Kálra Móricz
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520250888
- eISBN:
- 9780520933682
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520250888.003.0006
- Subject:
- Music, History, Western
The debate about the extent to which Bloch was a “Jewish” or a “universalistic” composer intensified as a response to Bloch's Sacred Service. Paradoxically, it was the Sacred Service, the only ...
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The debate about the extent to which Bloch was a “Jewish” or a “universalistic” composer intensified as a response to Bloch's Sacred Service. Paradoxically, it was the Sacred Service, the only composition Bloch wrote to a Jewish liturgical text, that represented most intensely the composer's aspirations to universality. However, considered by both Jews and non-Jews as deeply flawed for what was seen as a diluted racial expression, the Sacred Service demonstrated that, however scientifically untenable, race remained a strong enough cultural factor to hinder Bloch's universal claims.Less
The debate about the extent to which Bloch was a “Jewish” or a “universalistic” composer intensified as a response to Bloch's Sacred Service. Paradoxically, it was the Sacred Service, the only composition Bloch wrote to a Jewish liturgical text, that represented most intensely the composer's aspirations to universality. However, considered by both Jews and non-Jews as deeply flawed for what was seen as a diluted racial expression, the Sacred Service demonstrated that, however scientifically untenable, race remained a strong enough cultural factor to hinder Bloch's universal claims.
James Loeffler
- Published in print:
- 2010
- Published Online:
- October 2013
- ISBN:
- 9780300137132
- eISBN:
- 9780300162943
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300137132.003.0005
- Subject:
- Music, Psychology of Music
This chapter examines the fate of Yiddish writer Y. L. Peretz's so-called frozen folk songs or sounds caught between art, commerce, and technology. It discusses Russian Jewish composers' ...
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This chapter examines the fate of Yiddish writer Y. L. Peretz's so-called frozen folk songs or sounds caught between art, commerce, and technology. It discusses Russian Jewish composers' confrontation with a bewildering new world of phonograph recordings, sheet music, and other new forms of urban popular culture despite their efforts to prize folk music as the standard of national authenticity. The chapter suggests that commercial musical products offered Russian Jewish musicians both the promise of tapping unlimited new audiences and the peril of eroding aesthetic distinctions between high art and low popular culture.Less
This chapter examines the fate of Yiddish writer Y. L. Peretz's so-called frozen folk songs or sounds caught between art, commerce, and technology. It discusses Russian Jewish composers' confrontation with a bewildering new world of phonograph recordings, sheet music, and other new forms of urban popular culture despite their efforts to prize folk music as the standard of national authenticity. The chapter suggests that commercial musical products offered Russian Jewish musicians both the promise of tapping unlimited new audiences and the peril of eroding aesthetic distinctions between high art and low popular culture.
Klara Moricz
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780520250888
- eISBN:
- 9780520933682
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520250888.001.0001
- Subject:
- Music, History, Western
This book mounts a challenge to prevailing essentialist assumptions about “Jewish music,” which maintain that ethnic groups, nations, or religious communities possess an essence which must manifest ...
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This book mounts a challenge to prevailing essentialist assumptions about “Jewish music,” which maintain that ethnic groups, nations, or religious communities possess an essence which must manifest itself in art created by members of that group. It scrutinizes concepts of Jewish identity and reorders ideas about twentieth-century “Jewish music” in three case studies: Russian-Jewish composers of the first two decades of the twentieth century; the Swiss-American Ernest Bloch; and Arnold Schoenberg. Examining these composers in the context of emerging Jewish nationalism, widespread racial theories, and utopian tendencies in modernist art and twentieth-century politics, the author describes a trajectory from paradigmatic nationalist techniques, through assumptions about the unintended presence of racial essences, to an abstract notion of Judaism.Less
This book mounts a challenge to prevailing essentialist assumptions about “Jewish music,” which maintain that ethnic groups, nations, or religious communities possess an essence which must manifest itself in art created by members of that group. It scrutinizes concepts of Jewish identity and reorders ideas about twentieth-century “Jewish music” in three case studies: Russian-Jewish composers of the first two decades of the twentieth century; the Swiss-American Ernest Bloch; and Arnold Schoenberg. Examining these composers in the context of emerging Jewish nationalism, widespread racial theories, and utopian tendencies in modernist art and twentieth-century politics, the author describes a trajectory from paradigmatic nationalist techniques, through assumptions about the unintended presence of racial essences, to an abstract notion of Judaism.
Michael Haas
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300154306
- eISBN:
- 9780300154313
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300154306.003.0012
- Subject:
- Music, History, Western
This chapter examines the history of the exile of Jewish composers. It explains that Austrian and German Jews became concerned about getting their papers to get out German territory by 1938, and that ...
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This chapter examines the history of the exile of Jewish composers. It explains that Austrian and German Jews became concerned about getting their papers to get out German territory by 1938, and that the majority of them went to either France, Great Britain, or the United States. The chapter also discusses the Évian Conference, the American-proposed Intergovernmental Committee on Refugees, which would coordinate refugee policies.Less
This chapter examines the history of the exile of Jewish composers. It explains that Austrian and German Jews became concerned about getting their papers to get out German territory by 1938, and that the majority of them went to either France, Great Britain, or the United States. The chapter also discusses the Évian Conference, the American-proposed Intergovernmental Committee on Refugees, which would coordinate refugee policies.
Michael Haas
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300154306
- eISBN:
- 9780300154313
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300154306.003.0011
- Subject:
- Music, History, Western
This chapter examines the conditions of Jewish composers after World War I. It discusses the music policies in Adolf Hitler's Germany, the Aryanization of music publishers, and the removal of Jews ...
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This chapter examines the conditions of Jewish composers after World War I. It discusses the music policies in Adolf Hitler's Germany, the Aryanization of music publishers, and the removal of Jews and their works from the repertoire, which meant breaking countless contracts that would have led to costly court actions. The chapter also suggests that anti-Semitic purges were the result of the view that the Jews represented political opposition to the strong economic and political agenda the Nazis felt had been mandated by the German electorate.Less
This chapter examines the conditions of Jewish composers after World War I. It discusses the music policies in Adolf Hitler's Germany, the Aryanization of music publishers, and the removal of Jews and their works from the repertoire, which meant breaking countless contracts that would have led to costly court actions. The chapter also suggests that anti-Semitic purges were the result of the view that the Jews represented political opposition to the strong economic and political agenda the Nazis felt had been mandated by the German electorate.
Michael Haas
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300154306
- eISBN:
- 9780300154313
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300154306.001.0001
- Subject:
- Music, History, Western
With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. ...
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With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This book looks at the Jewish composers and musicians banned by the Third Reich, and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany's historic traditions and the ideals of German culture, the isolation, exile, and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. The author looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge such as Britain and the United States, and their contributions within the radically changed post-war music environment.Less
With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This book looks at the Jewish composers and musicians banned by the Third Reich, and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany's historic traditions and the ideals of German culture, the isolation, exile, and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. The author looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge such as Britain and the United States, and their contributions within the radically changed post-war music environment.
Michael Haas
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300154306
- eISBN:
- 9780300154313
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300154306.003.0013
- Subject:
- Music, History, Western
This chapter examines the history of the restitution of Jewish composers after World War II. It explains that the postwar environment was not very inviting for composers who were thrown out of ...
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This chapter examines the history of the restitution of Jewish composers after World War II. It explains that the postwar environment was not very inviting for composers who were thrown out of Germany and Austria because neither the former Nazis nor the bug-eyed experimentalists were interested in re-establishing their careers. The chapter discusses the efforts of composers to re-establish ties with former music publishers, and in rarer cases, those of publishers to re-establish their ties with composers.Less
This chapter examines the history of the restitution of Jewish composers after World War II. It explains that the postwar environment was not very inviting for composers who were thrown out of Germany and Austria because neither the former Nazis nor the bug-eyed experimentalists were interested in re-establishing their careers. The chapter discusses the efforts of composers to re-establish ties with former music publishers, and in rarer cases, those of publishers to re-establish their ties with composers.
Michael Haas
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300154306
- eISBN:
- 9780300154313
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300154306.003.0003
- Subject:
- Music, History, Western
This chapter examines the works of Richard Wagner and the conditions of German-Jewish composers in the nineteenth century. It analyzes Wagner's 1850 polemic Judaism in Music and the works of Felix ...
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This chapter examines the works of Richard Wagner and the conditions of German-Jewish composers in the nineteenth century. It analyzes Wagner's 1850 polemic Judaism in Music and the works of Felix Mendelssohn, which showed a reverence for tradition that would become a feature of German- and Austrian-Jewish musical assimilation. The chapter also discusses Wagner's political and cultural legacy and the works of composers born during the early years of post-revolutionary Enlightenment, including Giacomo Meyerbeer and Ignaz Moscheles.Less
This chapter examines the works of Richard Wagner and the conditions of German-Jewish composers in the nineteenth century. It analyzes Wagner's 1850 polemic Judaism in Music and the works of Felix Mendelssohn, which showed a reverence for tradition that would become a feature of German- and Austrian-Jewish musical assimilation. The chapter also discusses Wagner's political and cultural legacy and the works of composers born during the early years of post-revolutionary Enlightenment, including Giacomo Meyerbeer and Ignaz Moscheles.
Michael Haas
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300154306
- eISBN:
- 9780300154313
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300154306.003.0004
- Subject:
- Music, History, Western
This chapter examines the conditions of Jewish composers during the age of liberalism, Johannes Brahms, and music critic Eduard Hanslick, discussing Brahms's association with the Liberal Party and ...
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This chapter examines the conditions of Jewish composers during the age of liberalism, Johannes Brahms, and music critic Eduard Hanslick, discussing Brahms's association with the Liberal Party and highlighting the fact that he was accused of philo-Semitism in the German nationalist press. It also considers the work of Jewish pianist Ferdinand Hiller and how the musical triumvirate of Karl Goldmark, Hanslick, and Brahms evolved an amalgam of values in which both the purity of art and the purity of German musical traditions merged.Less
This chapter examines the conditions of Jewish composers during the age of liberalism, Johannes Brahms, and music critic Eduard Hanslick, discussing Brahms's association with the Liberal Party and highlighting the fact that he was accused of philo-Semitism in the German nationalist press. It also considers the work of Jewish pianist Ferdinand Hiller and how the musical triumvirate of Karl Goldmark, Hanslick, and Brahms evolved an amalgam of values in which both the purity of art and the purity of German musical traditions merged.
Michael Haas
- Published in print:
- 2013
- Published Online:
- October 2013
- ISBN:
- 9780300154306
- eISBN:
- 9780300154313
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300154306.003.0009
- Subject:
- Music, History, Western
This chapter examines the musical potency of the works of anti-romantic Jewish composers. It discusses Hans Pfitzner's 1919 pamphlet The New Aesthetic of Musical Impotence: A Sign of Decay?, which ...
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This chapter examines the musical potency of the works of anti-romantic Jewish composers. It discusses Hans Pfitzner's 1919 pamphlet The New Aesthetic of Musical Impotence: A Sign of Decay?, which would ultimately harness many intellectuals into the anti-Semitic thinking of National Socialism. The chapter discusses the works of Hans Gál and Egon Wellesz, who represented the view that there were different ways of reacting to the post-Wagnerian Romanticism.Less
This chapter examines the musical potency of the works of anti-romantic Jewish composers. It discusses Hans Pfitzner's 1919 pamphlet The New Aesthetic of Musical Impotence: A Sign of Decay?, which would ultimately harness many intellectuals into the anti-Semitic thinking of National Socialism. The chapter discusses the works of Hans Gál and Egon Wellesz, who represented the view that there were different ways of reacting to the post-Wagnerian Romanticism.
