Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0015
James Loeffler
This chapter investigates the role of the gramophone in the development of the Jewish national idea through the propagation of specifically Jewish forms of composition. It talks about Pinkhas Minkovsky, who published a book in order to warn the dangers of the “lust machine” or gramophone that constituted a “pornographic” response to the ills of modernity and a threat to the Jewish people. It also mentions Wolf Isserlin and his brother Mordkhe who turned into gramophone entrepreneurs and opened their own gramophone factory. The chapter investigates why Minkovsky opposed the gramophone while Isserlin staked his career on it. It explains that Minkovsky feared the desecration of Judaism and believed Jewish music was sacred, while Isserlin considered the gramophone as a secular commodity and rushed to commercialize it.
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Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0007
A. Seigel
This chapter focuses on Yiddish popular songs that developed strongly in the second half of the nineteenth century. It clarifies that many of the Yiddish songs were produced by the popular itinerant bards known as Broder singers, who took their name from the city of Brody, a frontier town in nineteenth-century Galicia. It also explains the “Broder singer” as a generic term for performers who provided musical entertainment with short skits and limited use of costumes, make-up, and staging. The chapter describes the nature of the Broder singer's performances. It also recounts how the Broder singers disappeared by the 1930s but left behind a corpus of recordings that has been revived in recent years.
{"title":"Broder Singers","authors":"A. Seigel","doi":"10.3828/liverpool/9781906764739.003.0007","DOIUrl":"https://doi.org/10.3828/liverpool/9781906764739.003.0007","url":null,"abstract":"This chapter focuses on Yiddish popular songs that developed strongly in the second half of the nineteenth century. It clarifies that many of the Yiddish songs were produced by the popular itinerant bards known as Broder singers, who took their name from the city of Brody, a frontier town in nineteenth-century Galicia. It also explains the “Broder singer” as a generic term for performers who provided musical entertainment with short skits and limited use of costumes, make-up, and staging. The chapter describes the nature of the Broder singer's performances. It also recounts how the Broder singers disappeared by the 1930s but left behind a corpus of recordings that has been revived in recent years.","PeriodicalId":402577,"journal":{"name":"Polin: Studies in Polish Jewry Volume 32","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114664770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0006
M. Lukin
This chapter traces “Yiddish servant romances” back to the eighteenth century. It examines the formal characteristics of melodies and texts typical of servant romances and shows how its emergence can be correlated with verbal folklore, various musical genres, social history, and non-Jewish folk poetry. It also explains the term “Yiddish folk songs,” which is often used to refer to the entire complex of both folk and popular songs performed by the Yiddish-speaking population. The chapter uses the designation “Yiddish folk songs” in line with Bogatyrev and Jakobson's theory of crystallization processes in the development of folklore. It points out how the servant romances revolves around unrequited love and are characterized by the fusion of archaic traits with the markers of day-to-day life in the late modern period.
{"title":"Servant Romances","authors":"M. Lukin","doi":"10.3828/liverpool/9781906764739.003.0006","DOIUrl":"https://doi.org/10.3828/liverpool/9781906764739.003.0006","url":null,"abstract":"This chapter traces “Yiddish servant romances” back to the eighteenth century. It examines the formal characteristics of melodies and texts typical of servant romances and shows how its emergence can be correlated with verbal folklore, various musical genres, social history, and non-Jewish folk poetry. It also explains the term “Yiddish folk songs,” which is often used to refer to the entire complex of both folk and popular songs performed by the Yiddish-speaking population. The chapter uses the designation “Yiddish folk songs” in line with Bogatyrev and Jakobson's theory of crystallization processes in the development of folklore. It points out how the servant romances revolves around unrequited love and are characterized by the fusion of archaic traits with the markers of day-to-day life in the late modern period.","PeriodicalId":402577,"journal":{"name":"Polin: Studies in Polish Jewry Volume 32","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124130970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0014
Ronald Robboy
This chapter examines how Abraham Ellstein came to write the music for such Yiddish films as Yidl mitn fidl, Mamele, and A brivele der mamen. It explains that Ellstein is a New Yorker and the only major Yiddish theatre composer not to have been born in Europe. It also details how he received both a solid traditional Jewish musical preparation as a meshorer and sophisticated training in Western classical music from an early age. The chapter explores the song from Yidl mitn fidl and “Abi gezunt” and “Mazl” from Mamele, which are among Ellstein's most famous works and remain among the best known of the entire Yiddish theatrical repertoire. It analyzes how Ellstein's extensive underscoring serves as an indispensable frame for how action is to be seen and understood, providing subtext and interpretative cues for mood and atmosphere, for setting, for characterizations, and for characters' emotions and states of mind.
本章考察了亚伯拉罕·埃尔斯坦是如何为意第绪语电影如《Yidl mitn fidl》、《Mamele》和《A brivele der mamen》等创作音乐的。它解释说，埃尔斯坦是纽约人，也是唯一一个不是出生在欧洲的主要意第绪语戏剧作曲家。它还详细说明了他是如何接受坚实的传统犹太音乐准备作为一个meshorer和复杂的训练，从早期的西方古典音乐。本章探讨了来自Yidl mitn fidl的歌曲和来自Mamele的“Abi gezunt”和“Mazl”，这是Ellstein最著名的作品之一，并且仍然是整个意第绪语戏剧曲目中最著名的。它分析了埃尔斯坦的广泛强调如何成为观看和理解动作的不可或缺的框架，为情绪和氛围、背景、人物塑造、人物情绪和心理状态提供潜台词和解释性线索。
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Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0008
Michael F. Aylward
This chapter examines how the music of the Yiddish theatre was preserved on gramophone records between 1904 and 1913. It describes how the gramophone brings to life the sounds and atmosphere of the popular Yiddish theatre in Galicia in the most vivid manner imaginable. It also talks about the record companies that focused on Gimpel's theatre in Lwów, such as Favorite, Beka, and the Gramophone Company that recorded about 800 titles of Yiddish theatre music. The chapter provides a very brief history of the theatre founded by Jakob Ber Gimpel and gives an overview of the recordings the theatre made in the decade preceding the First World War. It mentions the field recordings being made in rural Hungary by Béla Bartók and Zoltán Kodály.
{"title":"Gimpel’s Theatre, Lwów","authors":"Michael F. Aylward","doi":"10.3828/liverpool/9781906764739.003.0008","DOIUrl":"https://doi.org/10.3828/liverpool/9781906764739.003.0008","url":null,"abstract":"This chapter examines how the music of the Yiddish theatre was preserved on gramophone records between 1904 and 1913. It describes how the gramophone brings to life the sounds and atmosphere of the popular Yiddish theatre in Galicia in the most vivid manner imaginable. It also talks about the record companies that focused on Gimpel's theatre in Lwów, such as Favorite, Beka, and the Gramophone Company that recorded about 800 titles of Yiddish theatre music. The chapter provides a very brief history of the theatre founded by Jakob Ber Gimpel and gives an overview of the recordings the theatre made in the decade preceding the First World War. It mentions the field recordings being made in rural Hungary by Béla Bartók and Zoltán Kodály.","PeriodicalId":402577,"journal":{"name":"Polin: Studies in Polish Jewry Volume 32","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127163866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0022
Joseph Toltz
This chapter investigates the songs in Yiddish and Polish remembered by survivors of the łódz ghetto. It draws on interviews with two teenage survivors of the łódz ghetto who settled in Australia after the war in order to document and preserve personal musical experiences and memories of Jewish Holocaust survivors. It also references long and established literatures on examining witnesses and testifiers in Holocaust and trauma studies that speaks at length of delicate dynamics and ethical responsibilities of representation. The chapter analyzes the claim that sonic experiences remain in memories of people and travel with them throughout their lives, providing moments of nostalgia, evocations of past connections, ties to culture, friends, and family, and frames of reference. It explains how memories of dark, distant, and problematic times are enabled and returned to resonate in the present lives of testifiers and witnesses.
{"title":"‘My Song, You Are My Strength’","authors":"Joseph Toltz","doi":"10.3828/liverpool/9781906764739.003.0022","DOIUrl":"https://doi.org/10.3828/liverpool/9781906764739.003.0022","url":null,"abstract":"This chapter investigates the songs in Yiddish and Polish remembered by survivors of the łódz ghetto. It draws on interviews with two teenage survivors of the łódz ghetto who settled in Australia after the war in order to document and preserve personal musical experiences and memories of Jewish Holocaust survivors. It also references long and established literatures on examining witnesses and testifiers in Holocaust and trauma studies that speaks at length of delicate dynamics and ethical responsibilities of representation. The chapter analyzes the claim that sonic experiences remain in memories of people and travel with them throughout their lives, providing moments of nostalgia, evocations of past connections, ties to culture, friends, and family, and frames of reference. It explains how memories of dark, distant, and problematic times are enabled and returned to resonate in the present lives of testifiers and witnesses.","PeriodicalId":402577,"journal":{"name":"Polin: Studies in Polish Jewry Volume 32","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134085420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0012
Joel E. Rubin
This chapter focuses on the post-war fate of the Szpilmans, Bajgelmans, and Barshts, which are an extended family of professional Jewish instrumentalists that originated from Ostrowiec Swietokrzyski in Poland. It explores how the Szpilmans, Bajgelmans, and Barshts played important roles as performers and composers in genres as diverse as instrumental klezmer, jazz, chamber, symphonic music, Yiddish theatre, vaudeville, and Brazilian dance music. It also mentions Władysław Szpilman as the most famous family member, whose memoirs formed the basis of Roman Polanski's Oscar-winning film, The Pianist. The chapter provides an ethnography of elderly living musicians that became part of salvage ethno-musicology, cultural history, and genealogy. It looks into activities of professional Jewish musicians from klezmer families, whose work and experience expanded in a number of directions, especially during the second half of the nineteenth century.
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Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0018
Adam J. Sacks
This chapter explores the reasons why east European Jews sought to study at the Berlin Conservatory. It investigates the dramatic influx of Jewish students, both instrumentalists and composers, that found encouragement and advancement at the Berlin Conservatory between the years 1918 and 1933. It also mentions Władysław Szpilman, Jascha Horenstein, Joseph Rosenstock, and Karol Rathaus that studied in the Berlin Conservatory and went on to find international fame. The chapter analyzes how music functioned as a medium for mobility, nobility, and the transcendence of origins and the strictures of imposed identity. It looks into the eastern European music student's perception of the Berlin Conservatory, which served as a site of self-reinvention and a transit station to the wider world.
{"title":"Ostbahnhof Berliń","authors":"Adam J. Sacks","doi":"10.3828/liverpool/9781906764739.003.0018","DOIUrl":"https://doi.org/10.3828/liverpool/9781906764739.003.0018","url":null,"abstract":"This chapter explores the reasons why east European Jews sought to study at the Berlin Conservatory. It investigates the dramatic influx of Jewish students, both instrumentalists and composers, that found encouragement and advancement at the Berlin Conservatory between the years 1918 and 1933. It also mentions Władysław Szpilman, Jascha Horenstein, Joseph Rosenstock, and Karol Rathaus that studied in the Berlin Conservatory and went on to find international fame. The chapter analyzes how music functioned as a medium for mobility, nobility, and the transcendence of origins and the strictures of imposed identity. It looks into the eastern European music student's perception of the Berlin Conservatory, which served as a site of self-reinvention and a transit station to the wider world.","PeriodicalId":402577,"journal":{"name":"Polin: Studies in Polish Jewry Volume 32","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122598756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0011
Beth Holmgren
This chapter focuses on the “Anders Army,” which was founded by General Władysław Anders after he was freed from the Lubyanka prison by the Stalinist government. It recounts the Anders administration's special invitations that were issued to touring Polish show troupes that were made up primarily of acculturated Jews in order to form two embedded theatrical revue units. It also speculates on the motives of why the Anders administration decided to spend precious resources on particular Jewish recruits. The chapter draws on the memoirs of performers and soldiers and the articles, reviews, and editorials published in the Polish-language wartime newspapers that was subsidized by the British army. It describes the Jewish recruits that represented the greatest performers of modern Polish popular music and comedy, such as Henryk Wars, Jerzy Petersburski, Henryk Gold, and Alfred Longin Schüt.
{"title":"The Jews in the Band","authors":"Beth Holmgren","doi":"10.3828/liverpool/9781906764739.003.0011","DOIUrl":"https://doi.org/10.3828/liverpool/9781906764739.003.0011","url":null,"abstract":"This chapter focuses on the “Anders Army,” which was founded by General Władysław Anders after he was freed from the Lubyanka prison by the Stalinist government. It recounts the Anders administration's special invitations that were issued to touring Polish show troupes that were made up primarily of acculturated Jews in order to form two embedded theatrical revue units. It also speculates on the motives of why the Anders administration decided to spend precious resources on particular Jewish recruits. The chapter draws on the memoirs of performers and soldiers and the articles, reviews, and editorials published in the Polish-language wartime newspapers that was subsidized by the British army. It describes the Jewish recruits that represented the greatest performers of modern Polish popular music and comedy, such as Henryk Wars, Jerzy Petersburski, Henryk Gold, and Alfred Longin Schüt.","PeriodicalId":402577,"journal":{"name":"Polin: Studies in Polish Jewry Volume 32","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128676655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-29DOI: 10.3828/liverpool/9781906764739.003.0020
Maja Trochimczyk
This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in Poland. It discusses the inclusion of Jewish composers in the world of Polish music by its post-1945 historians. It also examines the presence of Jewish composers in Poland's musical world before 1939 and the disappearance of these composers as shown by official publications, dictionaries, and music histories up until 1989. The chapter reviews all the composers of Jewish origin who were alive in September 1939, regardless of their attitude and relationship with Judaism. It mentions the most important composers of Jewish descent but not of Jewish faith, such as Józef Koffler, who gave up his official Jewish religious allegiance in May 1939, and Roman Palester, who was baptized Catholic as a baby.
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