Jewish Organists and Organs in German Synagogues
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SACRED MUSIC Volume 99, Number 1, Spring 1972 Cistercian Gradual (12Th Century, Paris, Bibl
SACRED MUSIC Volume 99, Number 1, Spring 1972 Cistercian Gradual (12th century, Paris, Bibl. Nat., ms . lat. 17,328) SACRED MUSIC Volume 99, Number 1 , Spring 1972 BERNSTEIN'S MASS 3 Herman Berlinski TU FELIX AUSTRIA 9 Reverend Robert Skeris MUSICAL SUPPLEMENT 13 REVIEWS 20 FROM THE EDITOR 25 NEWS 26 SACRED MUSIC Continuation of Caeci/ia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publication: 548 Lafond Avenue, Saint Paul, Minne sota 55103. Editorial office: Route 2, Box I, Irving, Texas 75062. Editorial Board Rev. Ralph S. March, S.O.Cist., Editor Mother C. A. Carroll, R.S.C.J. Rev. Lawrence Heiman, C.PP.S. J. Vincent Higginson Rev. Peter D. Nugent Rev. Elmer F. Pfeil Rev. Msgr. Richard J. Schuler Frank D. Szynskie Editorial correspondence: Rev. Ralph S. March, S.O.Cist., Route 2, Box I, Irving, Texas 75062 News: Rev. Msgr. Richard J. Schuler, 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Mother C. A. Carroll, R.S.C.J., Manhattanville College of the Sacred Heart, Purchase, New York 10577 Rev. Elmer F. Pfeil 3257 South Lake Drive Milwaukee, Wisconsin 53207 Membership and Circulation: Frank D. Szynskie, Boys Town, Nebraska 68010 AdvertisinR: Rev. Ralph S. March, S.O.Cist. CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Dr. Roger Wagner Vice-president Noel Goemanne General Secretary Rev. Robert A. Skeris Treasurer Frank D. Szynskie Directors Robert I. -
7. Uckermärkischer Orgelfrühling
Liebe Freunde der Orgelmusik, SONDERVERANSTALTUNGEN ProgrammübersicHT mit großer Freude veranstaltet die Stiftung Uckermärkische Orgel- n Mo 16. Mai | 17.00 | Maria-Magdalenen-Kirche Templin So 29. Mai | 16.00 | Brüssow Fr 13. Mai, 19.00 Uhr, Jacobikirche Prenzlau landschaft das Musikfest in der Uckermark, um deren kostbare Pfingstbrausen von allen Saiten und Pfeifen - mit CD-Premiere Jazz, Rock, Pop, Filmmusik Eröffnungskonzert FILM 7. UCKERMÄRKISCHER Kulturgüter in den Mittelpunkt zu stellen. In zwölf uckermärkischen Helge Pfläging, Orgel ∙ Jakub Rabizo, Violine ∙ Balint Gergely, Cello Erik Hoeppe, Orgel zerte Quadrophonie: 4 Kantoren – 4 Orgeln n Kirchen werden die Orgeln und mit ihnen viele begleitende Instru- Preußisches Kammerorchester POP, Erik Hoeppe möchte die Vielseitigkeit der Orgel aufzeigen, er So 15. Mai, 20.00 Uhr, Dorfkirche Melzow ORGELFRÜHLING mente erklingen. Jürgen Bischof, Dirigent K, Aus der Schule Johann Sebastian Bachs GSTBRAUSE spielt mal die Badinerie von J.S. Bach, dann zeitgenössische c n Die Orgel, das Instrument mit dem längsten Atem der Welt, wurde Beim diesjährigen, imposanten Orgelkonzert am Pfingstmontag Werke des deutschen Unterhaltungsmusikers und Organisten auptko 13. Mai bis 5. Juni 2016 RO H Sa 28. Mai, 15.00 Uhr, Kirche Rutenberg bereits im dritten Jahrhundert vor Christus erfunden. Ihre bewegte PFI treffen die Orgelpfeifen auf ein Orchester. Dabei wird die Klang- Klaus Wunderlich und des amerikanischen Jazz-Komponisten Mit allen Registern – Junge Talente stellen sich vor Vergangenheit ist eine Erfolgsgeschichte. Wie in keinem anderen vielfalt der Romantik an der größten Orgel der Uckermark prä- Henry Mancini sowie Hits von den Beatles, Queen und auch technischen Gebilde ergänzt und vereinigt sich Musik und Physik, Ar- sentiert. -
On the Trail of Jewish Music Culture in Leipzig
Stations Mendelssohn-Haus (Notenspur-Station 2) On the trail of Jewish Mendelssohn House (Music Trail Station 2) / Goldschmidtstraße 12 The only preserved house and at the same time the deathbed of Felix Mendelssohn Bartholdy (1809-1847), conductor of Leipzig’s Gewandhaus and founder of the rst German conservatory. music culture in Leipzig Musikverlag C.F.Peters / Grieg-Begegnungsstätte (Notenspur-Station 3) C.F.Peters Publishers/Grieg Memorial Centre (Music Trail Station 3) / Talstraße 10 Headquarters of the Peters’ Publishing Company since 1874, expropriated by the National Socialists in 1939; Henri Hinrichsen, the publishing manager and benefactor, was murdered in Auschwitz Concentration Camp in 1942. Wohnhaus von Gustav Mahler (Notenbogen-Station 4, Notenrad-Station 13) Gustav Mahler’s Residence (Music Walk Station 4, Music Ride Station 13) / Gustav-Adolf-Str.aße12 The opera conductor Gustav Mahler (1869-1911) lived in this house from 1887 till 1888 and composed his Symphony No.1 here. Wohnhaus von Erwin Schulho (Notenbogen-Station 6) Erwin Schulho ‘s Residence (Music Walk Station 6) / Elsterstraße 35 Composer and pianist Erwin Schulho (1894-1942) lived here during his studies under the instruction of Max Reger between 1908 and 1910. Schulho died in Wülzburg Concentration Camp in 1942. Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ - Max Reger (Notenbogen-Station 9, Notenrad-Station 3) Leipzig Conservatory named after its founder Felix Mendelssohn Bartholdy (Music Walk Station 9, Music Ride Station 3) / Grassistraße 8 The main building of the Royal Conservatory founded by Mendelssohn, inaugurated in 1887; place of study and instruction of prominent Jewish musicians such as Salomon Jadassohn, Barnet Licht, Wilhelm Rettich, Erwin Schulho , Günter Raphael and Herman Berlinski. -
Sampler Linernts 8 559406.Indd
Cover Art A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. My personal interest in music and deep abiding commitment to synagogue life and the Jewish people united as I developed an increasing appreciation for the quality and tremendous diversity of music written for or inspired by the American Jewish experience. Through discussions with contemporary Jewish composers and performers during the 1980s, I realized that while much of this music had become a vital force in American and world culture, even more music of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve, and transmit the collective memory contained within this music, the Milken Archive of American Jewish Music was founded in 1990. This project would unite the Jewish people’s eternal love of music with their commitment to education, a commitment shared by the Milken Family Foundation since our founding in 1982. The passionate collaboration of many distinguished artists, ensembles, and recording producers has created a vast repository of musical resources to educate, entertain, and inspire people of all faiths and cultures. -
June 17—20, 2019 COLORADO STATE UNIVERSITY
THE SCHOOL OF MUSIC, THEATRE, AND DANCE PRESENTS June 17—20, 2019 COLORADO STATE UNIVERSITY With Joel Bacon and Ken Cowan, Organists Wednesday, June 19, 7:30 P.M. / First United Methodist Church, Fort Collins CANADIAN BRASS WITH JOEL BACON AND KEN COWAN FIRST UNITED METHODIST CHURCH, FORT COLLINS JUNE 19, 2019, 7:30 P.M. Damigella Tutta Bella (from “Scherzi Musicali”) CLAUDIO MONTEVERDI (1567–1643) arr. CALEB HUDSON “Little” Fugue in G minor, BWV 578 JOHANN SEBASTIAN BACH (1685–1750) arr. RONALD ROMM Cantique de Jean Racine GABRIEL FAURÉ (1845–1924) arr. ERIC REED Joel Bacon, organ Canzon Primi Toni GIOVANNI GABRIELI (1557–1612) / arr. ROBERT KIM Canzon Septimi Toni arr. JAMES BOERINGER Joel Bacon, organ Jupiter (The Bringer of Jollity) from “The Planets” GUSTAV HOLST (1874-1934) arr. SCOTT SUTHERLAND Ian Maxwell and John Meriwether, percussion Joel Bacon, organ Penny Lane JOHN LENNON & PAUL MCCARTNEY / arr. CHRIS DEDRICK Tuba Tiger Rag HARRY DECOSTA / arr. LUTHER HENDERSON INTERMISSION Turkish Rondo W. A. MOZART (1756–1791) arr. ARTHUR FRACKENPOHL Procession of the Nobles NIKOLAI RIMSKY-KORSAKOV (1844–1908) arr. JAMES CURNOW Ken Cowan, organ Toccata from “Symphonie Concertante” JOSEPH JONGEN (1873–1953) arr. Ken Cowan Ken Cowan, organ Amazing Grace Traditional / arr. HENDERSON Beale Street Blues W. C. HANDY / arr. HENDERSON With an international reputation as one of the most popular brass ensembles today, Canadian Brass has truly earned the distinction of “the world’s most famous brass group Friends Chuck Daellenbach and Gene Watts first came together in 1970 to form a brass quintet, a chamber music setting not entirely new, but never before having garnered the success and storied career Canadian Brass would achieve over the next 40 years. -
Die Marienkirche in Grimmen Und Die Zum Kirchspiel Gehörenden Kirchen Und Kapellen in Kaschow, Klevenow Und Stoltenhagen
Die Marienkirche in Grimmen und die zum Kirchspiel gehörenden Kirchen und Kapellen in Kaschow, Klevenow und Stoltenhagen 1 Grimmen von Süden, Stadtansicht des Eilhard Lubin, 1610/1618 Die Entstehung der Stadt Grimmen Das Gebiet der späteren Stadt Grimmen, das zum festländischen Teil des Fürstentums Rügen gehörte, wurde längere Zeit sowohl von den mecklenburgischen als auch von den pommerschen Herzögen beansprucht. Die Auseinandersetzungen zogen sich von der zwei- ten Häl e des 12. bis in die erste Häl e des 13. Jahrhunderts hin. Die damals noch völlig unerschlossene sump ge Niederung südlich von Grimmen bildete eine natürliche Grenze zum Gebiet von Demmin, das in den 1120er Jahre von den pommerschen Fürsten erobert und 1128 von Bischof Otto von Bamberg zum Christentum bekehrt wor- den war. Die mecklenburgischen Bischöfe setzten sich im festländi- schen Teil des Fürstentums fest und begannen von Schwerin aus mit ihrer Missionsarbeit. Nach dem Aussterben des rügischen Fürsten- geschlechts 1325 gewannen die pommerschen Herzöge das Fürsten- tum, doch es gehörte weiter zum Bistum Schwerin. Seit dem 13. Jahrhundert zogen die slawischen Fürsten deutsche Siedler zur wirtscha lichen Erschließung des Landes heran. Für jene Zeit lassen sich im Bereich der späteren Gemarkung Grimmen mehrere slawische Siedlungen erschließen. Eine im Schutz der fürst- lichen Burg o e n b a r rasch wachsende, sich zur deutschen Stadt ent- wickelnde Siedlung unmittelbar westlich der Burg trat hinzu. Zu ihr 2 gehörte die neu errichtete Pfarrkirche. Da entsprechende Urkunden fehlen, lässt sich ein genaues Gründungsdatum für Grimmen nicht nennen. In den 1280er Jahren wird die 1267 erstmals erwähnte Sied- lung mit lübischem Recht bewidmet worden sein. -
ABSTRACT Title of Dissertation: COMPOSITIONS for FLUTE BY
ABSTRACT Title of Dissertation: COMPOSITIONS FOR FLUTE BY AMERICAN STUDENTS OF NADIA BOULANGER Jessica Guinn Dunnavant, Doctor of Musical Arts, 2004 Dissertation directed by: Professor William Montgomery School of Music Throughout the twen tieth century, young American composers made a pilgrimage across the Atlantic Ocean to study their craft with Nadia Boulanger (1887- 1979). Many of them wrote substantial, interesting works for flute, and this dissertation focuses on performances of a selection of those compositions. Boulanger’s life is well documented, as is her reputation for helping her students find their own musical voices. In this project she serves as a lens through which three generations of American composers may be viewed. This to pic brings together a wide variety of flute music in almost every style imaginable. A selection of music to perform was made because the amount of music far exceeds the amount of available performance time. A list of Nadia Boulanger’s American students was primarily derived from the website nadiaboulanger.org and from composers listed in the two editions of the New Grove Dictionary of Music and Musicians. These lists are far from comprehensive and other notable flute composers have been added. The followin g is an alphabetical list of the works that were performed: Alexander’s Monody, Amlin’s Sonata , Bassett’s Illuminations, Berlinski’s Sonata , Carter’s Scrivo in Vento , Cooper’s Sonata , Copland’s Duo, Dahl’s Variations on a Swedish Folktune, Diamond’s Sonata , Erb’s Music for Mother Bear, Finney’s Two Ballades , Glass’s Serenade, Kraft’s A Single Voice , La Montaine’s Sonata , Lewis’s Monophony I, Mekeel’s The Shape of Silence , Piston’s Sonata , Pasatieri’s Sonata , Rorem’s Mountain Song, and Thomson’s Sonata . -
Herman Berlinski Return & Sinfonia No
NWCR839 Herman Berlinski Return & Sinfonia No. 10 Return, a song cycle for baritone & piano (1950, rev. 1985) ................................ (21:37) 1. The Listener (Walter de la Mare) ............. (6:09) 2. Return (Demetrios Capetanakis) .............. (6:30) 3. Travelogue for Exiles (Karl Shapiro) ....... (2:40) 4. Portrait of a Girl (Conrad Aiken) ............. (6:18) Donald Boothman, baritone; Herman Berlinski, piano Sinfonia No. 10 for Cello and Organ .................... (36:38) 5. I - “Min-Ha-Maakim” Out of the depths .. (19:12) 6. II - “Av-Ha-Rachamim” Father of Mercy (17:26) Lori Barnet, cello; Herman Berlinski, organ Total Playing Time: 58:20 Ê 1987, 2000 & © 2000 Composers Recordings, Inc. © 2007 Anthology of Recorded Music, Inc. Notes Return, a song cycle for baritone & piano dedicated to Dr. and Mrs. Sidney Friedman who believed A few years ago I visited my hometown Leipzig for the first when nobody else did.) time in forty-eight years. My wife and companion for over — Herman Berlinski, 1985 fifty years was with me. We walked hand in hand through the Sinfonia No. 10 for Cello and Organ (1977) streets which were the streets of our childhood. The houses This work is dedicated to the memory of Milton Feist, rabbi, looked smaller, the streets narrower and time had eaten into kabbalist, music publisher and a dear friend. Milton, crippled the walls of the houses a shade of gray, death and decay. It at the age of four by polio, lived his whole life in a wheel was bitter cold and all the windows were closed. The snow chair. This life, a never ceasing struggle against the muffled our four steps as we walked in the middle of the overwhelming power and brutality of this disease, became to street, for very few cars were circulating then in Leipzig. -
HERMAN BERLINSKI Symphonic Visions for Orchestra RICHARD KORN, Conducting the Ashai Orchestra of Tokyo
HERMAN BERLINSKI Symphonic Visions for Orchestra RICHARD KORN, conducting The Ashai Orchestra of Tokyo Sinfonia No. I Andante Molto Pesante “They crush Thy people, O Lord . And they say: ‘The Lord will not see’.” PSALM 94 Sinfonia No. II Adagio Molto Espressivo “I beheld the earth, And, lo it was waste and void And the heavens, and they had no light.” JEREMIAH Sinfonia No. III Con Impeto - Tempo di Marcia “We have heard a voice of trembling, Of fear, and not of peace.” JEREMIAH Sinfonia No. IV Adagio Molto Sostenuto “For lo the winter is past The rain is over and gone The flower appears on the earth, The time of singing is come.” SONG OF SONGS HERMAN BERLINSKI is a composer with a philosophy. He is not among those creative workers who view the arts as a phenomenon removed from the world of social and spiritual values. Rather, in the course of his musical career, he has managed to experience most of the predominant, although sometimes contradictory, manifestations of twentieth century music and to orient them to a conscious core of personal, philosophical beliefs. Regarding these beliefs and their relationship to his work, the Symphonic Visions, Berlinski has this to say: “Music is communication and communion. “There are many kinds of communication and communion: the message from father to son; from leader to nation; from prophet to people; from the lonesome to whomever wants to listen; from the worried soul to other worried ones. “This is the century of mass destruction, of gas chambers, and the atomic bomb. Fear, sleeplessness, and melancholy have become the trademarks of our “displaced minds.” Some people try to flee into the realm of hectic excitement or irresponsibility — others, among them many creative artists, act toward themselves in no other way than does the psychiatrist toward his patient. -
Integration of East German Resettlers Into the Cultures and Societies of the GDR
Integration of East German Resettlers into the Cultures and Societies of the GDR Doctoral Thesis of Aaron M.P. Jacobson Student Number 59047878 University College London Degree: Ph.D. in History 1 DECLARATION I, Aaron M.P. Jacobson, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT A controversy exists in the historiography of ethnic German post-WWII refugees and expellees who lived in the German Democratic Republic. This question is namely: to what extent were these refugees and expellees from various countries with differing cultural, religious, social and economic backgrounds integrated into GDR society? Were they absorbed by the native cultures of the GDR? Was an amalgamation of both native and expellee cultures created? Or did the expellees keep themselves isolated and separate from GDR society? The historiography regarding this controversy most commonly uses Soviet and SED governmental records from 1945-53. The limitation of this approach by historians is that it has told the refugee and expellee narrative from government officials’ perspectives rather than those of the Resettlers themselves. In 1953 the SED regime stopped public record keeping concerning the Resettlers declaring their integration into GDR society as complete. After eight years in the GDR did the Resettlers feel that they were an integrated part of society? In an attempt to ascertain how Resettlers perceived their own pasts in the GDR and the level of integration that occurred, 230 refugees and expellees were interviewed throughout the former GDR between 2008-09. -
Die Orgellandschaft Des Landes Brandenburg
Die Orgellandschaft des Landes Brandenburg Referiert von KMD Christhard Kirchner am 18.4.01 während des Kreiskantorenkonventes in Lobetal Einige geographische Bemerkungen möchte ich vorausschicken, damit Sie besser verstehen, worum es geht. Das Territorium und die Grenzen des heutigen Landes Brandenburg sind nicht identisch mit dem Gebiet, das die evangelische Kirche von Berlin-Brandenburg umfasst. Sie sind auch nicht deckungsgleich mit der 1817 innerhalb des Staates Preußen neu gebildeten Provinz Brandenburg, die ja bis 1945 bestand und weit in das Gebiet jenseits von Oder und Neiße reichte. Die Provinz Brandenburg und das heutige Bundesland Brandenburg haben ihren Ursprung in der alten Mark Brandenburg, die der 1. Markgraf von Brandenburg, Albrecht der Bär, im Jahr 1157 begründet hatte. Bei unserem notwendigen Blick in die Geschichte des Orgelbaus des Landes Brandenburg müssen wir auch die früheren Gebietsteile, nämlich die Altmark mit ihrer Hauptstadt Stendal und die Neumark, jene Landschaft östlich von Frankfurt/Oder und Schwedt, mit einbeziehen. Der südliche Teil von Brandenburg, die Niederlausitz, gehörte viele Jahrhunderte zu Sachsen und kam erst 1815 zu Preußen. Weitere Korrekturen an unserem heutigen Kirchengebiet hat es 1973 mit der Abgabe einiger Gemeinden an die Greifswalder Kirche und erst jüngst am 1.1.1999 gegeben, als die Kirchenprovinz Sachsen 6 Dorfgemeinden mit ihren Kirchen und Orgeln an Berlin-Brandenburg abgetreten hat, die dem Kirchenkreis Rathenow eingegliedert wurden. Meine Ausführungen zu Orgeln im Land Brandenburg will ich in 5 Abschnitte gliedern: 1. Die ältesten Zeugnisse 2. Die Entwicklung der Orgelkultur Brandenburgs im 16. und 17. Jahrhundert 3. Der Orgelbauer Joachim Wagner, seine Werkstattnachfolger und andere Orgelbauer im 18. -
Brian Schober, Organ
Contemporary Works for Organ Sunday, February 23, 2020 4:00 pm Church of the Heavenly Rest, New York City Brian Schober, organ Program Three Biblical Masques (1960) Miriam Gideon i Haman ii Esther iii Mordecai Chorale Variations on “Aus tiefer Not schrei ich zu dir” (2019) ** Andrew Ardizzoia Misericordia (2014) John Anthony Lennon Elegy (1998) Steven Christopher Sacco Aaron’s Jubilee (1997) Richard Brooks Prelude for Organ (2002) Nancy Van De Vate (Elegy for Departed Friends) Variations on St. Elizabeth (2017) Thomas L. Read MicroSuite (2009) * Joseph Dangerfield The Wide Night Sky (2001) Jody Rockmaker Toccatas and Fantasias (1986-88) Brian Schober ** world premiere * New York premiere NOTES and NOTES FROM THE COMPOSERS – In concert order The American composer Miriam Gideon (1906-1996) grew up in Boston and, from age 10, New York. Gideon began music lessons after her family moved to New York, studying piano with her uncle, Henry Gideon, and later with Hans Barth and Felix Fox. Gideon graduated from Boston University in 1926 with a BA in French and mathematics, after which she studied composition privately with Lazare Saminsky (1931-1934) and Roger Sessions (1935-1943). Gideon later received an MA in literature from Columbia University (1946), as well as a doctorate in sacred music from the Jewish Theological Seminary (1981). During her career she taught composition at Brooklyn College, City College, Jewish Theological Seminary and Manhattan School of Music. She was only the second female composer to be inducted into the American Academy and Institute of Arts and Letters (1975). In 1946, the eminent composer Hugo Weisgall, the chairman of the faculty at the Jewish Theological Seminary's Cantors Institute and Seminary College of Jewish Music (now the H.