Legislation music can be analyzed from many diversified details of view. Among them historical, liturgical and non-liturgical music of the Hebrews dating from the pre-Biblical times (Pharaonic Egypt); spiritual music at the first and second Solomon’s Wats or temples; musical activities rigtht after the Exodus; the apparently impoverished religious musical activities during the early middle section ages; the emergence of the concept of Judaism Music in the mid-19th century; its nation-oriented sense as coined by the landmark book Jewish Music in the Historical Advancement (1929) with a. Z .. Idelsohn (1882-1938) and lastly as the art and popular music of Israel. telecharger mp3
Early on emergences of Jewish musical technology themes and of what may be called “the idea of being Jew” in European music can be first seen in the works of Salamone Rossi (1570-1630). Following that they appear somewhat tinted in the works of the grandson of the well known Jewish thinker Moses Mendelssohn(1729-1786): Felix Mendelssohn (1809-1847).
Fromental Halevy’s (1799-1862) opera La Juive as well as occasional use of some Jewish themes is against the lack of “anything Jew” in the almost modern-day fellow composer Jacques Offenbach (1819-1880) who experienced been actually Jew and was raised in straight Judaism tradition.
Interestingly the E. Petersburg Society for Judaism Music led by the composer-critic Joel Engel (1868-1927) reports how they learned their Jewish roots. They will were inspired by the Nationalistic movement in the Russian Music personified by Rimsky-Korsakov, Cesar Cui and others, and records how set out to the Shtetls and meticulously documented and transcribed thousands of Yiddish folksongs.
Ernst Bloch’s (1880-1959) Schelomo for cello and orchestra and specially the Sacred Service for orchestra, choir and soloists are attempts to create a “Jewish Requiem”.
Mario Castelnuovo-Tedesco (1895-1968)’s Sephardic upbringings and their influences on his music as they appear in his Second Violin Concerto and in most of his songs and choral works; cantatas Naomi and Ruth, Queen of Shiba and in the oratorio The Book of Jonah and the like are worth remembering as well.
Many historians would not missed the Synagogue motives and songs borrowed by George Gershwin in his Porgy and Bess. Gershwin biographer Edward cullen Jablonski has claimed that the melody to “It Ain’t Necessarily So” was taken from the Haftarah blessing and others have attributed it to the Torah blessing.
In Gershwin’s some 800 songs, allusions to Jewish music have been detected by other observers as well. A single musicologist detected “an uncanny resemblance” between the persons tune “Havenu Shalom Aleichem” and the spiritual “It Take a Long Take to Get There”.
Many notcied modern day Israeli composers are Chaya Czernowin, Betty Olivera, Tsippi Fleisher, Draw Kopytman, Yitzhak Yedid.
Generally there are also very important operates by non-Jew composers in the Jewish music. Maurice Ravel with his Kaddish for violin and keyboard based on a regular liturgical melody and Max Bruch’s famous arrangement of the Yom Kippur prayer Kol Nidrei for cello and orchestra are the best known.
Sergei Prokofieff’s Overture en se promenant sur des Themes Juives for string quartet, piano and clarinet plainly displays their inspirational sources in non-religious Jewish music. The melodic, modal, rhythmical materials and the use of the clarinet as a leading melodic instrument is an extremely typical sound in folk and non-religious Jewish music.