DOCSLIB.ORG

TFG- La Nova Escola Jueva

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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.
Recommended publications
  • Simon Spiro8.559460 Linernts.Indd

    Simon Spiro8.559460 Linernts.Indd

    Cover Art Cantor Simon Spiro 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. 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, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture.
  • Wertheimer, Editor Imagining the Seth Farber an American Orthodox American Jewish Community Dreamer: Rabbi Joseph B

    Wertheimer, Editor Imagining the Seth Farber an American Orthodox American Jewish Community Dreamer: Rabbi Joseph B

    Imagining the American Jewish Community Brandeis Series in American Jewish History, Culture, and Life Jonathan D. Sarna, Editor Sylvia Barack Fishman, Associate Editor For a complete list of books in the series, visit www.upne.com and www.upne.com/series/BSAJ.html Jack Wertheimer, editor Imagining the Seth Farber An American Orthodox American Jewish Community Dreamer: Rabbi Joseph B. Murray Zimiles Gilded Lions and Soloveitchik and Boston’s Jeweled Horses: The Synagogue to Maimonides School the Carousel Ava F. Kahn and Marc Dollinger, Marianne R. Sanua Be of Good editors California Jews Courage: The American Jewish Amy L. Sales and Leonard Saxe “How Committee, 1945–2006 Goodly Are Thy Tents”: Summer Hollace Ava Weiner and Kenneth D. Camps as Jewish Socializing Roseman, editors Lone Stars of Experiences David: The Jews of Texas Ori Z. Soltes Fixing the World: Jewish Jack Wertheimer, editor Family American Painters in the Twentieth Matters: Jewish Education in an Century Age of Choice Gary P. Zola, editor The Dynamics of American Jewish History: Jacob Edward S. Shapiro Crown Heights: Rader Marcus’s Essays on American Blacks, Jews, and the 1991 Brooklyn Jewry Riot David Zurawik The Jews of Prime Time Kirsten Fermaglich American Dreams and Nazi Nightmares: Ranen Omer-Sherman, 2002 Diaspora Early Holocaust Consciousness and and Zionism in Jewish American Liberal America, 1957–1965 Literature: Lazarus, Syrkin, Reznikoff, and Roth Andrea Greenbaum, editor Jews of Ilana Abramovitch and Seán Galvin, South Florida editors, 2001 Jews of Brooklyn Sylvia Barack Fishman Double or Pamela S. Nadell and Jonathan D. Sarna, Nothing? Jewish Families and Mixed editors Women and American Marriage Judaism: Historical Perspectives George M.
  • Courtesy of Theyood Family TABLE of CONTENTS

    Courtesy of Theyood Family TABLE of CONTENTS

    Courtesy of TheYood Family TABLE OF CONTENTS Introduction 3 MIGRATIONS 4 Daniel Soyer: Goldene Medine, Treyfene Medine: Judaism Survives Migration to America 5 Deborah Dash Moore: The Meanings of Migration: American Jews, Eldridge Street and Neighborhoods 9 PRACTICE 13 Riv-Ellen Prell: A Culture of Order: Decorum and the Eldridge Street Synagogue 14 Jeffrey Gurock: Closing the Americanization Gap between the Eldridge Street Synagogue’s Leaders 19 and Downtown’s Rabbis ENCOUNTERS 23 Jeffrey Shandler: A Tale of Two Cantors: Pinhas Minkowski and Yosele Rosenblatt 24 Tony Michels: The Jewish Ghetto Meets its Neighbors 29 PRESERVATION 34 Samuel Gruber: The Choices We Make: The Eldridge Street Synagogue and Historic Preservation 35 Marilyn Chiat: Saving and Praising the Past 40 MUSEUM AT ELDRIDGE STREET | ACADEMICANGLES 3 he Eldridge Street Synagogue is a National Historic Landmark, the first major house of worship built by East European Jews in America. When it opened in September of 1887 it was an experiment, a response to the immigrants’desire to practice Orthodox Judaism, and to do so in America, their new Promised Land. Today the Eldridge Street Synagogue is Tthe only building on the Lower East Side—once the largest Jewish city in the world—earmarked for broad and public exploration of the American Jewish experience. The Museum at Eldridge Street researches the history of the building, uncovering new ways and stories to bring the building and its history to life. Learning about the congregants and their history ties us to broader trends on the Lower East Side and in American history. To help explore these trends, the Museum at Eldridge Street asks leading scholars to lend their expertise.
  • 559188 Bk Harbison US

    559188 Bk Harbison US

    AMERICAN CLASSICS Ernst TOCH Violin Sonata No. 1 • Cello Sonata Divertimento • String Trio • Adagio elegiaco Spectrum Concerts Berlin Ernst Toch (1887-1964) Music from the 1920s: the passages of heightened motion and power, the ebbing Violin Sonata No. 1 • Cello Sonata • Divertimento • String Trio • Adagio elegiaco the Divertimento and the Cello Sonata away, the way in which the movement dissolves at the end. Classical forms are here no longer normative; they Survey of the Life of a Creative Artist From Toch’s Early Works: The duo Divertimentos, Op. 37, and the Cello Sonata, have become the subject of the composition. Violin Sonata No. 1, Op. 21 Op. 50 , were written in 1927 and 1929, during what was Toch headed the central movements of both works This is Spectrum Concerts Berlin’s third recording of probably Toch’s most productive period. In them, he “intermezzo”, but they are anything but short intermezzos chamber music by Ernst Toch. Its musicians give concerts The First Violin Sonata, which Toch’s friends used to refer engaged in a creative dialogue with his artistic milieu in or interludes. Toch employs the term in the late above all in Berlin and New York and are passionate to as “Brahms’s Fourth”, was a product of this two ways: in the music itself and in the dedications of the Brahmsian sense, as a deliberate understatement, about exploring and highlighting the cultural links between understanding of tradition. Two reasons lie behind its pieces. The Cello Sonata he dedicated to Emanuel indicating a particular limitation of the musical material.
  • The Ser-Charlap Family Newsletter the Family In

    The Ser-Charlap Family Newsletter the Family In

    1 THE SER-CHARLAP FAMILY NEWSLETTER Vol. 5, No. 4 Tevet 5755; December 1994 THE FAMILY IN CANADA SER, SIER, SAIR The great migration of eastern European Jews that began in 1881 brought hundreds of thousands new immigrants to North America. The vast majority found safe haven in the United States but Canada also absorbed some of the newcomers. The Jewish population of Canada in 1881 was almost 2,400. By the tum of the century 12,000 new immigrants had swelled these numbers considerably. Montreal had the largest concentration of Jews but active communities had been established in Toronto and in Winnipeg. As in the large cities of the United States, a significant number of Jews were employed in the garment industry. Others tried their entrepreneurial skills as craftsman and small retailers. The Canadian Pacific Railway, which was expanding rapidly, provided many skilled jobs as carpenters, tinsmiths, mechanics, and locksmiths. The Baron de Hirsch movement came to Montreal in 1891 and encouraged Jews to settle on farms in the western provinces. Jewish immigration from Russian controlled territory continued to grow. In 1904 4,000 Jews arrived, about double the number of the previous year. Lawrence Tapper is a senior member of the National Archives of Canada and the author of Archival Sources For the Study of Canadian Jewr_y. He bas been very helpful in providing information on genealogical research in Canada. But our connections go beyond the academic. Lawrence is a descendant of a branch of the Ser family which had been living in the Ukraine. We had learned that several Ser ancestors had fled from Nur and Ciechanowiec during periods of war and pogroms.
  • A Century Later

    A Century Later

    The Hebrew University of Jerusalem The National Library of Israel Faculty of Humanities Music Department Jewish Music Research Centre Leonid Nevzlin Center for the Research of Pro Musica Hebraica (USA) Russian and Eastern European Jewry A Century Later Concert of Music by Composers of the Saint Petersburg Society for Jewish Folk Music On the Occasion of the Centennial of the Society’s Foundation Performers: Sivan Rotem, soprano Gilad Hildesheim, violin Jascha Nemtsov, piano Weintraub Hall, The National Library of Israel Thursday, January 8, 2009, 8:00 PM התכנית Program יואל אנגל ניגון חב ד" Joel Engel Chabader melody ( -1868 1927) פריילעכס Freilechs (1868-1927) לכינור ופסנתר for violin and piano אומרים ישנה ארץ Omrim yeshnah eretz לקול ופסנתר for voice and piano לזר סמינסקי אגדה עברית Lazare Saminsky Hebrew Fairy Tale ( -1882 1959) ריקוד שבת Danse rituelle du Sabbath (1959–1882) לפסנתר for piano שיר השירים Shir hashirim רחלינה Rachelina אומר ר ' אלעזר Omar Rabbi Eleazar לקול ופסנתר for voice and piano משה מילנר בחדר Moshe Milner In kheyder ( -1883 1953 ) לקול ופסנתר for voice and piano (1883-1953) אלכסנדר קריין קפריצ' ו עב רי Alexander Krein Caprice hebraïque ( -1883 1951) לכינור ופסנתר for violin and piano (1883-1951) יוסף אחרון וריאציות על נושא יהודי Joseph Achron Symphonic Variations on a Jewish ( -1886 1943) " אל יבנה הגליל " ”Theme “El yivneh hagalil (1943–1886) שישה קטעים Six pieces from the מתוך הסוויטה ליל םיד Childrens’ Suite לפסנתר for piano אלול בשדרה ( קנצונטה ) (Elul zum Garten (Canzonetta אין א קליינעם שטיבלה In a kleynem shtibele לקול ופסנתר for voice and piano אלת רו ריקודי Dance Improvisation שיר ערש עברי Hebrew Lullaby סוויטה מ תוך " סטמפניו Suite from the music for הכנר (" על פי שלום עליכם ) Stempenyu the Fiddler לכינור ופסנתר (after Shalom Aleichem) for violin and piano ניגון Hebrew Melody לקול , פסנתר וכינור for voice, violin and piano ההה טקסטי The Texts יואל אנגל Joel Engel אְמִרי : ֶיְָנ ֶאֶר ( שאול טשרניחובסקי ) Omrim yeshna eretz (by Shaul Tchernichovsky), Op.
  • Association for Jewish Studies

    Association for Jewish Studies

    42ND ANNUAL CONFERENCE OF THE ASSOCIATION FOR JEWISH STUDIES DECEMBER 19– 21, 2010 WESTIN COPLEY PLACE BOSTON, MASSACHUSETTS ASSOCIATION FOR JEWISH STUDIES C/O CENTER FOR JEWISH HISTORY 15 WEST 16TH STREET NEW YORK, NY 10011-6301 PHONE: (917) 606-8249 FAX: (917) 606-8222 E-MAIL: [email protected] www.ajsnet.org President AJS Staff Marsha Rozenblit, University of Maryland Rona Sheramy, Executive Director Vice President/Membership Karen Terry, Program and Membership and Outreach Coordinator Anita Norich, University of Michigan Natasha Perlis, Project Manager Vice President/Program Emma Barker, Conference and Program Derek Penslar, University of Toronto Associate Vice President/Publications Karin Kugel, Program Book Designer and Jeffrey Shandler, Rutgers University Webmaster Secretary/Treasurer Graphic Designer, Cover Jonathan Sarna, Brandeis University Ellen Nygaard The Association for Jewish Studies is a Constituent Society of The American Council of Learned Societies. The Association for Jewish Studies wishes to thank the Center for Jewish History and its constituent organizations—the American Jewish Historical Society, the American Sephardi Federation, the Leo Baeck Institute, the Yeshiva University Museum, and the YIVO Institute for Jewish Research— for providing the AJS with offi ce space at the Center for Jewish History. Cover credit: “Israelitish Synagogue, Warren Street,” in the Boston Almanac, 1854. American Jewish Historical Society, Boston, MA and New York, NY. Copyright © 2010 No portion of this publication may be reproduced by any means without the express written permission of the Association for Jewish Studies. The views expressed in advertisements herein are those of the advertisers and do not necessarily refl ect those of the Association for Jewish Studies.
  • Jascha Nemtsov• “The Scandal Was Perfect”

    Jascha Nemtsov• “The Scandal Was Perfect”

    Jascha Nemtsov “The Scandal Was Perfect” Jewish Music in the Works of European Composers Well into the 19th century, Jewish music went largely unnoticed in Euro- pean culture or was treated dismissively. Russian composers wrote the first chapter of musical Judaica. At the start of the 20th century, a Jewish national school of music was established in Russia; this school later in- fluenced the work of many composers in Western Europe. Since the Holocaust, Jewish music is understood less as folk music, it has become a political and moral symbol. The parties of the Hasidim where they merrily discourse on talmudic problems. If the entertainment runs down or if some- one does not take part, they make up for it by singing. Melodies are invented... a wonder-rabbi... suddenly laid his face on his arms, which were resting on the table, and remained in that position for three hours while everyone was silent. When he awoke he wept and sang an entirely new, gay, military march. Franz Kafka, 29 November 19111 What particularly impressed Kafka at a gathering of a Hasidic community at their rabbi’s home is typical for traditional Judaism: Religion and music are so tightly intertwined that reading and praying are conducted only in song. The first Hebrew grammar, De accentibus et orthographia linguae Hebraicae, by the Stuttgart humanist Johannes Reuchlin (1455–1522), was published in Alsatian Ha- genau in 1518. Reuchlin focused on the Hebrew Bible and included as well the motifs – Biblical cantillations – with which it was chanted by the European (Ashkenazi) Jews. This marked the first appearance of these motifs outside the Jewish community as well as the first time that they were transcribed into European musical notation.2 Music that had hitherto fulfilled only a ritual purpose thus became the subject of aca- demic discourse.
  • Music from the Archive of Lazare Saminsky

    Music from the Archive of Lazare Saminsky

    YIVO INSTITUTE FOR JEWISH RESEARCH PRESENTS JEWISH SONGS AND DANCES: Music from the Archive of Lazare Saminsky SIDNEY KRUM YOUNG ARTISTS CONCERT SERIES In Partnership with Temple Emanu-El · 5th Avenue at 65th Street, NYC June 21, 2017 · 7:00pm PROGRAM The Sidney Krum Young Artists Concert Series is made possible by a generous gift from the Estate of Sidney Krum. In partnership with Temple Emanu-El. Saminsky, Hassidic Suite Op. 24 1-3 Saminsky, First Hebrew Song Cycle Op. 12 1-3 Engel, Omrim: Yeshnah erets Achron, 2 Hebrew Pieces Op. 35 No. 2 Saminsky, Second Hebrew Song Cycle Op. 13 1-3 Saminsky, A Kleyne Rapsodi Saminsky, And Rabbi Eliezer Said Engel, Rabbi Levi-Yitzkah’s Kaddish Achron, Sher Op. 42 Saminsky, Lid fun esterke Saminsky, Shir Hashirim Streicher, Shir Hashirim Engel, Freylekhs, Op. 21 Performers: Mo Glazman, Voice Eliza Bagg, Voice Brigid Coleridge, Violin Julian Schwartz, Cello Marika Bournaki, Piano COMPOSER BIOGRAPHIES Born in Vale-Gotzulovo, Ukraine in 1882, LAZARE SAMINSKY was one of the founding members of the Society for Jewish Folk Music in St. Petersburg – a group of composers committed to forging a new national style of Jewish classical music infused with Jewish folk melodies and liturgical music. Saminksy’s teachers at the St. Petersburg conservatory included Rimsky-Korsakov and Liadov. Fascinated with Jewish culture, Saminsky went on trips to Southern Russia and Georgia to gather Jewish folk music and ancient religious chants. In the 1910s Saminsky spent a substantial amount of time travelling giving lectures and conducting concerts. Saminsky’s travels brought him to Turkey, Syria, Palestine, Paris, and England.
  • Piano Trio Repertoire Discography & Review Index: "S” Composers Compiled by David Barker

    Piano Trio Repertoire Discography & Review Index: "S” Composers Compiled by David Barker

    An A to Z of the Piano Trio Repertoire Discography & Review Index: "S” Composers Compiled by David Barker Project Index Kaija Saariaho Caecilian Trio 1952-, Finland (+ Fauré, Lalo 1, Ravel; Debussy, Fauré, Ravel & Roussel: String quartets, Ravel: Violin Je sens un deuxième coeur (2003) sonata) Vox CD3X3031 (+ Sibelius 2-4; Lefkowitz: Ruminations, Schissi: Nene, Wennakoski: Paarme) Trio Daphnis Yarlung Records YAR52638 [review] (+ Trio 2) UT3 Records UT3009 Leonid Sabaneev Florestan Trio 1881-1968, Russia (+ Trio 2) Hyperion CDA67538 [review][review] Trio-Impromptu (1907) Göbel Trio Berlin Michael Schäfer, Ilona Then-Bergh, Wen-Sinn SWR Music SWR10379 Yang (+ Sonata) Golub-Kaplan-Carr Trio Genuin GEN12236 [review] (+ Debussy, Faure) Arabesque 6643 Sonata (1924) Gould Piano Trio Michael Schäfer, Ilona Then-Bergh, Wen-Sinn (+ Trio 2, La muse) Yang Champs Hill CHRCD140 [review] (+ Trio-Impromptu) Genuin GEN12236 [review] Grumiaux Trio (+ Trio 2) Talent 66 Camille Saint-Saëns 1835-1921, France Guarneri Trio (+ Martin, Ravel) Trio 1 in F, op. 18 (1863) Ottavo 28922 Altenberg Trio Wien Horszowski Trio (+ Trio 2) (+ Fauré, d’Indy) Challenge Classics SACC72111 Bridge 9441 [review][review] Aquinas Piano Trio Joachim Trio (+ Trio 2) (+ Trio 2) Guild GMCD7408 [review] Naxos 8.550935 Australian Trio Trio Latitude 41 (+ Trio 2, Muse, Swan, Septet, Cello & violin (+ Trio 2) sonatas) Eloquentia EL1547 ABC Classics 4766435 ABC Classics 4764327 Nash Ensemble MusicWeb International Updated: October 2020 Piano Trios: S Composers (+ Septet, Carnival of the
  • Jascha Nemtsov: Publikationen

    Jascha Nemtsov: Publikationen

    Jascha Nemtsov: Publikationen Monographien – Doppelt vertrieben: deutsch-jüdische Komponisten aus dem östlichen Europa in Palästina /Israel (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 11), Harrassowitz Verlag, Wiesbaden 2013; – Louis Lewandowski. „Liebe macht das Lied unsterblich!“ (=Jüdische Miniaturen, Band 114), Verlag Hentrich & Hentrich, Berlin 2011 (zusammen mit Hermann Simon); Englischsprachige Version: Louis Lewandowski. „Love makes the melody immortal!“ (=Jewish Miniatures, Vol. 114a), Verlag Hentrich & Hentrich, Berlin 2011; – Deutsch-jüdische Identität und Überlebenskampf: jüdische Komponisten im Berlin der NS-Zeit (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 10), Harrassowitz Verlag, Wiesbaden 2010; – Der Zionismus in der Musik: jüdische Musik und nationale Idee (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 6), Harrassowitz Verlag, Wiesbaden 2009; – Oskar Guttmann (1885–1943) und Alfred Goodman (1919–1999) (= Jüdische Miniaturen, Band 89), Verlag Hentrich & Hentrich, Berlin 2009, – Arno Nadel (1878–1943). Sein Beitrag zur jüdischen Musikkultur (= Jüdische Miniaturen, Band 77), Verlag Hentrich & Hentrich, Berlin 2009, – Enzyklopädisches Findbuch des Potsdamer Archivs der Neuen Jüdischen Schule in der Musik (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 8), Harrassowitz Verlag, Wiesbaden 2008; – Die Neue Jüdische Schule in der Musik (= Jüdische Musik. Studien und Quellen zur jüdischen Musikkultur, Band 2), Harrassowitz Verlag,
  • Gained in Translation

    Gained in Translation

    Jascha Nemtsov, Dr habil., born in 1963 in Magadan (Russia). Studied piano at the Leningrad Conservatory (Concert The research project “Cultural Continuity Diploma with honors). In Germany since in the Diaspora – The Experience of Rus- 1992. Apart from the classical and ro- sian Jews in an Era of Social Change” is Gained in mantic piano repertoire, several concert based at the Department of European programs with works by Jewish and Rus- Studies and Modern Languages, Univer- sian composers of the 20th century. sity of Bath, and funded by the Lever- Translation Numerous radio recordings and by now 25 CDs as soloist and with partners hulme Trust UK. David Geringas (violoncello), Tabea Zim- www.bath.ac.uk/esml/rjccp/index.htm mermann (viola), Kolja Blacher, Dmitry Translations and Sitkovetsky and Ingolf Turban (violin), Chen Halevi (clarinet), the Vogler Quar- Their Influence tet and others. His CDs have been awar- ded many distinctions like “Audiophile Upon the Continuity Reference – The Best of 200”, “Klassik heute Empfehlung”, “CHOC - Le Mon- of Russian Jewish de de la Musique”, “Recording of the Culture in the West Month (MusicWeb)”, “Disc of the Month April 2006” (BBC Music Magazine), or the German Record Critics Prize (2007). Third international conference of the research project “Cultural Continuity in the Diaspora” For further information please contact: Jörg Schulte Department of Hebrew and Jewish [email protected] Studies & Institute of Jewish Studies University College London September 21-22, 2009 Monday, September 21 Tuesday,