ISSN 2047-2226 •IEBS NEWSLETTER• The International Ernest Bloch Society iebs newsletter issue 9 AUTUMN 2014

President: Steven Isserlis CBE ‡ Chairman: Malcolm Troup ‡ Secretary: J. Audrey Ellison One hundred years later he letter on the right Tpre-dates most of Bloch’s musical oeuvre. A major pre- 1914 composition had been his one completed opera: Macbeth with a text by Edmond Fleg. The British musical critic Andrew Porter reviewed the work as produced by the Julliard American Opera Centre in New York in early 1973. He saw three performances and each time “found it more impressive and interesting”. and was surprised that following “so masterful a start, Bloch wrote no more operas”. The progress of Macbeth onto the stages of

the world’s opera houses has Studios Stage Old courtesy of by available made Photo certainly been slow, but this When war broke out Bloch was living in Switzerland and keen to sign up for the army September it will reach Chicago where it will be performed at Extracts from letter sent by Ernest Bloch to the Harris Theater. Edmond Fleg, Satigny, 11 August 1914. If opera was the loser, instrumental music was On 28 July 1914, World War I was declared. Two weeks later, Bloch shared his ambivalent feelings the gainer! Here in with his close friend and librettist Edmond Fleg: the International Ernest Fleg, my old friend, This morning, I received your letter of the 2nd [August]. Your mother had informed Bloch Society (IEBS) has us that you intended to sign up [for the French army]. We were all delighted . . . During this period I arranged two major events was [trying to] do the same thing here [in Geneva], sadly without success. My situation is the same as involving world renowned yours. They have too many men at the moment . . . I can’t live here any more. I’m champing at the bit. instrumentalists. Around the Life has abandoned this place … You don’t see the countryside any more. Everything has the leaden hue date of publication of this 9th that you notice during a solar eclipse. You don’t dare to compare your own troubles, and those of your own dear ones, with other people’s anguish… It’s the ruin of us all… What a time this is! You come face to issue of our newsletter, Steven face with the worst . . . I think that, if Switzerland doesn’t want me, so I’ll enlist in France, if she needs Isserlis, our President, will be men. I owe something to that country which I love, and which is fighting for its life and for the cause giving a special concert recital of civilisation and honour. My own dear ones are well, as well as one can be at the moment. We have for IEBS members and friends. enough to eat and to manage on for two or three months. Afterwards? Afterwards? Who knows what nd On 2 November we are hosting will be afterwards, and who knows when, and if, we’ll see each other again. Goodbye, dear old Fleg. With a major event at the Royal affectionate greetings to you and yours, Your E.B. College of Music: Natalie Clein Translated by Alexander Knapp (cello), Rivka Golani (viola) and (cello) will • trawling the archives • talk about their first encounters with Bloch’s music and will play ✿The IEBS is not the first establishing the Society and Alfred Pochon, telling him of various pieces. organization devoted to contributed significantly to its interest in his work in the And a final editorial note. perpetuating the legacy of annual Bulletin. USA, adding that there was Credits in our last issue for Ernest Bloch. An immediate The 1970 issue of the an opening for a conductor photos of Ernest Bloch should predecessor was the Bulletin has a fascinating piece to tour America with the have gone to Old Stage Studios -based Ernest Bloch Society, by the composer’s elder famous dancer, Maud Allan. (Gualala, Carlifornia). Sincere established in the late 1960s, daughter Suzanne entitled The It was indeed the turning thanks are due for on-going when there were still many Turning Point in Bloch’s Life. point and would lead Bloch support as evinced by further who had known the composer In 1916 at a time of ‘utter to settle in America and in photos in this current issue. at first-hand. The Bloch discouragement’ he received a due course to become an Stanley Henig, editor family played a major role in phone call from an old friend, American citizen. SH

• cd reviews • Ernest Bloch: Schelomo & Voice in the Wilderness. Andre Caplet: Epiphanie. Maurice Ravel: Kaddisch. Raphael Wallfisch, cello, Benjamin Wallfisch conductor, BBC National Orchestra of Wales Nimbus Records in association with BBC Radio 3 (NI 5913) climaxes keenly handled or the melodic vigour of National Orchestra of Wales and many magical moments Vaughan Williams, with cor producing a scintillating range highlighted along the way, anglais and bass clarinet of colour as in the opening both in the translucent evoking moods of resignation movement’s counterpoints and orchestra and in the cello’s and loneliness echoed in the the brass- laden tuttis of the fast fervent sound. Clear, rich solo cello’s low registers or the movements. and resonant, with supple nostalgic yearning of high- Kaddisch is one of Ravel’s shading, Raphael Wallfisch’s flying climaxes. Deux Mélodies Hébraïques cello playing has a wonderful If Schelomo, composed in 1916 (1914; orchestrated 1919-20), quality of zooming in and just prior to the composer’s first it is memorably rendered. Striving energy and questing out of individual notes. His journey to the USA, narrates Just as the Hebrew memorial passion, a balance of brooding glistening tone and pliant a heroic tale drawn from prayer concerns promise of darkness and joyous humanity; bowing creates the emotional Biblical sources, in the ‘Jewish the Divine, so is Wallfisch’s these are qualities in the vivid soundscape to suit the style’ that was to permeate interpretation both inward and moving interpretations work: in the higher tessitura Bloch’s later music, Voice in and ecstatic, the cello’s near- by the outstanding father and there is desolation without the Wilderness, originally vocal tone supported by a son, soloist-conductor team sentimentality; in the lower conceived as a solo (in delicate drone in Benjamin of Raphael and Benjamin registers, a philosophical which form it was eventually Wallfisch’s nuance-laden Wallfisch, of two of Bloch’s sense of brooding. One is published in 1936 as Visions orchestral balancing. Caplet’s masterpieces for cello and drawn into every gesture, and Prophecies), also tells a tale, musical tone poem on the topic orchestra, performed with especially where, towards the each movement presenting an of the Christian Epiphany, the BBC National Orchestra end, the cello subdues, like a orchestral prelude leading to like Bloch and Ravel, displays of Wales. The coupling with cantor in frail supplication, a fervent cello commentary. a fusion of the exotic non- Ravel’s Kaddisch is apt since the neo-Wagnerian richness Stemming from the pre-WWII western modes and rhythmic the recording is dedicated of the orchestral drama. years (1935-6) in Haute-Savoie and timbral influences with a to the memory of family Benjamin Wallfisch steers in the French Alps, soon European late romantic and members who perished the orchestra with finely after Bloch had completed early modern soundscape. The in the Holocaust. The less honed lucidity; he prefers the Sacred Service, the work central cadenza movement is familiar Epiphanie by Caplet vigour over menace, galvanic echoes Bloch’s earlier American remarkable, Wallfisch shaping (1878-1925), also offers an climaxes radiating a cascading, period in its expansive each gesture and silence, over illuminating context for Bloch, kaleidoscopic refraction. pastoralism, fiery splendour a hardly audible drum beat highlighting shared interest in Especially translucent are the in the opulent outbursts (3rd which is Ethiopian in origin, exotic expressionism. woodwind shofar motifs in the and 6th movements), lyrical a non-Western element that In Schelomo the unique middle section( here tracked reflection and intense yearning continues in the assymetrical father son teamwork certainly separately as one of three as in the cello’s gripping metres of the nearly jazzy makes for exciting chemistry. tracks) with eloquent clarinet, fifth movement cadenza. dance-finale. The programme It radiates a profound bassoon and cor anglais. At Throughout, Wallfisch’s tone as a whole represents a superb sense of character with the times one traces echoes of is searingly focused, forthright achievement. architectural drive towards Rimsky Korsakovian splendour and poetic in turn, the BBC Malcolm Miller

Bloch: Symphony in C sharp minor; Poems of the Sea. London Symphony Orchestra / Dalia Atlas Naxos 8.573241 (68 mins)

1922 in versions for piano and Bloch’s own invention, and The opening movement, in (as here) for large orchestra, the writing for woodwinds particular, has many repeated is an absolutely superb little is particularly fine. ‘At Sea’ phrases which, I suspect, the triptych, lasting 13:35 in begins with a pleasing jig mature Bloch would have this performance. The first rhythm and concludes one of pruned ruthlessly. It begins movement is entitled ‘Waves’; Bloch’s most accomplished and quietly and atmospherically and as soon as the waves are approachable works. with a substantial Lento set in motion, you feel in safe The C sharp minor introduction, which builds to hands. The LSO is in good Symphony dates from the turn an impressive climax before form and Dalia Atlas, to whom of the century, when Bloch was subsiding into quietness all Bloch enthusiasts owe a 22. It is a shame that he did not again; the Allegro breaks in Poems of the Sea, inspired by tremendous debt, conducts revise it, as it is full of good suddenly and there is a slower the poetry of Walt Whitman with flair. ‘Chanty’ is one Late Romantic music but also section before more Allegro. and written by Ernest Bloch in of those slow sea shanties, more commonplace passages. Continued on facing page ☛

• ernest bloch competition july 2013• Continued from facing page The movement ends with a he competition was held well sustained quiet episode. Tat the Royal College of Professor Atlas holds it all Music’s Britten Theatre in together pretty well but at the heart of London, opposite 22 minutes it is too long. The the Royal Albert Hall. In brooding Andante is strongly the shadow of one of the coloured by horn sonority at world’s greatest cultural first; and features quite a lot of monuments were heard some brass, especially at its climax. of the best performances by an It develops into a march, which international cast of talented will return in the finale, before young musicians. These very ending quietly. Up to now, same musicians may well one can note the influences be performing there on that of Debussy and Wagner. The adjacent stage in the not too scherzo, Vivace, starts with distant future. a trumpet call and is very The format of the evening Brucknerian, with a pastoral saw the Ernest Bloch Trio. In the finale Bloch shows Competition alternating with off his contrapuntal skills, the Israeli Music Competition; The Cavatina String Quartet, winners of the 2013 Bloch competition opening with a fugue before and it was evident by the the march theme from the level of excellence from all Andante asserts itself. The candidates that the judges symphony ends tranquilly in D already had to make a hard flat. I cannot imagine it being choice whittling down the better played or conducted; final six competitors from the and the recordings of both original 155 applicants. I had works, produced by James the honour of introducing Mallinson in Studio 1 at Abbey an astounding set of Road and engineered by Arne performances. Akselberg, are first-rate. The first of the Bloch Tully Potter presentations came from the Cavatina String Quartet, • bloch in print• playing two movements he life and work of Ernest (‘Dusk’ and ‘Rustic Dance’) TBloch have been well from In the Mountains. The covered in printed materials. first movement was delivered Two particularly outstanding with sensitivity, soulful and books are the four- volume introspective, before moving Ernest Bloch: sa vie et sa to a more striking attack and pensée by Dr Joseph Lewinski Winner of the second prize, flautist Daniel Shoa and Emmanuelle Dijon and lively pace, capturing the The Ernest Bloch Companion very spirit of the second Joshua Bell, Leonid Kogan and competition - to a close. by David Kushner. Hopefully movement and bringing the other great performers. This After what must have they will soon be joined on the imagery to life. Almost as may be a daunting prospect as been an agonizing wait for bookshelves by Ernest Bloch soon as the final pizzicato, the it is a challenging piece for any the finalists, the panel of Studies edited by Alexander Knapp and Norman Solomon, theatre erupted into applause soloist. esteemed judges of both both founder members of the and it was clear that from the The third and final Bloch competitions came to the International Ernest Bloch outset a high standard had work was played by flautist, stage, and Professor Malcolm Society. The book which been set. Daniel Shao. With a reputation Troup and Sagi Hartov comprises a variety of chapters The second recital in the preceding him as the youngest announced the results. The by international scholars will Bloch competition’s auditions featured soloist at the British Cavatina String Quartet won examine inter alia: • the impact of Bloch’s came from French-Bulgarian Flute society Convention the first prize of £1000 plus life and background on violinist Yoana Ducros, playing and winner of the national a concert sponsored by JMI. his music; one of the composer’s best competition, expectations were The second prize of £500 was • the concept of ‘Jewish known Jewish pieces - Nigun. high. No one was disappointed given to Daniel Shao. Such music’ and the extent Here, the interplay between as Shao’s delivery of Bloch’s competitions are a chance to to which Bloch could or should be categorized as a the delicate accompaniment of Suite Modale was delicate, see the cream of international ‘Jewish composer’; the piano against the searing sensitive and exact. Flowing talent and although there must • the evolution of Bloch’s intensity of Yoana’s violin was through the first movement, he always be winners and losers, career as a composer highly emotive. The greatest moved to the second and third it was also clear evident that through different periods challenge for any violinist movements with a thoughtful, Yoana Ducros is a world-class of his life; in this competition when reflective tone before violinist from whom we can • Bloch’s place in the history of musical composition choosing such an oft- recorded delivering the last movement only look forward to hearing and the different genres for piece is that immediately there with its dancing pace, bringing more in the future. which he composed. can be a comparison with in the earlier themes - and the Gil Karpas From the Concert Hall to the Synagogue The following article is contributed by the Swiss Association Bloch. Originally written by Walter HELVETIA 1929 Labhart, it was condensed and translated by Oliver Margulies arly in 1929 Bloch Ecompleted work on Helvetia, although the first n no other oeuvre of drafts date from 1900. It 20th century composers was the last of a trio of do Jewish elements orchestral works - Israel crystallise more clearly and America being the other Ithan in the music of Ernest two – which define Bloch’s Bloch. He had little opportunity origins and allegiances. to live and reveal his creative Although by that time activity in Switzerland. an American citizen, After completing the Hebrew Bloch visited Helvetia Rhapsody Schelomo in 1916 (a (Switzerland) - the land of key work of modern Jewish his birth – later in 1929, music), the Geneva-born when we can assume the composer emigrated to the adjacent photograph would USA. As a Jewish musician in have been taken. Whilst Helvetia shared a prize Switzerland he could not have Bloch in Switzerland in 1929, the year that he composed Helvetia Studios Stage Old courtesy of by available made Photo given by Victor Records, the dared to imagine a career so

• company does not seem to successful in his newly chosen developed later. Due to its folk songs. Juliusz Wolfsohn’s have recorded it at the time home country, where he first mixture of sumptuousness Paraphrasen über alt-jüdische or subsequently. held a professorship for music and epic expanse, Schelomo Volksweisen (1921) for piano It was first performed in at the David Mannes School in for cello and orchestra has an and Darius Milhaud’s Chicago in February 1932, New York, then to become the influence that lasts until today. 6 Chants populaires hébraïques followed shortly thereafter Cleveland Institute of Music’s (1925) for voice and piano are by a performance in Geneva director in 1920. Hebrew speech rhythm equally good examples of this with the Swiss Romande Information about the society, membership details etc can be obtained from the secretary. the from etc can be obtained details membership society, about the Information

• Besides the imitation of the neo-folkloristic trend. Bloch Orchestra conducted by Visionary for Film Music shrill sound of the shofar however offered his individual Ernest Ansermet. The work Layout by: [email protected] [email protected] by: Layout

• Despite creating numerous and the archaism of fifths and autonomous approach, itself is sub-titled “The masterworks of absolute evoking biblical scenes, the contrasting with trends Land of Mountains and its music, Bloch’s merits are more music’s rhapsodic narrative oriented towards sources People” and is divided into significant in Jewish music and rhythm appear as an handed down by tradition. five sections with a story touching on religious themes. innovating element. Bloch In 1917 he stated vigorously: “It line. Initially the mountain He was the first to create a attempted the imitation of is the Jewish soul that interests is a mystery; it and the men awaken to find the country ‘Jewish Cycle’ of instrumental speech rhythm, specifically the me, the complex, glowing, is in danger; a battle rages and vocal works. Whilst agitated soul, that I feel and the mountain is freed. the Psalms 22, 114 and 137 vibrating throughout the Bloch’s characteristic There are very few extant (begun 1912) may be seen as orchestral sound contributed Bible: the freshness and recordings – Claude Torres, precursors, the orchestral substantially to typically naiveté of the Patriarchs; the indefatigable Bloch work Trois Poèmes Juifs American film music, the violence that is evident discographer has only (1913) was the first of the which Aaron Copland and in the Prophetic Books; traced four, of which the ‘Cycle’ to be completed. immigrants such as Erich the Jew’s savage love of most recent was recorded Interestingly, ‘Danse’- the justice; the despair of the Wolfgang Korngold and in Geneva in September first movement Preacher in Jerusalem; 2002 with Lior Shambadal Ernst Toch developed later - with its oriental the sorrow and the conducting the Swiss soundscape, anticipates • immensity of the Book of Romande. It was issued on what later can be found Job; the sensuality of the Cascavelle RSR6170 coupled in Hollywood film music. accentuation of the Hebrew Song of Songs.” He listened with The Suite for Viola Simultaneously, this visionary language. Refining his music only “to an inner voice”, to and Orchestra dating from musician heralds a main trend with impressionistic elements, become inspired and stirred 1919/20 and the much later within European Jewish music the composer integrated the by his Jewish heritage. Even 1951 Suite Hébraïque for Viola and Orchestra. of the 1920s: quasi-oriental accentuation of the second- when writing his principal scales with augmented intervals to-last or last syllable typical religious composition, Avodath (soon to become a cliché) create for Hebrew. This applies Hakodesh for baritone, an atmosphere triggering especially to passages for solo choir and orchestra (1930- associations with landscapes instruments. This principal 1933), Bloch drew upon and and also the Old Testament. of composition, based on processed traditional themes. Bloch’s characteristic historical facts, could have Of his instrumental works, orchestral sound contributed become the point of departure Baal Shem – ‘Three Pictures substantially to typically for future generations. of Chassidic Life’ (1923) for American film music, which Various composers of western violin and piano and the Suite Aaron Copland and immigrants and central Europe strove to hébraique (1951) for viola such as Erich Wolfgang write distinctly Jewish music and piano assume a

Newsletter edited by Professor Stanley Henig, email:[email protected] — letters, comments and offers of articles should be sent to the editor the editor sent to should be articles of offers and — letters,comments email:[email protected] Henig, Stanley Professor by edited Newsletter [email protected] email: 6PB, SW6 London Rd; Stevenage Bloch Society 135, can be Ernest at contacted International the of Secretary Ellison, Audrey J. Korngold and Ernst Toch by drawing upon traditional comparable position.