By David Conway
David Conway analyses why and the way Jews, nearly absent from Western paintings song until eventually the tip of the eighteenth century, got here to be represented in all branches of the occupation inside of fifty years as best figures - not just as composers and performers, yet as publishers, impresarios and critics. His examine locations this strategy within the context of dynamic monetary, political, sociological and technological alterations and likewise of advancements in Jewish groups and the Jewish faith itself, within the significant cultural centres of Western Europe. starting with a assessment of attitudes to Jews within the arts and an evaluation of Jewish song and musical abilities, within the age of the Enlightenment, Conway lines the tale of turning out to be Jewish involvement with tune in the course of the biographies of the well-known, the overlooked and the forgotten, resulting in a brand new and radical contextualisation of Wagner's notorious 'Judaism in Music'.
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Additional resources for Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner
29 Crossover between the sacred and profane Jewish musical traditions was therefore a vital element in the Jewish communities. 30 Ezra Mendelssohn considers the lost music of the Jewish communities of the Black Forest region, and laments that while we know it existed, we have hardly any traces of what it actually sounded like. 31 The Yiddish folk song was indeed a vigorous form of Jewish musical culture, although in its pre-nineteenth-century manifestations it is generally of more interest to the historian for its texts, rather than its rarely identifiable 25 26 Eppes rores: can a Jew be an artist?
As with other aspects of Passion settings these turbae reached a peak in the work of Johann Sebastian Bach (1685–1750), who was born in Eisenach, Luther’s birthplace. ’) and mocks the brutal treatment of Jesus, or opts for Barabbas in a dramatic shout on a diminished seventh chord. 52 Such passages often contain a ‘double-sharp’, which both suggests increased musical tension, and (represented as it is in musical notation by the symbol ????) is a direct ‘depiction’ of the Cross. It is not fanciful to suggest that such musical characterisation, which can also be detected less strikingly in settings of the Passion by Schütz (1585– 1672) and lesser German masters such as Selle,53 could be intended as a reflection of the charmlessness or indeed formlessness of Jewish music as perceived by trained musicians, such as the theorists Forkel and Mattheson discussed below.
23 This involvement with music as ‘entertainment’, rather than as ‘art’, also has a role as regards the later participation of Jews in the wider musical professions. It seems in fact that the Yiddish Purimshpil had distinct musical traditions although we have little trace of them; the Akta Ester im Akhashveyresh, first published in Prague in 1720, announced on its title page that it had been performed in a theatre in Prague with trumpets and other instruments, with actors who were the pupils of Rabbi David Oppenheim who had lent his approval to the performance.