Lillian Lewis Records Phyllis Ho/Tby 24 HOURS DAIL}: on BUY a ~SH RECORD ,I Starring to MARK , ' 76 Yale Avenue ~ , Brotherhood Weele

Total Page:16

File Type:pdf, Size:1020Kb

Lillian Lewis Records Phyllis Ho/Tby 24 HOURS DAIL}: on BUY a ~SH RECORD ,I Starring to MARK , ' 76 Yale Avenue ~ , Brotherhood Weele • , ' , J, , . , ., \ "­ I Thursday, February 9, 1961 Page NlDe THE JEWISH POST Thursday, February 9, 1961 THE JEWISH !P,OST t, Page Eight ,',' '''1 wi th virtually anything in the mod­ you're in a particular hurry. ThIs 1 Beersheba, Arab gunfire interrupted once happened to lIIe in Winnipeg the' widest popularity wherever no substitute for quality. A talent given new life by her consummate I ern symphonic repertoire. :1. Mr. !Bernstein's playing of the and I got to my television inter­ Yiddish-speaking Jews resided. such as Sara U'dow's endures-in all rendition. Even when the lyric was ,,I I !Beethoven !No. 1 ,("I ,thought it was An Interview with . view" on Spotlight (CBWT) one I The group of P"'lm songs on this of its freshness and, beauty-despite not particularly good - it did not minute before the show began. I my Swan Songll") The concert, ANNA RUSSELL recording, Peretz Hershbein's Yamen the fads, the gimmicks, the twists matter, we had the voice to listen to. Tangents Satirist Anna Russell, who ap­ didn't know' the intervieWer (it BARNEY ,·GLAZER'S of vogue in popular entertainment. + with President Chairn Weizrnann may have been Bob Wnson), and Royshen; David Edelshtat's Shnel The concert stage would have ) in attendance, continued. , • pears at the Playhouse theatre be apparently hadn't the faintest Loyfen di Reder, describing the A Rodgers and Hammerstein med­ been enriched by her presence; as Aaron Copland, Paul Hindernith, Saturday nOght in a ICelebrity Series idea ,who I was, but was too polite, miserable conditions in the sweat­ ley, Softly as in a Morning Sunrise, it is, the city, of Winnipeg has I and the Ernest Bloch of the \Jewish event, utilizes her unusual gifts to to say so. I think he imagined I shops and calling upon the worker Hava Negillah, Old Man River, were gained. ; was some sort of cooking expert. HOLLYWOOD cycle seem to be the influences most make a realistic contribution to the ~struggle for a better'life; Avrom I art of song and program-building. The program naturally ended up 1 prominent in Bernstein's music, to­ In hopeless' confusion, which may Reisen's Milchome and Die Vant, Rosh Pina Youth Present Concert I Her colorful projection plus an tn­ gether with a good'deal of ja~ a la have been amusing to the audience, scholarship to -USY Camp. fallible sense of timing, accent and Hollywood, Calif. - Stuar\ Whit- into the army, she replied: "Okeh, is representative of several periods Judging by the numerous' phone idea of what the orchestra would Gershwin. It would be possible to though I doubt if It sold a single 'kin '--la in the life of the !American Yiddish The committee includes Sonia calls and enquiries which Tangents really sound like in a proper audi­ label his works (West Side Store, good taste, combine wl~, instru­ ticket." . man b ears a s trI g resem" nee fine, Joey, but be sure to come home to his great grandfather, according early".... My deepest sympathy art song. They combine the work 'Peltz, Sheila Levene, Ruthie Lev­ has received following our sta te­ torium - say, the Winnipeg Civic which opens its 39-week European men tal deftness and a vOIce that Is Deviating imperceptibly from the to Stu's dad. The ancestor was to Roberta Linn on the passing of of poets who wrote in the classic ene and Marsha Lipkin. ment last week that Leonard Bern­ Auditorium??? There it was 'be­ tour Feb. 14 at the Habimah Thea­ utilitarian but nUilnced at her singing norm, no less than many Thur\ington Whitman, a minister her ur;tcle, Joseph S. ;Dubin, veteran Yiddish vein, and composers atural stein and the New York Philhar­ fore us - the orchestra, we had tre in Tel Aviv, Wonderful Town, slightest wish" to add up to con­ who are ~tirely serious, in their 1,. .. ' 1 'th d to the Jewish tradition and horne "I monic Orcllestra will include Win­ grown up ,with on records, radio Fancy Free, his bne-act opera summate artistry; Miss Russell, not ideas of projection, Anna' baffles w h 0'fell lTI ove WI an was composer and arranger for Walt BBYA Schedule \ I nipeg on their 1900 mile tOll! on and Tv. In quality and volume of Troube in Tahiti) as facile and too gingerly, spoofs the sacrosanct critics and laymen ',by her subtle, married to Anne Pell, daughter of a Disney. He was the brother of in the modem art of compo tion. .:;j May H, it would seem that enthusi­ sound, the ~8-man orchestra (the effective, if he had not given uS Lied ["Du bist wie eine Spinkel"], but not too gentle lampooning. In rabbi, and one of the most beauti- "the late lyricist, AI Dubin. A leading singer with Purim Carnival it: asm is already beginning to mount. only woman player was a harpist) the high eloquence and ,beauty, con­ the vanishing moods of the French brief, she~atters cherished idioms luI women in London at the time. Sorry to mi inform ·th a York City Opera, basso Lis er dis- •.. Paul Anka (non-Jewish) has a r gu b t sM'tzi G yo1,l ~INOT closes a voice of fine sonority that The Menorah chapter of B'na! 1- ,We are awaiting further word was overwhelming enough and iD. tained in the final Lament from the Schoo}, and explores with sat!l-lc of song and makes us like it. Satur­ . k edff .. POI' ess u I aynor IS , ,. drni III . d th . B'rith Young Adults will hold a from Mr. Bernstein's secretary, sheer virt)losity was profoundly Jeremiah. Symphony and the fiercely gi'be, folk tune, ultra-modem eom­ day should prove no exception. top asset m Jac M 0, his planist- Jewish. lIer husband, Jack Beam, is. 18.a ra y swte 'to e mUSlC ,:I'~ ~ 'J Purim Carnival February 26 from. ", Helen Coates, and from Columbia impressive; the !Bartok, Concerto position, Wagnerian compositions, conductor who comes from Dor- Keep your yes 0 young and which he, has chosen to record. , I intense Facsimile Ballet. CULTURAL CALENDAR e 2 until 8 p.m. at the Hebrew Sick , I Festivals, Inc., an adjunct of Colum­ for Orchestra was indeed that - a Bernstein's, admiration for the and the many song forms which she chester, Mass. Jack is 6' 3" tall h d om M rk D n th f Thanks to his stylist insight and to I ' Feb. 9-11 - The Children's Thea­ . 1 ans e a 'amon, e,ormer h'" h b' hi Benefit hall. Highlights of the car­ bia Artists Management, and will concerto for orchestra as a solo attitudizing of Shostakovitch and takes over, ruthlessly, and makes and smg e, gals! : AI an .H 'arrlS. .' His moth er, Lill'Lan t e sensItIvIty e'.' rmgs to s per- 'I , tre presents the Royal Winnipeg Jack Kruschen, who was so mar- Gilb t . ' b f th 0 ah formance, each lied emerges as a nival will be entertainment, games publish details regarding ticket instrument, with Mr. Bernstein con­ Prokofiev is apparent from the gen­ her own ["Prosciuttino" (Russell- , 'er,lsam~mero e r . Ballet in "An Adventure In Dance" velous as the doctor in "The Apart- Ch t f th Pi d gem. cannot refram from com- and prizes, bingo and auction sale. sales, program and tour highlights ducting as though he had just dis­ erally seff-nnposed eloquence of Verdi) sung in simultaneous Italian n . ap er 0 e oneer'w omen an. r . based on the classic "Hansel ,and as soon as they" are available. covered the music. his symphony. Besides Hebrew alld !English] . "ment, will play in "Lover, Come strictly on her own she sold $15 000 menting upon the beauty which he Dance and coronation will follow Gretel" starring Sonia Tavener, Back" with !Rock Hudson, Doris Day f lIB d Y' b 'bl evokes at the end of Golus March, A great orchesfra and a dynamic 'For the record, Bernstein con­ liturgy, his immediate ancestor in "Just tell your family and friends , 0 srae'ons. ouveproay ... from 8:30 to midnight with the , Dick Rutherford, Ted Patterson and and Tony Randall. My Winnipeg M k ,n th t rtu d descrlbmg the plight of the Jews of conductor made August 15-16 musi­ ducts with baton, sometimes from his use of declamatory style is Cop­ you're goIDg on a concert tour and seen ar l,uamon as e 0 re crowning of one of 21 girls repre­ \ ' they'll suddenly go ecstatic on you the entire RWB at the Manitoba ,readers may remember Jack's dad, young hero in "Fall of the House Eastern Europe, persecuted and I : cal red-letter days in Vancouver memory, with a personality and a land, in whose music an unconsci.ous and blurt out, 'How l'Ironderfu1! Theatre Centre at 10:30 a.m., 2:00 senting the B'nai B'rith Girls' chap­ last summer. A damp and steam- colorful flamboyance verging'on the and admittedly elusive Jewish Morris Kruschen, who worked for of Usher," co-starring: Vincent driven from one land to another. Aren't you lucky.' Sure am - but p.m. and 7:3~ p.m. daily. ters. Proceeds will be used for wel­ histrionic; in fact, let's face it, it element may possibly have con­ it's not roses all the way, believe Dingwall's as a watchmaker. Price. He goes to Rome in May to SANDRA KAY fare purposes in Israel, Canada and verges on the choreographic! But tributed to the formation of a type me.
Recommended publications
  • 825646078936.Pdf
    ITZHAK PERLMAN LIVE IN THE FIDDLER’S HOUSE plays familiar Jewish melodies arranged by Dov Seltzer 25 Bukovina 212 (Trad. arr. Alpert/Bern) 4.30 1 A Yiddishe Mamme 6.48 26 Lekho Neraneno (Trad. arr. Brave Old World) 5.00 2 As der Rebbe Elimelech is gevoyrn asoi freylach * 5.51 27 Doina Naftule (Trad. arr. Bjorling) 2.43 3 Reyzele * 4.10 28 A Hora mit Branfn (Trad. arr. Bjorling) 3.24 4 Oif’n Pripetchik brennt a feier’l 4.05 29 Healthy Baby Girl (Suigals) 2.16 5 Doyna * 3.39 30 Golem Tants (London) 1.49 6 Rozhinkes mit Mandelen 5.37 31 Honga Encore (Trad. arr. London) 1.35 7 Oif’n Weyg steyt a Boim 5.25 32 Nign (Sklamberg) 5.31 8 A Dudele * 4.50 33 Bulgars/The Kiss (Trad. arr. The Klezmatics/London) 5.07 9 Viahin soll ich geyn? 4.54 34 Meton Nign/In the Sukke 6.02 35 Sholom Aleykhem 4.33 36 Khaiterma 2.55 ITZHAK PERLMAN violin 37 Andy’s Ride 2.55 ISRAEL ZOHAR clarinet* 38 A Heymischer Bulgar/Wedding Dance (Trad. arr. Ellstein) 3.14 Israel Philharmonic Orchestra/Dov Seltzer 39 Kale Bazetsn (Seating the Bride)/Khusidl (Hasidic Dance) 4.30 (Trad. arr. Tarras) 40 Fun Tashlikh 3.01 IN THE FIDDLER’S HOUSE 41 A Yingele fun Poyln (A Young Man from Poland)/ 4.59 Di Mame iz Gegangen in Mark Arayn (Mother Went to Market) 10 Reb Itzik’s Nign * 6.01 42 Processional — (Trad. arr. Netzky and ‘Klezcorps’) 12.16 ‡ 11 Simkhes Toyre Time 3.22 Klezmer Suite — (Trad.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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:
    [Show full text]
  • Classical Music and the Hebrew Song Repertoire YOSEF GOLDENBERG
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Classical Music and the Hebrew Song Repertoire YOSEF GOLDENBERG The repertoire of Hebrew folk and popular songs has various links to the tradition of classical music, some of which we will examine here. These links include: occasional textual references, musical quotations, stylistic imitations, biographical relationships of Israeli art music composers to the folk or popular repertoire and vice versa, classical performances of Israeli songs, stylistic features shared with classical music (much more prominent in Israeli songs than in Anglo-American pop-rock music), and occasionally even quasi-classical artistic devices (not necessarily in songs whose style resembles classical music). References to and Use of Classical Music in Hebrew Songs Textual references to classical music appear in many Hebrew songs, especially those that are humoristic in style. Classical music generally serves as a stereotypic symbol of high art, whether it is being praised for being exemplary, or blamed for being arrogant.1 Specific composers mentioned in song texts are usually interchangeable; specific works are hardly ever mentioned, and, when they are, the reference does not 1 For example, Beethoven’s name is mentioned as a symbol of genius in Ata Pele [You are a Miracle] (Chava Alberstein, 1989); a hostile approach appears in Be-Gova ha-‘Einayim [At Eye Level] (Uzi Chitman, 1995). I refer to the names of the composer or lyrics writer (according to context) and year of composition or release. I found many of these details in MOOMA’s listings at http://www.mooma.com, or at ACUM [the Israeli ASCAP] site at http://www.acum.org.
    [Show full text]
  • Charting the Minefields
    ?1 Jewish Communal Affairs Department Institute on American Jewish-Israeli Relations CHARTING THE MINEFIELDS American Academics and Israelis in Dialogue A Critical Analysis by Janet Burstein CM© THE AMERICAN JEWISH COMMITTEE, Institute of Human Relations. 165 East 56 Street. New York. N.Y. 10022 CHARTING THE MINEFIELDS American Academics and Israelis in Dialogue A Critical Analysis by Janet Burstein o Contents Preface v Author's Foreword vi Jewish Identity: Psychological, Social Religious and Cultural Dimensions 1 Living as a Minority: The Relationship of Jews •to Non-Jews in Israel and America 4 ״ Religious Nationalism 9 Jewish Secularism and Jewish Continuity 16 Jewish Cultural Creativity 21 Issues in American and Israeli Jewries: Similarities and Differences 25 Ideas for Cooperative Efforts 30 List of Participants 35 Preface For the past fifteen years the Jewish Communal Affairs Department of the American Jewish Committee has conducted annual winter seminars in Israel for American Jewish academicians. The purpose of these seminars has been to help Jewish academicians confront their Jewishness, a confrontation which often leads them into involvement with Jewish communal concerns and activities both on and off the campus. Over 275 academicians, from all types of universities and from every part of the country, have participated. During the last two years the AJC has attempted to maximize the impact of these seminars by conducting follow-up activities with the alumni. One of these activities was a special two week program in Israel. Eight academicians, alumni of previous winter seminars, spent from June 12-June 26, 1984, in intensive dialogues with a variety of representative Israelis.
    [Show full text]
  • “Thrillingly Alive... Skillfully Delivered” -NY POST (Critic’S Pick)
    “thrillingly alive... skillfully delivered” -NY POST (Critic’s Pick) BACK BY POPULAR DEMAND MARCH 2 - 16, 2014 The 2014 production of THE MEGILE OF ITZIK MANGER plans to: ENGAGE Over 3,600 people attended the 2013 three-week engagement of THE MEGILE OF ITZIK MANGER. The production exceeded expectations of reaching a diverse audience. With your support, the upcoming production will be more accessible with a scaled ticket pricing system engaging an even wider net of exposure, especially for individuals under 30. EDUCATE THE MEGILE OF ITZIK MANGER prepares the next generation of audiences through the spectacle of circus as a means to provide insight into history, culture, and tradition - closing the gap that exists between education and entertainment. PARTNER THE MEGILE OF ITZIK MANGER will partner with schools and community groups to hold stimulating post-show discussions, in-school visits from teaching artists, and provide study guides. BRIDGE As a critically-acclaimed vehicle, THE MEGILE OF ITZIK MANGER proves the continued relevance of Yiddish Theatre in today’s world, bridging the language barrier through unconventional expressive storytelling and the use of English and Russian supertitles. PRESS QUOTES “a home run...[that] keeps the ear and eye delighted throughout.” “ thrillingly alive...skillfully delivered” -Miriam Rinn, THE JEWISH STANDARD -Frank Scheck, NY POST (Critic’s Pick) “a clever production with a lot of heart” “boasts a freshness and vitality” -Marti Sichel, WOMAN AROUND TOWN -Raven Snook, TIME OUT NY (Critic’s Pick) “If MEGILE doesn’t sweep you off your feet, “a fun show that I recommend” chances are, nothing will.” -Ed Malin, NYTHEATRE.COM (Critic’s Choice) -Ted Merwin, THE JEWISH WEEK “outstanding...[a] cause for celebration!“ “Zalmen Mlotek’s band gets the sound just right, -Paulanne Simmons, CURTAIN UP and Dov Seltzer’s music is superb, sung by a wondrous cast.” -Peter Filichia, FILICHIA ON FRIDAYS “This production had me splitting my sides with laughter, crying, and captivated.” “outstandingly directed...choreographed with zest..
    [Show full text]
  • 55 Max Stern (Ariel) ASPECTS of MUSIC and JEWISH IDENTITY IN
    MAX STERN, ASPECTS OF MUSIC AND JEWISH IDENTITY IN ISRAEL TODAY STUDIA EUROPAEA GNESNENSIA 8/2013 ISSN 2082–5951 Max Stern (Ariel) ASPECTS OF MUSIC AND JEWISH IDENTITY IN ISRAEL TODAY Abstract One of the prerogatives of our time and place has been a protracted search to inte- grate Western artistic aspiration within a context of Jewish identifi cation — a quest to fi nd the indwelling spirit within contemporary and traditional compositional ethos and technique, content and form. Shared is an awareness of the tension between tradition and innovation, and the motivation to bring a timeless perspective to the fractured state of contemporary consciousness. Th is paper focuses on music as an art form and as an experiential educational medium in the renewal of an ingathered people who aspires to understand and walk in the ways of God, but isn’t quite sure how this vision and ideal is to be realized as ancient sources of inspiration impose themselves against a backdrop of horror and despair. Keywords musical identity, Jewish music, cultural-historical issues of music, Jewish roots 55 STUDIA EUROPAEA GNESNENSIA 8/2013 · IDEE “It is a good thing to give thanks to the Lord, and to sing praise unto His name” (Ps. 92:1) While the concept of the sacred is universal, it has acquired unusually pow- erful overtones in relation to the unique origin and history of the Jewish expe- rience. As residents of various nations, Jews absorbed cultural and behavioral norms, participating and contributing to their host cultures, while maintaining close ties to ancient texts and sacred precepts.
    [Show full text]
  • Passover Haggadot at the Library of Congress
    1 INTRODUCTION Table of Contents Foreword . 3 I. Finding Aid for Uncatalogued Haggadot . 4 - List of Abbreviations . 5 II. Finding Aid for Artist’s-Edition Haggadot . 39 III. Highlights from the Miscellaneous Collection . 52 2 Foreword Many of the Berman haggadot will be found by consulting the Library’s online As one of the most frequently printed books in the Jewish tradition, the Passover catalogue; others, however, remain uncatalogued and finding them can present Haggadah is widely represented in the collections of the Library of Congress - yet something of a challenge. Some of the “uncatalogued” haggadot have indeed been the Library’s online catalogue does not always reflect this fact. For that reason the catalogued in the old-fashioned way – that is, on typewritten cards neatly filed Hebraic Section has decided to create a single portal guiding readers to the many away in the wooden card catalogue still doing duty in the Hebraic Section today. haggadot scattered through its collections, manuscript and printed, catalogued and But because these items have not yet been catalogued online, they are largely un-catalogued. inaccessible to readers today. The Hebraic Section is now therefore pleased to offer a Finding Aid for the Uncatalogued Haggadot in its collections, beginning The pearl of the Haggadah collection, and indeed of the Hebraic Section as a on page 4 below. whole, is of course the Washington Haggadah, the illuminated masterpiece created in 1478 by Joel ben Simeon. This work has been digitized in its entirety in In addition to the many traditional haggadot, the Hebraic Section houses perhaps a high resolution images that allow the reader to zoom in on the tiniest details.
    [Show full text]
  • Itzhak Perlman Plays Popular Jewish Melodies Mp3, Flac, Wma
    Itzhak Perlman Tradition - Itzhak Perlman Plays Popular Jewish Melodies mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Tradition - Itzhak Perlman Plays Popular Jewish Melodies Country: USA & Canada Released: 1987 Style: Folk, Klezmer MP3 version RAR size: 1343 mb FLAC version RAR size: 1856 mb WMA version RAR size: 1346 mb Rating: 4.9 Votes: 800 Other Formats: AU APE RA AAC AUD VOC XM Tracklist Hide Credits A1 A Yiddishe Mamme 6:47 As Der Rebbe Elimelech Is Gevoyrn Asoi Freylach A2 5:51 Music By [M.:] [Anon.] – AnonymousWords By [T.:] – Moshe (Moishe) Nadir* Reyzele A3 4:09 Written-By – Mordechai (Mordkhe) Gebirtig* Oif'n Pripetchik Brennt A Feier'l A4 4:05 Written-By – Mark Warshavsky* B1 Doyna 3:39 Rozhinkes Mit Mandelen B2 5:37 Written-By – Abraham Goldfaden Oif'n Weyg Steyt A Boim B3 5:26 Music By – Moishe OysherWords By – Itzik Manger A Dudele B4 4:51 Lyrics By, Music By – Rabbi Levi Yitzhak of Berditchev Vi Ahin Soll Ich Geyn? B5 4:51 Lyrics By – S. KorntayerMusic By – Oscar Strock Credits Clarinet [Clarinet/klarinette/clarinette] – Israel Zohar (tracks: A2, B1, B4) Conductor, Arranged By – Dov Seltzer Engineer – John Kurlander Liner Notes – Abraham Karpinowitz Liner Notes [Traduction] – Aude de Jamblinne Liner Notes [Übersetzung] – G. M. Orchestra – Israel Philharmonic Orchestra Photography [Photo] – Julian Kreeger Producer – John Fraser Violin [Violin/violine/violon] – Itzhak Perlman Notes ——Sleeve info—— Digital DMM™ - Direct Metal Mastering Printed in USA Other versions Category Artist Title (Format)
    [Show full text]
  • Shelf 4 1/27/2017
    RECORDS - SHELF 4 1/27/2017 Categories Vocal Music by Jewish Artists Music by Jewish Composers or with Jewish Themes Instrumentals by Jewish Artists Jewish Humor Narrations Learning Hebrew & Yiddish VOCAL MUSIC BY JEWISH ARTISTS SAMMY DAVIS JR. Sammy Davis Jr. Sings Just for Lovers Side 1: You Do Something to Me, You’re My Girl, Some Rain or Come Shine, Body and Soul, It’s All Right with Me Side 2: Get Out of Town, These Foolish Things, When Your Lover Has Gone, The Thrill Is Gone, Tenderly, Happy Ending Starring Sammy Davis Jr. Side 1: Lonesome Road, Hey There, And This Is My Beloved, September Song, Because of You Side 2: Easy to Love, Glad to Be Unhappy, Stan’ Up an’ Fight, My Funny Valentine, Spoken For, Birth of the Blues Sammy Davis Jr./What Kind of Fool Am I Side 1: What Kind of Fool Am I, Once in a Lifetime, A Lot of Livin’ to Do, Gonna Build a Mountain, Begin the Beguine Side 2: Too Close for Comfort, My Romance, Thou Swell, Lost in the Stars Bob Dylan Planet Waves Side 1: On a Night Like This, Going Going Gone, Touch Mama, Hazel, Something There Is About You, Forever Young Side 2: Forever Young, Dirge, You Angel You, Never Say Goodbye, Wedding Song Julio Iglesias: 1100 Bel Air Place Side 1: All of You, Two Lovers, Bambou Medley, The Air That I Breathe, The Last Time Side 2: Moonlight Lady, When I Fall in Love, Me Va Me Va, If, To All the Girls I’ve Loved Before BILLY JOEL Billy Joel: 52nd Street Side 1: Big Shot, Honesty, My Life, Zanzibar Side 2: Stiletto, Rosalinda’s Eyes, Half a Mile Away, Until the Night, 52nd Street Billy
    [Show full text]