Very thought-provoking piece, Matt. Thank you. It spoke to me (a recent cantorial AOP-ordainee -- and a belated thanks for your beautiful eulogy for my teacher Jack Kessler z"l) even though I've never been very moved by classical music (and not for lack of trying). My secular musical passion is jazz, but I think your ideas apply equally well there. Maybe to rock, folk, who knows?
A saver and to savor. Thank you. You have so much that you represent, that you are about and implement and then share amongst both scholars and lay community. Proud am I to be amongst those who are privileged to hang out if only a bisl in your community of classical/historic/Jewish music. (So wish I could attend your presentation at the Miliken Center but alas, I am performing a Telemann flute concerto Sat night followed next day by directing the college klezmer kapelye concert)
Such an important topic. Albert Weisser, z”l opened my eyes to the place of pure music in setting Jewish liturgical materials.
I drank in the St Petersburg school- using materials from our people.
They especially embraced cancellation as the most unchanged imprint from our ancient legacy.
At conservatory I had learned how western music grew from Gregorian chant.
I understood immediately.
Melody from our yerusha, harmony and counterpoint from the world of best musical practices and personal inclination. Saminsky, Milner and Achron were my heroes.
Charles Davidson and I spoke about using the kernels from Baer in composition.
Popular taste has unfortunately eroded much modern popular music, some synagogue writing resembles Tin Pan Alley, people churning out maudlin settings that resemble James Taylor and musical theater, searching to please. what was once funny is now normal.
I prefer melodies composed using the projected intervals and motifs that make our music Jewish.
Abby Weisser used to say the melody is Jewish- the harmony is not.
I was especially fond of Yasser’s idea of quartal harmony. Stacking fourths and not fifths. . To preserve melodic dominance and create something sui generis.
Yes, harmony changes with the age. Counterpoint is a practice to enhance the independence of the melodies.
Interesting overlap with the insights of Jean-Claude Milner. His conclusion, though, is that European culture was a dream Jews dreamt throughout modernity. A self-deluding dream, to be clear.
Great essay. I remember in college after I came back from Birthright considering becoming more observant--at the very least trying to be shomer Shabbos--but my schedule of performances and rehearsals as a voice major made it impossible to take Friday evenings and Saturdays off!
Thank you! I am very sympathetic to that story - it is difficult, and many people make a “choose your own adventure” series of compromises to live in both worlds. I suppose that is not just true in classical music.
Very thought-provoking piece, Matt. Thank you. It spoke to me (a recent cantorial AOP-ordainee -- and a belated thanks for your beautiful eulogy for my teacher Jack Kessler z"l) even though I've never been very moved by classical music (and not for lack of trying). My secular musical passion is jazz, but I think your ideas apply equally well there. Maybe to rock, folk, who knows?
A saver and to savor. Thank you. You have so much that you represent, that you are about and implement and then share amongst both scholars and lay community. Proud am I to be amongst those who are privileged to hang out if only a bisl in your community of classical/historic/Jewish music. (So wish I could attend your presentation at the Miliken Center but alas, I am performing a Telemann flute concerto Sat night followed next day by directing the college klezmer kapelye concert)
Beautiful and poignant post.
Thank you, Jana.
Wonderfull essay; a lot to be learnt. Kol hakavod ulemoadim lessimchah.
Thanks!
Such an important topic. Albert Weisser, z”l opened my eyes to the place of pure music in setting Jewish liturgical materials.
I drank in the St Petersburg school- using materials from our people.
They especially embraced cancellation as the most unchanged imprint from our ancient legacy.
At conservatory I had learned how western music grew from Gregorian chant.
I understood immediately.
Melody from our yerusha, harmony and counterpoint from the world of best musical practices and personal inclination. Saminsky, Milner and Achron were my heroes.
Charles Davidson and I spoke about using the kernels from Baer in composition.
Popular taste has unfortunately eroded much modern popular music, some synagogue writing resembles Tin Pan Alley, people churning out maudlin settings that resemble James Taylor and musical theater, searching to please. what was once funny is now normal.
I prefer melodies composed using the projected intervals and motifs that make our music Jewish.
Abby Weisser used to say the melody is Jewish- the harmony is not.
I like this a lot — classical harmony is very much a form of technology, rather than the essence of melody.
I was especially fond of Yasser’s idea of quartal harmony. Stacking fourths and not fifths. . To preserve melodic dominance and create something sui generis.
Yes, harmony changes with the age. Counterpoint is a practice to enhance the independence of the melodies.
Btw Abby’s book is available… Amazon
https://a.co/d/2CJ9M5a
Interesting overlap with the insights of Jean-Claude Milner. His conclusion, though, is that European culture was a dream Jews dreamt throughout modernity. A self-deluding dream, to be clear.
Yet through liberalism they co-created the dream!
Great essay. I remember in college after I came back from Birthright considering becoming more observant--at the very least trying to be shomer Shabbos--but my schedule of performances and rehearsals as a voice major made it impossible to take Friday evenings and Saturdays off!
Thank you! I am very sympathetic to that story - it is difficult, and many people make a “choose your own adventure” series of compromises to live in both worlds. I suppose that is not just true in classical music.