Milken Archive of Jewish Music Virtual Museum IntroducesVolume 1: Song of prayer in colonial America and 19th century
♫ Friday, February 10th, 20120 20px 10px 
Santa Monica, CA (PRWEB) February 7, 2012
In his new volume of multimedia, Song of prayer in colonial America and 19th century, the Milken Archive of Jewish music in contact with early music for the American Jewish community life. This is music of Western Sephardic tradition, a legacy of sacred chants that took place on the shores of colonial America by Jewish immigrants whose ancestors fled religious persecution in Spain and Portugal. Volume 1 also includes the music of the movement of the 19th century American reform: worship songs in German, English and Hebrew songs set to traditional Jewish music inspired by or borrowed from classical compositions and arranged in the style of Protestant hymns. Compiled by Jewish composers and non-Jews, those original works were created in response to the desires and tastes of a notable American Jewish community.
Tags: irony, is old material that may be more familiar to contemporary listeners. In the 15th century, when the Jews of the Iberian Peninsula were forced to choose between conversion or exile death, many fled to North Africa and Eastern Mediterranean, creating what became known as is the name of the Sephardic tradition. But many others stayed and continued to practice their faith in secret. In the 16th century, these conversos or Marranos also began to migrate to more hospitable lands, the establishment of bridgeheads Western Sephardim in places like Amsterdam, London and Brazil. Finally, some of these Spanish and Portuguese Jews found their way to North America and founded the first American Jewish community in New Amsterdam.
Tags: decent enough, the music they brought with them was more of a hybrid. The main Marranos who founded Western enclave in Amsterdam Sephardic, and who later found their way to America, had lost much of their musical culture during their years on the run, and were forced to reinvent it. They did this by importing singers from North Africa who practiced a highly decorated, the singing style influenced Muslim, and by combining pieces of the Eastern tradition with elements of classical music, church music and Ashkenazi, or Eastern, Jewish music.
Keywords: You can hear all the music featured in the first part of Volume 1, by keening vocal style and distinctive Eikhu melody, a haunting biblical cantillation of the Book of Lamentations, the ethereal Mizmor the Shabbat Yom ha, a Old part of Psalm 92, which is much like Gregorian chant. There is a similar variety among the handful of films, or elegies, which recall the disasters of various pieces of Jewish history that their settings evoke the music of Baroque dance. Consider Aleichem k’dosha eda, whose triggering melody belies its references to massacres of the 13th and 14th century.
Many tags of songs and prayers are still in the American Sephardic synagogues. But because of the first Ashkenazi immigrants to America also embraced Western Sephardic tradition, most of this material will be familiar to anyone who has had exposure to American synagogue music of any kind. In a very real sense, Western Sephardi tradition is part of the musical DNA of American Jews. To demonstrate this, look no further than the second part of Volume 1. Music movement in early American Reform
Tags: As the number of Ashkenazi Jews in America became the 19th century, many began to aspire to a modern music in the synagogue of the United States of their music which is distinct from Western Sephardic tradition, and will consider tastes and aspirations of a rapidly changing community. The eclecticism of the repertoire fresh, fashionable here in the New World from a diverse group of Jews and non-Jews, immigrants and Native Americans, nature of revenue included the American Jewish experience a musical melting pot If ever there was one such.
Tags: Kitziger Frederick, a prominent non-Jewish synagogue music composer of the 19th century New Orleans, put in Psalm 130 (“Oh, What is man?”) Beethoven’s Moonlight Sonata. The agreement was a standard in the synagogues of reform in the Deep South, where it can still be heard properly until recently. (For more information on interesting Kitziger, who was born in Germany and earned his living as a farmer and a street musician, watch the video interview online virtual museum between Milken Archive Artistic Director Neil Levin and musicologist John Baron. )
Tags: Alois Kaiser, meanwhile, who was born in Hungary and trained in Vienna and work songs of worship that combined a mastery of Protestant hymns with deep knowledge of traditional Ashkenazic melody. At the same time, composers such as Max Graumann Vay’khullu symbol) and symbol Kedusha Edward Stark) infused their original compositions Ashkenazi cantorial inflections involved in church music and opera.
Tags: Even in the most ecumenical of mixtures, however, the former Western Sephardic tradition can still be heard. “O Star of Truth” Kaiser “There is a link that connects Majestic” use two Sephardic melodies that are approved by the Ashkenazi synagogues in Germany and Austria. In a clear American twist, Kaiser used as the basis for these beautiful songs harmonized choral hymns written by an immigrant Ashkenazi to motion songs, songbook Union official in the late 19th century American reform.
Tags: Just like all the music in Volume 1, these reforms classic hymns to help trace the early history of the American Jewish experience has a story that is both visible and deeply Jewish American.
Tags: To arrange interviews or review copies of music and comments, please contact Bonnie at 310-570-4770 or bsomers Somers (at) PSC (dot) org.
Tags: # # #
clear = “all”
