2.11 MULTIPLE LANGUAGES Chava Alberstein Et Al the Hidden Gate
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Lyre of the Levites: Klezmer Music for Biblical Lyre
LYRE OF THE LEVITES: KLEZMER MUSIC FOR BIBLICAL LYRE "Lyre of the Levites: Klezmer Music for Biblical Lyre" is the sequel album to "King David's Lyre; Echoes of Ancient Israel". Both of these albums are dedicated to recreating again, for the first time in almost 2000 years, the mystical, ancient sounds of the "Kinnor"; the Hebrew Temple Lyre, once played by my very own, very ancient Levite ancestors in the Courtyard of the Temple of Jerusalem, to accompany the singing of the Levitical Choir (II Chronicles 5:12)... THE CHOICE OF REPERTOIRE FOR THE ALBUM "Lyre of the Levites" uniquely features arrangements of primarily traditional melodies from the Jewish Klezmer repertoire arranged for solo Levitical Lyre - the concept of the musical performances on this album, are meant to be evocations, not reconstructions, of the sounds & playing techniques that were possible on the ten-stringed Kinnor of the Bible; there are sadly too few unambiguously notated melodies from antiquity to make an album of "note for note" reconstructions of ancient instrumental solo lyre music a feasible reality. However, the traditional Jewish scales/modes in which these pieces are actually written may well have roots which stretch deeply back to these distant, mystically remote Biblical times, according to the fascinating research of the late Suzanne Haik Vantoura, in attempting to reconstruct the original 3000 year old music of the Hebrew Bible. THE TWELVE TRACKS There are 12 tracks to the album - corresponding to the 12 Gems which once adorned the Breastplate of the Levitical Priests of the Temple of Jerusalem. These 12 Gems represented the 12 Tribes of Israel. -
2.1 ISRAELI VOCAL SOLOS Chava Alberstein Coconut a Kiss Every
2.1 ISRAELI VOCAL SOLOS Chava Alberstein Coconut A Kiss Every Hour An Urban Tree A Single Parent Bird Coconut Opposite the Sea Short Espresso Stems Falling Leaves My Kind of Man Bird of Saturday New Prayers Words Sholomo Artzi His Best Gever Holekh L’ebood Yom Ekhad Ani Shomea Shoov Ha’ish Hahoo Lo Ozev Et Ha’ir Shinuey Mezeg Haavir Tirkod Akharey Ha’kol At Shir Ani Nose Imi Hardufim Takhat Shmey Yam Tikhon Fran Avni Israel World Beat -- Eretz Eretz Zavat Chalav (The Land of Milk and Honey) Lo Yare’u/V’chititu (Harm No More) Natati Etz (I Planted a Tree) Shir Bareket (The Jewel Song) Vayiven Uziyahu (Uzziah Built Towers) Shorashim (Roots) Am Echad (One Nation) L’zaracha (For Your Children) Down in the Garden Tsipor Shniya (The Bird of a Fleeting Moment) The Colors of Jerusalem Lo Yare’u Martha Rock Birnbaum Timeless Jewish Songs Shabbat Hamalka Tumbalalaika Eliahu Hanavi Rozhinket Mit Mandlen Der Regge Elimeylekh Bamidbar Chiri Biri Bim Adio Kerida Los Bibilicos Finjan V’shamru Oyfn Pripetshik Adon Olam Zog Nit Keyn Mol! Miserlu Shir Noded / Hatikva Esta Home Made World Tekia, Shevarim, Terua Black Sheep Our Hope Nights in White Satin Till Dawn I Still Haven’t Found What I’m Looking For The Kite A Word Armenian Draem (Offering) Fatma Morgana Yearning Lament Magda Fishman Massa U’Mattan Beleilot Hakaitz Hachamin Shnei Shoshanim Arba Lifnot Boker Ve’ulay Hayalda Hachi Yafa Bagan My Funny Valentine Osseh Shalom Balada Le’isha Yedid Nefesh Samba Chick What Are You Doing the Rest of Your Life? Eretz Zavat Chalav U’devash Ofra Fuchs Like a Wheel -
“A Person Cannot Walk Away from Jerusalem Unchanged….”
“A person cannot walk away from Jerusalem unchanged….” 2000 years ago there was a Jewish Kingdom whose capital Destroyed and .ירושלים ,was Jerusalem, Yerushalayim desecrated for centuries, the Jewish People were finally reunited with the holiest of cities central to our faith, our history and our identity. Join us as we celebrate our origin, our return and our connection to Zion, the City of Gold! Yom Yerushalayim: The Reunification of A People And A Past By Elana Yael Heideman There has been a continuous Jewish presence in Jerusalem, and our connection to and passion for the city has been preserved as a memory by Jewish people around the world. Though the modern state of Israel was born in 1948, for years Jews were cut off from the Old City of Jerusalem and the Kotel, the Western Wall - the heart of the Jewish people, the axis of our collective national and historical identity, the center of our faith, and the focus of the history of the Jewish people for generations. Throughout Israel and around the world, on the 28th of the Hebrew month of Iyar, we celebrate being reunited with the city of Zion, Yerushalayim Shel Zahav, our only Jerusalem. History shows that it was the Jews who have made Jerusalem important to the world. In 1004 BCE, King David established Jerusalem as the capital of the Kingdom of Israel (2 Samuel 5:6). Following the first exile, he proclaimed: "If I forget you Jerusalem, let my right hand lose its strength. Let my tongue cling to my palate if I fail to recall you, if I fail to elevate Jerusalem above my highest joy." Three times a day, or even just twice a year, for thousands of years, Jews turn their faces towards Jerusalem and the Temple Mount and pray for a return to Jerusalem and to Tzion. -
Jewish-Israeli Identity in Naomi Shemer's Songs: Central
JEWISH-ISRAELI IDENTITY IN NAOMI SHEMER’S SONGS: CENTRAL VALUES OF THE JEWISH-ISRAELI IMAGINED COMMUNITY La identidad judía israelí en las canciones de Naomi Shemer: principales valores de la «comunidad imaginada» judía israelí MICHAEL GADISH Universidad de Barcelona BIBLID [1696-585X (2009) 58; 41-85] Resumen: El presente artículo analiza una selección de las canciones más populares de la prolífica cantautora israelí Naomi Shemer, con el objetivo de reconocer y señalar las pautas de pensamiento más repetidas en sus canciones. La primera parte del artículo expone brevemente la importancia de las canciones de Naomi Shemer para la identidad Judeo-Israelí y argumenta por qué las pautas de pensamiento que encontramos en ellas se pueden considerar relevantes para la comprensión de la identidad Judeo-Israelí en general. El análisis de las letras seleccionadas expone algunos elementos contradictorios en el núcleo de la identidad Judeo-Israelí que las canciones de Naomi Shemer representan. Abstract: The following article analyzes the lyrics of a selection of the most popular songs by the prolific Jewish-Israeli songwriter Naomi Shemer, in order to recognize and highlight the most repeated patterns of thought in them. The first part of the article briefly explains the importance of Naomi Shemer’s songs for Jewish-Israeli identity and why the patterns of thought found in them can be considered relevant for understanding Jewish- Israeli identity in general. The analysis of the selected lyrics reveals some contradictory elements at the core of the Jewish-Israeli identity as represented by Naomi Shemer’s songs. Palabras clave: Naomi Shemer, canciones, folclore, ritual, cantautor hebreo, Judío-Israelí, sionismo, comunidad imaginada, identidad, nacionalismo. -
SISTERHOOD CORNER—-November, 2016 Judy Frank, President ([email protected]) Diane Rosenfeld, Editor ([email protected])
The Ezra-Habonim, Niles Township Jewish Congregation SISTERHOOD CORNER—-November, 2016 Judy Frank, President ([email protected]) Diane Rosenfeld, Editor ([email protected]) From the President’s Desk… The Tishrei cycle of 5777 is coming to an end as I write this article. We have enjoyed the unseasonably warm weather and leaves starting to change colors. We hope you will join us at our Rosh Chodesh program on Wednesday, November 2 nd as we usher in the month of Cheshvan. We are excited to have Lori Lippitz of the Maxwell Street Klezmer Band lead us in song. Also in November, our Book Club will meet on the 9 th to discuss “The Jazz Palace” (see below)—and our annual Holiday Boutique will be on Sunday, November 20 th . Please plan on doing your holiday shopping with us! Along with our own gift shop filled with wonderful gift items and lots of Chanukah merchandise, we will have great items from many other vendors. And of course, we look forward to seeing you at our Chanukah Party and Latke Luncheon on Wednesday, December 7 th with musical entertainment by Jeff and Janis. Watch your mail for more details on our upcoming programs and events! B’ShalomB’Shalom!!!! Judy Frank _______________________________________________________________________________________________________________________________________________________________________________________________________________________________ News and Notes… BOOK CLUB TO DISCUSS “The Jazz Palace” Be a media mogul! A $5 contribution makes you a sponsor of our Sisterhood bulletin. by Mary Morris Please mail your contributions to: The next meeting of the Sisterhood Book Club will be Diane Rosenfeld c/o EHNTJC Sisterhood on Wednesday, November 9th at 4500 Dempster Street 10:30 a.m . -
Happy Hanukkahhanukkah
The National Jewish Post &Opinion Volume 76, Number 6 • December 2, 2009 • 15 Kislev 5770 Two Dollars www.jewishpostopinion.com HappyHappy HanukkahHanukkah Art by John Domont NAT 2 December 2, 2009 Hunger is increasing around the world About the Cover and one billion people go hungry every Editorial Shabbat Shalom day. We give thanks for the blessings in Hanukkah 5770 our lives, but let us also help others find I encourage you to take notice of the BY RABBI JON ADLAND blessing in their lives as well. It is not front cover art of this issue and also the John Domont speaking about his art, November 20, 2009, Toldot an unreasonable goal to think that the one for the next issue, Dec. 16. They light, and Hanukkah: (Genesis 25:19–28:9), 3 Kislev 5770 people of this world and the governments were specially created just for you, dear It is said that although who manage the resources can find a way readers, by artist John Domont. If you this is the physically Next Thursday we celebrate to eliminate hunger. The goal may be a like the art, be sure to visit his Web site darkest time of the Thanksgiving. Many of us will gather decade or two away, but that doesn’t www.domontgallery.com and/or email year, it is the time of with family or friends for a meal, some mean we shouldn’t try to find a way today John at [email protected] to greatest spiritual light! football, a warm fire, and a quiet day of to keep 16,000 children around the world thank him for his beautiful work. -
Klezmer Music, History, and Memory 1St Edition Ebook Free Download
KLEZMER MUSIC, HISTORY, AND MEMORY 1ST EDITION PDF, EPUB, EBOOK Zev Feldman | 9780190244514 | | | | | Klezmer Music, History, and Memory 1st edition PDF Book Its primary venue was the multi-day Jewish wedding, with its many ritual and processional melodies, its table music for listening, and its varied forms of Jewish dance. The second part of the collection examines the klezmer "revival" that began in the s. Krakow is not far from Auschwitz and each year, a March of the Living, which takes visitors on a walk from Auschwitz to the nearby Birkenau death camp, draws tens of thousands of participants. Its organizers did not shy from the topic. But, I continued, we don't celebrate the military victory. Some aspects of these Klezmer- feeling Cohen compositions, as rendered, were surely modern in some of the instruments used, but the distinctive Jewish Klezmer feel shines through, and arguably, these numbers by Cohen are the most widely-heard examples of Klezmer music in the modern era due to Cohen's prolific multi-generational appeal and status as a popular poet-songwriter-singer who was very popular on several continents in the Western World from the s until his death in Ornstein, the director of the Jewish Community Center, said that while the festival celebrates the past, he wants to help restore Jewish life to the city today. All About Jazz needs your support Donate. Until this can be accessed, Feldman's detailed study will remain the go-to work for anyone wishing to understand or explore this endlessly suggestive subject. With Chanukah now past, and the solstice just slipped, I am running out of time to post some thoughts about the holiday. -
Israeli Music and Its Study
Music in Israel at Sixty: Processes and Experiences1 Edwin Seroussi (Hebrew University of Jerusalem) Drawing a panoramic assessment of a field of culture that resists clear categorizations and whose readings offer multiple and utterly contrasting options such as Israeli music is a challenge entailing high intellectual risks. For no matter which way your interpretations lean you will always be suspected of aligning with one ideological agenda or another. Untangling the music, and for that matter any field of modern Israeli culture, is a task bound to oversimplification unless one abandons all aspirations to interpret the whole and just focuses on the more humble mission of selecting a few decisive moments which illuminate trends and processes within that whole. Modest perhaps as an interpretative strategy, by concentrating on discrete time, spatial and discursive units (a concert, a band, an album, an obituary, a music store, an academic conference, etc) this paper attempts to draw some meaningful insights as sixty years of music-making in Israel are marked. The periodic marking of the completion of time cycles, such as decades or centuries, is a way for human beings to domesticate and structure the unstoppable stream of consciousness that we call time.2 If one accepts the premise that the specific timing of any given time cycle is pure convention, one may cynically interpret the unusually lavish celebrations of “Israel at Sixty” as a design of Israeli politicians to focus the public attention both within and outside the country on a positive image of the state 1 This paper was read as the keynote address for the conference Hearing Israel: Music, Culture and History at 60, held at the University of Virginia, April 13-14, 2008. -
Notes from the Artistic Director
Notes from the Artistic Director Yehezkel Braun was born in Breslau, Germany in 1922, and was brought to the land of Israel with his parents when he was two years old. Braun recalled that his earliest musical memories were on the one hand the recordings of Italian opera that his father would often play, notably Madame Butterfly and La Bohème, and on the other hand the indigenous singing of Yemenite women who would pass by his home on their way to work. Braun studied composition with Alexander Boscovic, who believed that composers should strive to cultivate an “Israeli” style by consciously incorporating rhythms and melodic motifs borrowed from traditional Jewish chant. Braun was certainly attracted to traditional Jewish melodies; he collected them and used many of them in his compositions. But he also was attracted to Gregorian Chant, in which he immersed himself with several sojourns to the Solemnes Monastery. He studied music at the Tel Aviv Academy, from which he graduated in 1953, and then returned to academia two decades later to study for a bachelor’s degree in Classics at Tel Aviv University. One can hear all these influences in Braun’s music. Braun’s love of vocal melodies is certainly appreciated by anyone who sings his music. Many years ago Braun told me that he doesn’t compose harmonically, rather he composes “horizontally,” conceiving of each voice part as its own melody. And as Jehoash Hirshberg pointed out in a recent article, Braun never thought about composing while he was composing. Braun wrote, “I gave up on two things: on thinking about music and on thinking what to think and how to think, to compose while thinking. -
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: -
27FKZ Program EN.Pdf
Rynek Głowny a k s r a l o t S 11 Dominikańska Grzegórzecka Festival Office, ul. Józefa 36 S t r 2 Cheder – Festival Official Club, ul. Józefa 36 a s z 14 e w 3 Ticket Office, Information Centre, ul. Jakuba (next to Cheder) s k i e y g Mi st d o 4 Spółdzielnia Ogniwo, ul. Paulińska 28, 1 floor u r c t r h a ł Ge a 5 Tempel Synagogue, ul. Miodowa 24 . S w i ś e d l 6 High Synagogue, ul. Józefa 38 e la t c e k i i e D 7 Popper Synagogue, ul. Szeroka 16 g o św. Seb 8 Alchemia Club, ul. Estery 5 astiana 9 Secondary School no. 6, ul. Wąska 7 ś w . S e b 10 CKŻ (Centre for Jewish Culture), ul. Meiselsa 17 a s t ia n 11 Dominican Monastery, ul Stolarska 12 Wawel a S t a r o w B i 12 Teatr Nowy, ul. Krakowska 41 rz ś oz ln o a w a l a a w t o d e io i 13 Galeria BB, ul. Skałeczna 5 M D H a li ck la 14 Market Square near the Market Hall, ul. Grzegórzecka 3 S t 24 a t e r i ad D o 15 a m ow 15 Jewish Community Centre (JCC), ul. Miodowa 24 5 d o s Mi k a 28 a r e 16 Galicia Jewish Museum, ul. Dajwór 18 E J 27 u a a s h k t c e s u L S r ar ba e z y a W w e 17 Jerusalem Boulevard / BARKA, vis-à-vis ul. -
Yerushalayim Shel Zahav
SPECIAL NOTICE: The song lyrics on this web page are here for the personal enjoyment of our visitors and are provided through the courtesy of the Copyright owners and Warner Bros. Publications. Please know that any duplication, adaptation, and/or transmission of this copyrighted musical content requires the prior written consent of the Copyright owners and Warner Bros. Publications U.S. Inc. Unauthorized uses are an infringement of the Copyright Laws of the United States and other countries and are punishable thereunder. The following is a literal translation from the Hebrew by Yael Levine. JERUSALEM, THE GOLDEN CITY By Naomi Shemer The mountain is clear as wine And the scent of pines But as I come to sing to you today, Is carried on the breeze of twilight And to adorn you with crowns With the sound of bells. I am the smallest of the youngest of your children And in the slumber of tree and stone And of the last poet. Captured in her dream The city that sits solitary For your name scorches the lips And in its midst is a wall. Like the kiss of an angel If I forget thee, Jerusalem, Jerusalem of gold, and of bronze, and of light Which is all gold… Behold I am a violin for all your songs. Jerusalem of gold, and of bronze, and of light How the cisterns have dried Behold I am a violin for all your songs. The market-place is empty And no one frequents the Temple Mount We have returned to the cisterns In the Old City.