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The Klezmer Influence in Paul Schoenfield's Klezmer Rondos
THE KLEZMER INFLUENCE IN PAUL SCHOENFIELD’S KLEZMER RONDOS Mark Trimble, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2011 APPROVED: Mary Karen Clardy, Major Professor Dennis Fisher, Minor Professor Don Taylor, Committee Member Lynn Eustis, Director of Graduate Studies in the College of Music John Holt, Chair of the Division of Instrumental Studies James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Trimble, Mark. The Klezmer Influence in Paul Schoenfield’s Klezmer Rondos. Doctor of Musical Arts (Performance), December 2011, 43 pp., 24 figures, bibliography, 17 titles. Paul Schoenfield’s Klezmer Rondos is a work for flute, male vocalist, and orchestra revised in 1994 according to the score given to me by the composer. A review of current research in klezmer heritage music is the starting point to place Klezmer Rondos in the context of art music infused with klezmer flavor. Klezmer music can be defined as the instrumental folk music of Eastern European Jews, however because of its adaptability and quality of assimilating other cultures within it, this heritage music is constantly in flux. By looking at the research in this field, I describe how the sound of klezmer music has evolved and how popular notions have been formed. The body of this research explores the main musical aspects of Klezmer Rondos that can be tied to the klezmer tradition: scales and thematic materials, improvisatory elements, ornamentation, and instrumentation. Klezmer Rondos moves beyond a simple arrangement of vernacular music for orchestra; it is a fusion of contemporary art music with the elements of klezmer style. -
CV Template : Academic Careers
Avi Bar-Eitan, Ph. D. 21.07.2020 CURRICULUM VITAE 1. Personal Details Full name: Avi )Avraham Natan Meir) Bar-Eitan Permanent address: Karmon 6 Jerusalem, Israel, 9630811 Telephone: +972-54-440-5292 E-mail address: [email protected] 2. Higher Education Undergraduate and Graduate Studies Period of Name of Institution and Department Degree Year of Study Approval of Degree 2007-2014 Hebrew University of Jerusalem, Israel Ph.D. 2014 Musicology Dissertation: “The Gray Area between the Hebrew Art and Folk Song,1920-1960: A Study of the Songs of Mordechai Zeira, David Zehavi and Moshe Wilensky” Advisors: Naftali Wagner and Jehoash Hirshberg 1998-2005 Jerusalem Academy of Music and Dance, Israel M.A. Mus 2005 Composition Advisor: Mark Kopytman Combined degree of the Hebrew University and the Jerusalem Academy of Music and Dance 1998-2005 Hebrew University of Jerusalem, Israel M.A. Mus. 2005 Musicology Thesis: “The Appearance of the Ahavah Rabbah Steyger in Klezmer Music in Israel and the United States in the First Half of the Twentieth Century” Advisors: Eliyahu Schleifer and Edwin Seroussi 1998-2000 Jerusalem Academy of Music and Dance, Israel Artist 2000 Composition Diploma Advisor: Mark Kopytman 1992-1998 Jerusalem Academy of Music and Dance, Israel B. Mus. 1998 Conducting Advisors: Aharon Harlap and Evgeny Tzirlin Combined degree of the Hebrew University and the Jerusalem Academy of Music and Dance 1992-1998 Hebrew University of Jerusalem, Israel B.A. Mus. 1998 Musicology, Hebrew Literature, and Jewish Studies 1992-1996 Jerusalem Academy of Music and Dance, Israel B. Mus. 1996 Composition Advisor: Mark Kopytman Dr. -
825646078684.Pdf
JOHANNES BRAHMS 1833–1897 Concerto for violin and cello in A minor, Op.102* 1 I Allegro 16.10 2 II Andante 7.39 3 III Vivace non troppo 8.10 FELIX MENDELSSOHN 1809–1847 Violin Concerto in E minor, Op.64 4 I Allegro molto appassionato 12.28 5 II Andante 7.42 6 III Allegretto non troppo — Allegro molto vivace 6.38 58.47 ITZHAK PERLMAN violin YO-YO MA cello* Chicago Symphony Orchestra/Daniel Barenboim IGOR STRAVINSKY 1882–1971 Violin Concerto in D 7 I Toccata 5.40 8 II Aria I 4.04 9 III Aria II 5.00 10 IV Capriccio 5.52 SERGEI PROKOFIEV 1891–1953 Violin Concerto No.2 in G minor, Op.63 11 I Allegro moderato 10.06 12 II Andante assai 9.15 13 III Allegro, ben marcato 6.13 46.10 ITZHAK PERLMAN violin Chicago Symphony Orchestra/Daniel Barenboim 2 Original album cover 3 he erato & Teldec Recordings Mendelssohn · Prokofiev · Brahms · Stravinsky On these two albums — the Mendelssohn and Prokofiev concertos originally released on Erato, the two others on Teldec — Itzhak Perlman was revisiting repertoire he had first recorded earlier on in his career. He had recorded Prokofiev’s Second Violin Concerto for RCA (with the Boston Symphony Orchestra under Erich Leinsdorf) as early as 1966, and Mendelssohn’s Concerto (with the London Symphony Orchestra and André Previn; see volume 5) six years later. He had also gone on to commit a further interpretation of each work to disc: the Prokofiev with the BBC Symphony Orchestra and Gennady Rozhdestvensky in 1980 (see volume 29), the Mendelssohn with the Amsterdam Concertgebouw and Bernard Haitink in 1983 (volume 33). -
To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Marissa Gogan Thesis Submitted to the Faculty Of
To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Marissa Gogan Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts In History David P. Cline, Co-Chair Brett L. Shadle, Co-Chair Rachel B. Gross 4 May 2016 Blacksburg, Virginia Keywords: Identity, Klezmer, Jewish, 20th Century, Folk Revival Copyright 2016 by Claire M. Gogan To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Gogan ABSTRACT Klezmer, a type of Eastern European Jewish secular music brought to the United States in the late 19th and early 20th century, originally functioned as accompaniment to Jewish wedding ritual celebrations. In the late 1970s, a group of primarily Jewish musicians sought inspiration for a renewal of this early 20th century American klezmer by mining 78 rpm records for influence, and also by seeking out living klezmer musicians as mentors. Why did a group of Jewish musicians in the 1970s through 1990s want to connect with artists and recordings from the early 20th century in order to “revive” this music? What did the music “do” for them and how did it contribute to their senses of both individual and collective identity? How did these musicians perceive the relationship between klezmer, Jewish culture, and Jewish religion? Finally, how was the genesis for the klezmer revival related to the social and cultural climate of its time? I argue that Jewish folk musicians revived klezmer music in the 1970s as a manifestation of both an existential search for authenticity, carrying over from the 1960s counterculture, and a manifestation of a 1970s trend toward ethnic cultural revival. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
A Summer of Concerts Live on WFMT
A summer of concerts live on WFMT Thomas Wilkins conducts the Grant Park Music Festival from the South Shore Cultural Center Friday, July 29, 6:30 pm Air Check Dear Member, The Guide Greetings! Summer in Chicago is a time to get out and about, and both WTTW and WFMT are out in The Member Magazine for WTTW and WFMT the community during these warmer months. We’re bringing PBS Kids walk-around character Nature Renée Crown Public Media Center Cat outdoors to engage with kids around the city and suburbs, encouraging them to discover the 5400 North Saint Louis Avenue natural world in their own back yards; and we recently launched a new Chicago Loop app, which you Chicago, Illinois 60625 can download to join Geoffrey Baer and explore our great city and its architectural wonders like never Main Switchboard before. And on musical front, WFMT is proud to bring you live summer (773) 583-5000 concerts from the Ravinia and Grant Park festivals; this month, in a first Member and Viewer Services for the station, we will be bringing you a special Grant Park concert from (773) 509-1111 x 6 the South Shore Cultural Center with the Grant Park Orchestra led by WFMT Radio Networks (773) 279-2000 guest conductor Thomas Wilkins. Remember that you can take all of this Chicago Production Center content with you on your phone. Go to iTunes to download the WTTW/ (773) 583-5000 PBS Video app, the new WTTW Chicago’s Loop app, and the WFMT app for Apple and Android. -
Download: 1996 Itzhak Perlman Event Program
ltzhak Perlman February 12 , 1996 Wait Chape l 8:00 p.m. A Morris and Lillian Sosnik Memorial Concert at Wake Forest University ITZHAK PERLMAN On October 13, 1966, the Wake Forest College Artists Series presented Itzhak Perlman, violinist, for the first time noting that he was one of the acknowledged leaders among the world's young violinists. The program also referred to his appearances on the Ed Sullivan Televison Show in 1958, his winning of the Leventritt International Competi- tion (after which his borrowed violin was stolen, later recovered in an Eighth Avenue pawnshop) and his first national concert tour in the 1965/66 season under the manage- ment of the legendary Sol Hu rok. Thirty years later, Mr. Perlman returns to Wake Forest and the Secrest Artists Series as a superstar within the rarified ranks of world-class musicians. It is not only his supreme artistic credentials that earn him this title, but his combination of talent, chami, human,ity and communication skills recognized by audiences internationally. President Reagan honored Mr. Perlman with a "Medal of Liberty''•i.n 1986. ltzhak Perlman has appeared with every major orchestra and in recitals and festivals throughout the world. His recordings on the Angel/EM!, Deutsche Grammophon, London/Decca, CBS Masterworks/Sony Classical, Erato/Elektra International Classics, and RCA/BMG Classics labels regularly appear on best-seller charts a nd have won thirteen Grammy awards. Harvard University, Yale University, Brandeis University, Yeshiva University and Hebrew University in Jerusalem are among the institutions which have awarded him honorary degrees. On television, Mr. -
Israel Prize
Year Winner Discipline 1953 Gedaliah Alon Jewish studies 1953 Haim Hazaz literature 1953 Ya'akov Cohen literature 1953 Dina Feitelson-Schur education 1953 Mark Dvorzhetski social science 1953 Lipman Heilprin medical science 1953 Zeev Ben-Zvi sculpture 1953 Shimshon Amitsur exact sciences 1953 Jacob Levitzki exact sciences 1954 Moshe Zvi Segal Jewish studies 1954 Schmuel Hugo Bergmann humanities 1954 David Shimoni literature 1954 Shmuel Yosef Agnon literature 1954 Arthur Biram education 1954 Gad Tedeschi jurisprudence 1954 Franz Ollendorff exact sciences 1954 Michael Zohary life sciences 1954 Shimon Fritz Bodenheimer agriculture 1955 Ödön Pártos music 1955 Ephraim Urbach Jewish studies 1955 Isaac Heinemann Jewish studies 1955 Zalman Shneur literature 1955 Yitzhak Lamdan literature 1955 Michael Fekete exact sciences 1955 Israel Reichart life sciences 1955 Yaakov Ben-Tor life sciences 1955 Akiva Vroman life sciences 1955 Benjamin Shapira medical science 1955 Sara Hestrin-Lerner medical science 1955 Netanel Hochberg agriculture 1956 Zahara Schatz painting and sculpture 1956 Naftali Herz Tur-Sinai Jewish studies 1956 Yigael Yadin Jewish studies 1956 Yehezkel Abramsky Rabbinical literature 1956 Gershon Shufman literature 1956 Miriam Yalan-Shteklis children's literature 1956 Nechama Leibowitz education 1956 Yaakov Talmon social sciences 1956 Avraham HaLevi Frankel exact sciences 1956 Manfred Aschner life sciences 1956 Haim Ernst Wertheimer medicine 1957 Hanna Rovina theatre 1957 Haim Shirman Jewish studies 1957 Yohanan Levi humanities 1957 Yaakov -
825646078967.Pdf
ANTONÍN DVO Rˇ ÁK 1841 –1904 Sonatina in G major, Op.100 1 I Allegro risoluto 5.57 2 II Larghetto 4.18 3 III Scherzo (Molto vivace) 2.57 4 IV Finale (Allegro) 5.38 BED RˇICH SMETANA 1824 –1884 Z domoviny (From My Homeland) 5 No.1 Moderato 3.19 6 No.2 Andantino — Moderato 5.09 ANTONÍN DVO Rˇ ÁK Four Romantic Pieces, Op.75 7 No.1 Allegro moderato 2.56 8 No.2 Allegro maestoso 2.46 9 No.3 Allegro appassionato 2.24 10 No.4 Larghetto 4.58 40.30 ITZHAK PERLMAN violin SAMUEL SANDERS piano 2 Itzhak Perlman Photo: Jillian Edelstein © Parlophone Records Limited 3 PERLMAN AS NARRATOR Itzhak Perlman has a considerable gift for acting, as only a few minutes with him will confirm. Just as he can adapt the style and tone of his playing to suit a range of different kinds of music, he also knows how to use his natural talent as an actor to imitate different dialects and foreign accents, and to do funny voices. He’s also a master storyteller, skilled at weaving tales full of surprise and imagination — hardly surprising, then, that he has been invited to lend his rich, deep tones to several recordings of children’s classics. Camille Saint-Saëns, who loved animals more than he did people, was inspired to write his “Grande Fantaisie zoologique” while on holiday in Austria in 1886. With a touch of mischief, he reserved it for the annual Shrove Tuesday concert he gave to his close friends, and forbade the public performance of this lighthearted “occasional” piece during his lifetime, in the interests of protecting his reputation as a distinguished composer of concertos, symphonies and opera. -
Professional Artistic Education and Culture Within Modern Global Transformations
Professional Artistic Education and Culture within Modern Global Transformations Professional Artistic Education and Culture within Modern Global Transformations Edited by Olga Oleksiuk Professional Artistic Education and Culture within Modern Global Transformations Edited by Olga Oleksiuk This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Olga Oleksiuk 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): 1-5275-0663-0 ISBN (13): 978-1-5275-0663-3 TABLE OF CONTENTS Chapter I .................................................................................................... 1 The Philosophical Foundations and Historical Experience of Professional Artistic Education and Culture Jerusalem—The Heart of the Jewish People in Poetry and Song ................ 3 N. Davidovitch The Oleksandr Koshytsia Choral Conducting School as a Social Phenomenon ............................................................................ 15 H. Karas Arts Education: A Functional-Personal Model in the Dimension of Modernity.................................................................. 27 G. Padalka Typology of Early Jazz: -
Klezmerquerque 2014 February 14Th-16Th, 2014
KlezmerQuerque 2014 February 14th-16th, 2014 R2G Klezmer Trio: Dr. Joel Rubin (clarinet & ethnomusicologist- Charlottesville/Switzerland), Pete Rushefsky (Tsimbalom/Eastern European hammered dulcimer-NYC), & Steven Greenman (violin, vocals & award- winning composer-Cincinnati) R2G is a dynamic new trio formed by longtime stars of the klezmer revival, Joel Rubin (clarinet), Pete Rushefsky (tsimbal /hammered dulcimer), and Steve Greenman (violin). R2G performs original compositions and improvisations in addition to their own arrangements of the classic East European Jewish instrumental klezmer music and mystical hasidic nigunim (melodies of spiritual elevation). With its virtuosic style and sumptuous, richly ornamented sound, their music is at once a meditation on the Russian-Jewish musical legacy and an expansion of it into the present. The trio also experiments with extended structures, such as "concert form klezmer" suites that meld the traditional klezmer genres with Ottoman Turkish concepts of art music for listening. The concert form expands the expressive possibilities of klezmer music and provides a pathway for the musicians to create performances that develop more extended musical narratives. But the group can cut it up on the dance floor as well. "Inspiring, jaw-dropping and foot stomping," raved Beth Cohen, director of the annual KlezmerQuerque Festival. List to the trio: Beregovski Shers (trad.) Ahavas Oylom (Greenman) Bay di toyren fun beys-hamikdosh (trad.) Peshrev (Rushefsky) Tish Nign (trad.) Nign for Sabbath and Holidays Joe Rubin Joel Rubin has been one of the leading figures in the international klezmer movement as performer, scholar, author and educator for the past thirty years, earning accolades from sources as diverse as klezmer giants Dave Tarras and Max Epstein, international clarinet soloist Richard Stoltzman, avant garde composer John Zorn, and Nobel Prize Laureate and poet Roald Hoffmann. -
The Klezmer Shul to Be Presented by Veretski Pass in February
Media Contact: Brenda Hughes 415/244-9770 or [email protected] For Immediate Release THREE WEST COAST PREMIERE PERFORMANCES OF THE KLEZMER SHUL TO BE PRESENTED BY VERETSKI PASS IN FEBRUARY SAN FRANCISCO, January 5, 2010—The Veretski Pass trio, preeminent exponents of East European Jewish music, will present three premiere performances in February of The Klezmer Shul, a 45- minute, four-movement instrumental suite, written to capture the emotional power of traditional synagogue singing without the use of words. The Klezmer Shul will be presented at Temple Israel in Alameda on Monday, February 8; Congregation Netivot Shalom in Berkeley on Wednesday, February 10; and on Sunday evening, February 14, at the KlezCalifornia’s Yiddish Culture Festival at Congregation Etz Chayim in Palo Alto. All performances will be followed by discussions with the audiences. On Sunday, the discussion will be followed by a traditional klezmer dance party. For The Klezmer Shul, the three members of Veretski Pass have departed from the traditional klezmer music for which they are best known. Drawing on their varied backgrounds, they have created a new composition inspired by the klezmer shuls (synagogues) of pre-war Eastern Europe, combining liturgical melodic principles and emotional intonations with jazz, avant garde, classical and folk elements. “The name for this project,” explained Veretski Pass member Stu Brotman, “was inspired by noted scholar Dr. Walter Zev Feldman, in a lecture on the shuls associated with the Jewish trade guilds of Ashkenazic Eastern Europe. There were tailors’ shuls, shoemakers’ shuls — and klezmer shuls. We don’t know whether the klezmorim prayed or played more in the shuls, but they are known to have sometimes jammed in shul social halls.” From the start, Mr.