early 1950s, denoting an emerging national identity through local color in music. It was also qualified as signon Mizrahi (Eastern or oriental style, i.e., of the Middle East, the cradle of Judaism, rather than East Asia) or signon Mizrah-yam tikhoni (Eastern-Mediterranean style), referring to the preferred ethnic sources: often derived from the liturgical and para-liturgical musical traditions of Yemenite, Persian, and Moroccan Israeli Jews (i.e., the musics of local and regional Arab and Persian Jews) and other Mizrahi and local, Palestinian musical heritage. These traditions inspired the founders who, following Bartók in particular, and other European and East-European national schools, wished to create a national style based on local traditions, some of which presumably had remote resemblance to the music of the Temple or ancient Israel. The Mediterranean style embodied, first and foremost, a collection of styles imagined and constructed to convey nationalism in music during the pre-statehood decade. During the last few decades, the term has acquired additional meanings, relating to popular Israeli musics influenced by regional musical elements, which have transformed and redefined the original meaning. -
The Dilution of National Onomatopoeias in Post-Statehood Israeli Art Music: Precursors, Contiguities, Shifts Assaf Shellega a University of Virginia
This article was downloaded by: [24.127.13.113] On: 28 October 2013, At: 07:11 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Musicological Research Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gmur20 The Dilution of National Onomatopoeias in Post-Statehood Israeli Art Music: Precursors, Contiguities, Shifts Assaf Shellega a University of Virginia To cite this article: Assaf Shelleg (2013) The Dilution of National Onomatopoeias in Post-Statehood Israeli Art Music: Precursors, Contiguities, Shifts, Journal of Musicological Research, 32:4, 314-345, DOI: 10.1080/01411896.2013.837712 To link to this article: http://dx.doi.org/10.1080/01411896.2013.837712 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
The Fate of Young Jewish Refugees from Nazi Germany
Walter Laqueur: Generation Exodus page A “This latest valuable addition to Walter Laqueur’s insightful and extensive chron- icle of European Jewry’s fate in the twentieth century is an exceedingly well- crafted and fascinating collective biography of the younger generation of Jews: how they lived under the heels of the Nazis, the various routes of escape they found, and how they were received and ultimately made their mark in the lands of their refuge. It is a remarkable story, lucidly told, refusing to relinquish its hold on the reader.” —Rabbi Alexander M. Schindler, President emeritus, Union of American Hebrew Congregations “Picture that generation, barely old enough to flee for their lives, and too young to offer any evident value to a world loath to give them shelter. Yet their achieve- ments in country after country far surpassed the rational expectations of conven- tional wisdom. What lessons does this story hold for future generations? Thanks to Walter Laqueur’s thought-provoking biography, we have a chance to find out.” —Arno Penzias, Nobel Laureate “Generation Exodus documents the extraordinary experiences and attitudes of those young Austrian and German Jews who were forced by the Nazis to emigrate or to flee for their lives into a largely unknown outside world. In most cases they left behind family members who would be devoured by the infernal machines of the Holocaust. Yet by and large, some overcoming great obstacles, some with the help of caring relatives or friends, or of strangers, they became valuable members of their adopted homelands. Their contributions belie their small numbers. -
Hirshberg's Ben-Haim: Three Decades Later
Min‐Ad: Israel Studies in Musicology Online, Vol. 9 – 2011 Ronit Seter – Hirshberg’s Ben‐Haim: Three Decades Later Hirshberg’s Ben-Haim: Three Decades Later RONIT SETER Paul Ben-Haim: His Life and Works by Jehoash Hirshberg. Tel Aviv: Israel Music Institute (IMI), 2010. 440 pp., including illustrations, 106 musical examples, extensive list of 259 compositions, and indexes of names and works. (First English edition, Jerusalem: Israeli Music Publications, 1990, edited by Bathja Bayer and translated by Nathan Friedgut from the original 1983 Hebrew edition, published by Am Oved. The 2010 edition was revised, updated, and edited by Paul Landau.) Jehoash Hirshberg’s Paul Ben-Haim: His Life and Works has been a groundbreaking work in all of its three editions: 1983, 1990, and 2010.* Not only was it the first monograph on an Israeli composer—arguably the most performed among the founders of Israeli art music—it was also written by the first Israeli musicologist to daringly devote a monograph to an Israeli composer, a member of an emerging culture plagued by an inferiority complex: too young and never Western (or Eastern) “enough.” As a musicological work, especially in 1983 but also in 1990, Ben-Haim was unique at a time when practically all Israeli musicologists (unlike ethnomusicologists) focused their efforts on traditional topics related to European composers. Moreover, in his Ben-Haim, Hirshberg assumed the uneasy task of crafting a tribute to a conservative, audience-pleasing composer, whose reception among his colleagues at the time of the original, 1983 publication had been deteriorating for about two decades. -
The Dilution of National Onomatopoeias in Post-Statehood
This article was downloaded by: [Tel Aviv University] On: 13 May 2015, At: 23:23 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Musicological Research Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/gmur20 The Dilution of National Onomatopoeias in Post-Statehood Israeli Art Music: Precursors, Contiguities, Shifts Assaf Shellega a University of Virginia Published online: 25 Oct 2013. To cite this article: Assaf Shelleg (2013) The Dilution of National Onomatopoeias in Post-Statehood Israeli Art Music: Precursors, Contiguities, Shifts, Journal of Musicological Research, 32:4, 314-345, DOI: 10.1080/01411896.2013.837712 To link to this article: http://dx.doi.org/10.1080/01411896.2013.837712 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.