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Two Worthy Programs and a CD
By
David Amos
The
recent Jewish Music Festival, co-sponsored with the San Diego Center for Jewish
Culture, presented a series of varied and interesting programs. They spanned
many disciplines, which included music, art, literature, and film, and enriched
us with insightful and at times, memorable moments.
I
attended two programs, and would like to share with you some of my impressions.
On May 15 the renowned violinist Zina
Schiff, a frequent and welcome performer in our region, was accompanied by
pianist Mary Barranger in a recital of chamber music that was — or most
probably was — played by the Jewish inmates of the Terezinstadt concentration
camp during World War II.
As
it is well known, Terezin was camp that imprisoned Jews, but was a front for
worldwide propaganda utilized by the Nazis to showcase a detention camp with
falsely “benign” treatment of the imprisoned. Many cultural events took
place there, including high quality recitals and new compositions. Many famous
musicians spent time there, and were allowed to compose and perform. Some of
them survived the war, but tragically, most of them were eventually sent to the
death camps for execution.
In
memory of what happened there, and as a model of what might have been performed
at Terezin, Schiff prepared a violin-piano recital of what easily could have
been the musical selections played there.
We
were treated to music that either had a direct connection with the camp, or
simply great music that had nothing to do with Terezin, but was played there, or
music of strong Jewish relevance that reflected the spirit of Judaism and its
people.
We
heard the Ancient Hebrew Airs by Paul Kirman, the Serenata by Robert Dauber, Beethoven’s monumental Sonata
No. 9 (Kreutzer), and Ernest Bloch’s idiomatic Suite
Hebraique.
Needless to say, the performances were consistently moving and polished. I was
touched by Zina’s obvious deep affection and involvement with the music, which
translated into satisfying renditions.
The
sizeable audience at the Garfield Theatre of the Lawrence Family JCC was also
rewarded by Zina’s verbal comments, which preceded each selection, giving the
listeners further insights into the times and literature of the evening’s
delightful music, but not forgetting the somber undercurrents that were the
underlying cause.
*
* *
In
the Birch North Park Theatre, on May 20, we were treated to what may be
remembered as one of the cultural events of 2006 in our city. It was the fusion
that brought together the creative and artistic forms of dance, music, and the
visual arts. Blending ancient Jewish and Buddhist beliefs, Fathom
“expressed the mystical language of the universe as spoken through the
microcosm of the human body.”
The
spectacular work was the joint creation of choreographer John Malashock,
composer Ariel Blumenthal, and Japanese-born artist Junko Chodos. I am quite
familiar with Blumenthal’s talent; recently, I conducted one of his
compositions, and strongly believe in his inventiveness, artistry, and
intelligence. In San Diego, we are also familiar with Malashock’s many
sensational choreographic accomplishments. He is without doubt one of the most
gifted artists in our midst.
But,
with Chodos’ impressive art panels, which kept changing with every scene,
everything came together: the dance, the music, and the spirit and spirituality
of the message were united by the stunning artwork. Contributing to the overall
quality of the entire production was the wonderful work of the various dancers,
percussionist Steven Schick, and members of the San Diego Master Chorale.
*
* *
This
is a most appropriate time to mention and recommend Zina Schiff’s latest
compact disc. Most ably accompanied by pianist Cameron Grant, and titled Elijah’s
Violin, it is the third in a series of albums of truly worthwhile Jewish
music which Ms Schiff has recorded, the other two being King David’s Lyre and The
Golden Dove.
I
have been preaching and promoting the lasting value of serious Jewish music for
a long time. While we are all familiar with the “other sides of Jewish
music,” namely the liturgical tunes, Israeli pop and folk music, the
children’s holiday songs and all the nostalgic songs “that my mother used to
sing,” we fail to take too seriously, or even give a chance to concert music
based on Hebraic themes, or written by Jewish composers whose names may not be
household words.
But
this is where we may be in serious error. For a start, just listen to the
composers presented in Elijah’s Violin,
and you will hear insightful, intelligent, and satisfying music by composers
such as David Amram, Abraham Edelstein, Menahem Avidom, Efrem Zimbalist, Paul
Ben-Haim, Julius Chajes, and Paul Kirman. These are new horizons in classical
music that many experienced and avid music lovers have yet to explore.
These three albums are released by the 4Tay label, and are available on-line at Jasmesarts@worldnet.att.net,
www.classicalcds.net or by calling 516-797-9166.