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TFG- La Nova Escola Jueva I Treball Fi de grau La Nova Escola Jueva Una renaixença cultural Estudiant: Isaac Bachs Viñuela Especialitat/ Àmbit/Modalitat: Interpretació CiC- Violí Director/a: Miguel Simarro Grande Curs: 2016-2017 Vistiplau del director/a del Treball EXTRACTE TRILÍNGÜE The present work aims to explain the elements that led to the birth of a jewish cultural renaissance in the late nineteenth and early twentieth centuries, as well as its development and subsequent influence on key composers of western music, such as Shostakovich and Prokofiev. Thereby, this work is widely documented from a printed bibliography of renowned jewish musicologists, such as Israel Adler and Abraham Idelssohn, as well as works made from the point of view of the performer, such as those made by pianists Jascha Nemtsov and Alexander Tentser, among others. Thanks to this work, I have found out that the New Jewish School was a stylistic embryo that later crystallized into the works of Shostakovich and Prokofiev, among others, and that, on the other hand, its members and repertoire have gone through an undeserved oblivion. El presente trabajo quiere explicar los factores que propiciaron el nacimiento de un renacer cultural judío a finales de siglo XIX y principios del XX, así como su desarrollo i la incidencia posterior en los compositores cruciales de la música occidental, como son Shostakovich i Prokofiev. Para ello, este trabajo está documentado ampliamente a partir de bibliografía impresa de musicólogos judíos especializados de gran nombre, como son Israel Adler y Abraham Idelssohn, así como de trabajos hechos desde la perspectiva del intérprete, como son los realizados por los pianistas Jascha Nemtsov y Alexander Tentser, entre otros. Gracias a este trabajo he podido constatar que la Nueva Escuela Judía fue un embrión estilístico que cristalizó, posteriormente, dentro de las obras de Shostakovich y Prokofiev, entre otros, y que, por contra, sus miembros y repertorio pasó a un inmerecido olvido. Aquest treball vol explicar els factors que van propiciar el naixement d’una renaixença cultural jueva a finals del segle XIX i principis del XX, així com el seu desenvolupament i la incidència posterior en compositors cabdals de la musica occidental, com són Shostakovich i Prokofiev. Per fer-ho, aquest treball està documentat àmpliament a partir de bibliografia impresa de musicòlegs jueus especialitzats de gran renom, com són Israel Adler i Abraham Idelssohn, així com de treballs fets des de la visió de l’intèrpret, com són els realitzats pels pianistes Jascha Nemtsov i Alexander Tentser, entre altres. Gràcies a aquest treball he pogut constatar que la Nova Escola Jueva va ser un embrió estil·lístic que va cristal·litzar, posteriorment, dins les obres de Shostakovich i Prokofiev, entre altres, i que, per contra, els seus membres i repertori han passat a un immerescut oblit. “La voluntat de crear és la mateixa que la de sobreviure”. Victor Ullmann. ÍNDEX Agraïments. Introducció. Recorregut Històric. - La Destrucció del Temple. - La Diàspora. - El Renaixement. - La Reforma - El Sionisme. La Renaixença Jueva. - La Nova Escola Jueva. - L’editorial Jibneh. - L’editorial Juwal. - Diferències entre Jibneh i Juwal. - La Jibneh a Viena. - La Jibneh a Nova York. Shostakovich i els Jueus. Conclusió. Bibliografia. Annexe. AGRAÏMENTS Encara recordo quan, en una conversa amb Miguel Simarro Grande, aleshores professor de Repertori Instrumental Específic, va sortir el tema d’un grup de compositors i intèrprets jueus a la Rússia de principis de segle XX. Aquesta informació va causar-me una gran sorpresa, alhora que interès. En aquell moment començavem a buscar temes pel Treball de Fi de Grau i jo ja tenia en ment que volia fer quelcom relacionat amb la música tradicional jueva, que considero d’enorme força espiritual. El Miguel em va proporcionar els primers noms i internet va fer la resta. Aviat començaria a creuar dades i a iniciar alguna cosa semblant al que presento avui. Vull agrair aquí, per tant, la determinació i ajuda que Miguel Simarro Grande m’ha proporcionat, així com informació, bibliografia i consells per dur a terme un treball del qual em sento orgullós. Tampoc vull deixar d’agrair l’ajuda brindada per Yuval Gotlibovich, professor de l’escola, intèrpret i gran coneixedor del patrimoni cultural i musical jueu. Ell em va ajudar a escollir repertori i els autors més significatius de la Nova Escola Jueva, de cara a tocar alguna peça al meu recital. També em va facilitar el contacte de Jascha Nemtsov, un dels principals investigadors de la música jueva i autor de diversos llibres sobre, entre altres, la Nova Escola Jueva. A ell també vull agrair-li la seva cordialitat, franquesa i interès per proporcionar-me partitures i bibliografia necessàries per la realització tant del Treball com del Recital de Fi de Grau. INTRODUCCIÓ Sovint ens preguntem què és la música jueva. És jueva la música de Felix Mendelssohn, Jacob Meyerbeer o Gustav Mahler? Si bé tots tres són jueus ètnics, la seva música s’emmarca dins el corrent estilístic occidental i, generalment, no hi ha una aparent voluntat d’utilitzar característiques estilístiques específiques jueves, sobretot en el cas de Mendelssohn i Meyerbeer. Molts jueus del segle XIX havien estat assimilats, i fins i tot batejats, integrant-se plenament dins la societat cristiana. Després de tot, ser jueu no suposava cap avantatge. Moltes feines i nivells de la societat estaven reservats als cristians. No seria fins a finals del segle XIX i, sobretot, a principis del segle XX, quan els compositors manifestarien el seu llegat i patrimoni cultural. El poble jueu té un passat tràgic, que s’expressa constantment a través d’una música molt profunda. El patrimoni musical jueu va des de la música sinagogal, que conté motius musicals que es remunten al Segon Temple, fins a la música popular, expressada molt sovint a través del Klezmer. Els compositors del segle XX van voler indagar en aquestes arrels culturals, motivats per un procés ideològic de desacomplexament i reafirmació nacional, el Sionisme. Aquests compositors, amb la seva música, van contribuir notablement a una “renaixença cultural” jueva, amb Rússia com a epicentre del moviment. Aquest país, que era el centre del món jueu a l’època, acolliria la Nova Escola Jueva. Aquesta escola estilística va crear i desenvolupar un estil de música jueva que integrava elements del folklore jueu oriental i la música litúrgica amb l’ avantguarda de l’època. El treball que presentem vol mostrar la incidència d’aquesta renaixença cultural jueva en la societat europea i com els corrents polítics i culturals jueus van determinar el futur polític i musical d’Europa després de la Segona Guerra Mundial. Per fer-ho, repassarem la història d’aquest poble, amb especial atenció a les qüestions musicals, per tal d’entendre com es va gestar aquesta renaixença. També detallarem el desenvolupament de la Nova Escola Jueva, primer a Rússia i després als països germànics, i la seva transcendència per al desenvolupament musical de la Rússia dels anys 30, 40 i 50. #1 RECORREGUT HISTÒRIC1 El Poble Jueu ha estat un dels pobles més nòmades d’Europa i de la Mediterrània. Els conflictes socials i econòmics han castigat durament aquest poble, donada la seva idiosincràsia cultural i religiosa. Això l’ha portat a moure’s constantment buscant un territori segur o pròsper on desenvolupar-se. El contacte amb els territoris per on ha passat aquest poble l’han enriquit i això s’ha traduït al camp musical. La música del poble jueu és, per tant, una història d’hibridació constant que explica el seu pas per cada poble i l’experiència derivada d’aquest contacte. Al llarg d’aquest capítol volem repassar breument alguns dels aspectes més importants de la història d’aquest poble, que han ajudat a construir una música pròpia que defineix el poble Jueu a través del contacte amb les societats amb les que va interactuant. A través de la història, volem arribar a comprendre el sorgiment d’un moviment cultural que va suposar una renaixença cultural jueva entre finals del segle XIX i principis del XX." La Destrucció del Temple Al llarg dels mil·lennis, el poble Jueu ha lluitat constantment per la supervivència cultural, amenaçada des de l’Antiguitat pels seus veïns. La història d’aquest poble, plena de guerres i conquestes, està marcada per dos grans fets: la Primera Destrucció del Temple, perpetrat per l’emperador babilònic Nabucodonosor II el 587 a.C.; i la Segona Destrucció del Temple, perpetrada pel futur emperador romà Vespasià, el 70 d.C." La destrucció del Temple va suposar la pèrdua d’una institució religiosa i cultural creada al llarg dels anys per tal d’unificar les tribus que conformaven els jueus sota la religió (Judaisme) i la llengua litúrgica (l’Hebreu). L’exili que va acompanyar les dues destruccions va comportar una amenaça molt greu a la supervivència cultural i religiosa d’aquest Poble i va originar l’anomenada Diàspora: que comunitats jueves importants marxessin de forma definitiva i permanent fora del seu territori original." El retorn de l’exili babilònic que havia comportat la Primera Destrucció del Temple va comportar canvis importants en l’ideari cultural jueu. Per primer cop, hi havia un profund sentiment de buit institucional entre el Poble Jueu. El sacerdot Esdras instaura la lectura pública de la Torà, amb la finalitat d’unificar el poble al voltant d’una història i un relat religiós comú. Neix la Sinagoga com a element de resistència cultural i de pervivència 1 La informació continguda en aquest capítol es basa, majoritàriament, en ADLER, Israel. La practique musicale savante dans quelques communautés juives en Europe aux XVII et XVIII siècles. Paris-La Haye, Mounton & co. 1996, 2 vols. #2 d’aquesta, no solament a la diàspora, sinó fora de Judea.
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