Cleveland Jewish News

[Dan Kazez <kazez...>]

25 February 1996

Many readers (off-list) have asked me for a copy of an 
article that appeared in the Cleveland Jewish News 
regarding my recent European concert Tour.  In case you
all would like to have a peek at it, here it is.  (The 
story begin with a cover photo that took up the entire
cover!  I guess the Jewish public really is interested
in "Jewish music"!)

Dan Kazez

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Daniel (Dan) Kazez                      e-mail:  kazez (at) wittenberg(dot)edu
Associate Professor Music                          tel:  513-327-7354
Wittenberg University                              fax:  513-327-6340

Daniel Kazez / Wittenberg University / Springfield, Ohio 45501  U.S.A.
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            Music on Jewish Themes:  A European Concert Tour
                             Daniel Kazez
                         Cleveland Jewish News



This past summer, Daniel Kazez, Associate Professor of Music at 
Wittenberg University, achieved what most musicians can only dream of:  
a concert tour of Europe.  His activities as a cellist and as a 
researcher in the field of Jewish art music attracted invitations to 
perform in eight major centers of culture--Prague, Berlin, Rome, 
Florence, Salzburg, Paris, Brussels, and London.  He performed to full 
houses in some of Europe's most significant synagogues, community 
centers, and museums.  Below, he tells the story behind the story.

   *       *       *       *       *       *       *       *

Monday, June 12:  I drove to Chicago, and, conveniently, arrived at the 
airport four hours early for my flight to Prague.  Wasting no time, I 
took out my cello and practiced in the departure lounge.  A crowd 
developed--other travelers with ample time to kill.  Once on the plane, 
I was met with good news and bad.  The bad--my cello, which was to 
travel safely in the cabin with me, was bumped down to baggage; the 
good--I was bumped up to first class.  So, while my valuable cello was 
jostled in with the rest of the luggage, I was treated to fine china, 
cloth napkins, shrimp, salmon, fillet of sole, duck, and copious leg 
room.

On board, I discovered that my neighbor was the great grandson of a man 
who traveled to America in the 1890's with Antonin Dvorak, the best 
known of all Czech (Bohemian) composers, famous for such American-
inspired compositions as the New World Symphony.  Transition to central 
European culture was swift.  The moment the plane lifted off, nearly all 
the travelers began to smoke.  And soon thereafter, beer was served.  
Nowhere was English to be heard, at least not in first class.  Along 
with other passengers, I opened a copy of the Prague Post, looking for 
news of our destination city.  I was tickled to find a complete listing 
and description of my own concert, now only 12 hours away.

Tuesday, June 13:  I set my watch ahead 7 hours and, after a couple 
hours of sleep, was awakened at 7:30 a.m. Prague time (12:30 a.m. 
Chicago time!) for a thoroughly unwanted breakfast of pancakes.  I was 
picked up at the airport and driven--at insane speed--to the center of 
Prague.  There, I found my pianist (Eric Street) waiting for me, and we 
proceeded together to our lodging--a room located next to the British 
Embassy, at the foot of towering Prague Castle (Prazsky hrad).  By the 
time we were settled in, two hours remained before the first concert of 
our European tour.  I practiced for half an hour, dressed, and we went 
to the hall.  With 30 minutes remaining, we arrived at the Jeruzalemska 
Synagogue--a building of incomparable beauty, both inside and out, with 
architecture featuring Art Nouveau orientalism and Moorish style.

Our performance was an extraordinary success.  The audience was near 
capacity and loud in their support.  At the conclusion of our program 
were repeatedly called to return to acknowledge applause, and we were 
presented with flowers on stage.  With some trepidation, we played two 
encores.  (Though I had practiced the encores alone for the previous 
months, Eric and I had never rehearsed the music together!)  We enjoyed 
a post-concert feast of Czech food:  onion soup, beer sausage, roast 
beef, dumplings, and apple pie.

Our music was built on a theme:  music in which the melodies, the 
harmonies, and the myriad nuances of pitch and rhythm are unmistakably 
Jewish--in short, "Music on Jewish Themes."  Composers such as Ernest 
Bloch and Joachim Stutschewsky have based their music on the many 
musical styles of the Jewish world:  Sephardic, Yiddish, Klezmer, 
Hassidic, Yemenite, Hebrew, Israeli, and others.  Playing the program in 
the extraordinary grandeur of the Jeruzalemska Synagogue, I discovered 
how essential acoustics are to this music.  Several works we perform 
(including Ernest Bloch's Prayer) imitate the style of a Jewish cantor.  
The music contains numerous "holes"--moments during which we wait for 
the sounds to reverberate through the hall.  The cavernous Jeruzalemska 
Synagogue provided the space necessary for this to occur.

Wednesday, June 14-Thursday, June 15:  With two days before our next 
concert, I soaked in the culture, sights, and sounds of Prague:  the 
Prague Castle, Charles Bridge, Old Town Square; the Moldau (River) and 
Vysehrad (castle/citadel)--both immortalized in Czech composer Bedrich 
Smetana's tone poem The Moldau.  I spent considerable time in the Jewish 
quarter of Prague (Josefov), visiting a medieval synagogue, a Jewish 
cemetery, and Pinkas Synagogue, on whose walls are printed nearly 50,000 
names of Czech Jews killed in Nazi concentration camps, the only such 
complete record of Jews exterminated in such a large region.  I found on 
those walls the last names of my father- and mother-in-law.  
(Czechoslovakia's pre-war Jewish population was 375,000.  Today, only 
10,000 Jews remain in the Czech Republic and Slovakia.)

I attended a concert by the ensemble "Musica Gaudeans" at Klementinum, 
Mirror Chapel--a concert of mostly Baroque music, ending with 
Gershwin(!).  (This young group was musically and technically 
impeccable.)  A second concert I attended was nothing short of bizarre:  
I traveled to the outskirts of the city to attend a "Klezmer Music 
Concert."  (Typically, Klezmer indicates a mixed ensemble--singer, 
clarinet, violin, maybe brass or percussion--performing sentimental to 
rowdy Jewish folk music.)  The "concert" I attended was in a tearoom 
reeking of marijuana, with no light but a single candle and minimal 
sunlight from a dusty window.  A young man sat on the floor reading a 
lengthy text in Czech about Jewish music and the expression of identity.  
I sat on the floor; a young woman dozed on and off on a sofa; another 
man roamed in and out.  Every fifteen minutes, a woman (blind, I think) 
sang a Jewish folk song while accompanying herself on guitar.  She 
belted out each song with enough strength, conviction, and power to fill 
a large concert hall, all in the space of a living room.  An 
extraordinary experience, and all for an audience of three!

Friday, June 16:  A taxi was nowhere to be found the next morning.  So I 
carried my cello and two suitcases to the nearest subway, transferred, 
and arrived at the train station.  My five-hour ride to Berlin was 
multi-lingual:  among the four persons in our compartment, German, 
Russian, French, and English were spoken, with simultaneous translation 
provided for all.  I discovered that one member of our traveling 
entourage was an amateur cellist.  I practiced for an hour in our tiny 
compartment, attracting a bottleneck of curious onlookers in the 
hallway.

I spent the afternoon in the former West Berlin.  The contrast to Prague 
(which was not heavily damaged in World War II) was startling.  
Virtually no pre-World War II monuments (churches, etc.) were visible.  
One bomb-scarred church (Kaiser Wilhelm chtniskirche) stood as a 
grim reminder of the scourges of that "war to end all wars."  On the day 
I arrived, the contrast between the haves and have-nots was shocking.  
In the vicinity of expensive shops and smartly dressed Berliners were 
scores of homeless, beggars, and drunks.  Nearby, a woman stripped 
halfway to relieve herself in the street.

Saturday, June 17:  I crossed Berlin from west to east for our second 
performance--at an international music conference focusing on diversity 
in music.  The performance site was the Maritim Pro Arte, located only a 
minute's walk from Checkpoint Charley--the infamous East-West border 
crossing.  I presented a lecture entitled "Expression of Jewish Musical 
Style and Extramusical Associations in Art Music for the Violoncello," 
and we performed selections from our full concert program.  I filled out 
our two-day stay in Berlin with visits to sites relevant to the period 
of German history from the rise of Hitler to the fall of the Berlin 
Wall.  I was especially moved by an exhibit showing photographs taken by 
professional and military photographers at the end of World War II.  The 
scenes of death, desolation, and destruction were horrifying.  At a 
museum at Checkpoint Charlie, one exhibit and accompanying sculpture 
portrayed cellist Mstislav Rostropovitch performing at the base of the 
Wall--a musical tribute to freedom, the day after the wall began to 
fall.

On my final night in Berlin, I attended a choral performance at the 
Berlin Dom.  The program included works for organ and choir by the 
German composers Schein, Buxtehude, and others.  To my utter surprise, 
as an encore they played Shalom Alechem--the very music that we had 
played for our encore in Prague!

Sunday, June 18:  I drove south for our next performance, in Rome.  My 
destination, however, was Florence, for a day and a half of sight 
seeing.  I drove past Wittenberg/Lutherstadt(!), Leipzig, Bayreuth, 
Nuremberg (site of the World War II war trials), and Munich.  I climbed 
the Alps, enjoying panoramic vistas at every bend of the road, entered 
Austria momentarily, and arrived at a bilingual (Italian-German) portion 
of Italy.  I chose the nearest city (Bolzano/Bozen) and by chance found 
a hotel that was as exquisite as it was inexpensive.  A nearby pizzeria 
provided an immediate taste of Italy--a pizza (for one) the 
circumference of a basketball.  Utterly lost for language, directions, 
and a hotel, the "locals" went out of their way to guide me.

Monday, June 19:  I arrived in Florence after learning the high price of 
driving in Italy--$5 per gallon for gas and $35 toll for driving a few 
hundred miles on the highway (autostrade).  A brief look at the sights 
of Florence (Piazza del Duomo, Palazzo Vecchio) culminated in a visit to 
Beth Haknesset Firenze--the Great Synagogue of Florence.  Its reputation 
as perhaps the world's most beautiful synagogue is well deserved.  An 
example of Moorish architecture and Middle Eastern influence, it is 
equal in beauty to any of the other major sights of Florence, despite 
damage inflicted during World War II.  (The Nazis used the synagogue as 
a garage for military vehicles and tried to dynamite the building when 
they retreated.  Another disaster hit in 1966 when the synagogue was 
deluged with seven feet of water after the River Arno flooded.)  The 
threat to Jews worldwide is evident here:  police vans are posted around 
the building 24 hours a day.

Tuesday, June 20:  A comfortable train ride to Rome brought me to my 
third performance, at Centro Ebraico Italiano ("Il Pitigliani").  The 
trip was multi-lingual again (English, French, Spanish, Italian and 
Portuguese spoken in my compartment) but too crowded to permit 
practicing on board.  On arrival, I was introduced to the leaders of 
Rome's 16,000-member Jewish community, with whom I enjoyed a lunch-time 
feast in my honor, prepared by the Center's chef.  Before my evening 
concert, I wandered around the nearby sights of Rome--the Piazza 
Venezia, the Coliseum, and Rome's principal synagogue, at Lungotevere 
Cenci.  Again, security was tight.  Police were posted at the four 
corners of the block, wearing bulletproof vests and wielding machine 
guns.  Following dinner at the Center and a pre-performance reception, 
our concert began.  We were warmly received by a standing-room-only 
crowd, and presented with copious bouquets of flowers.  After the 
concert, we stayed in guest quarters on the top floor of the Center.

Wednesday, June 21:  The day after my concert at the Jewish center for 
Italy, I visited the Catholic center for the world--the Vatican, 
enjoying (with a thousand others) an "audience with the Pope."  
Navigating my way through multiple security checks and throngs of 
faithful, I heard the Pontiff deliver a message in a multitude of 
languages.  Before he spoke, the usually dim interior of St. Peter's 
Basilica was illuminated with hundreds of flood lights, yielding a rare 
brilliance of color for the Basilica's paintings, statues, and mosaics.

Thursday, June 22:  I returned to Florence by train, fawned over the 
Medieval and Renaissance paintings in the Uffizi Gallery (one of the 
finest collections of its type in the world) and returned to my hotel to 
prepare for the evening performance.  We played in a hall next to the 
synagogue.  (Concerts are not permitted in this or any orthodox 
synagogue.)  The enthusiastic audience gave us a standing ovation.

Friday, June 23:  We drove from hot, humid Florence to chilly Salzburg, 
in the middle of the Alps.  We arrived in time to enjoy a Shabbat dinner 
(Friday evening meal to celebrate the beginning of the Jewish Sabbath) 
with the Rabbi, his family, and several other guests.  Table talk was in 
English, German, Yiddish, Hebrew, and Farsi (Persian).

Saturday, June 24:  I visited the synagogue again Saturday morning to 
join the congregation for a temple service and for the Kiddush (sabbath 
celebration), during which apple pastries and whiskey(!) were served.  I 
spent a wet afternoon milling about Salzburg's sights.  As the 
birthplace of Wolfgang Amadeus Mozart, the city is awash in Mozart 
sights, stories, and kitsch for sale.

Sunday, June 25:  Leaving our apartment for my usual city exploration, I 
saw a mountain just beyond the city (Gaisberg--"goat mountain") and 
decided to climb to the top.  Four hours later, I reached the peak, in a 
driving rain.  My reward was a panoramic view 15 feet in all directions-
-of a cloud.  I hurried down the same wet trail I had ascended, in time 
to dress and walk to our Salzburg performance.  We were warmly welcomed 
by a full house.

Monday, June 26:  We drove west, gradually replacing the vertical 
splendor of the Alps with the horizontal beauty of eastern France.  I 
celebrated my arrival in France with an exquisite French dinner (with, 
by chance, cello music in the background)--3 courses, each drenched with 
a different sauce.  With my few words of French, the menu was quite 
incomprehensible.  My neighbors (visitors from Denmark) assisted, 
translating French to Danish and then to English.

Tuesday, June 27:  Driving west again, we arrived in Paris in the late 
afternoon, in time to fight the city traffic and leisurely visit 
Montmartre and the Sacre-Coeur.

Wednesday, June 28:  A too-brief day wandering the sights of Paris 
(Notre Dame, the Louvre, the Musee d'Orsay, the Arc de Triomphe, and the 
Eiffel Tower) was followed by an exhilarating performance at Temple 
Victoire, the largest synagogue in Europe.  The building is in 
Romanesque revival style, embellished with Byzantine decorations.  Its 
construction was financed by the Rothschild family.  The crowd was 
virtually ecstatic.  At the end of our performance, we received a 
standing ovation, rhythmic clapping, and calls for encores.

Thursday, June 29:  A brief trip to Brussels and a cursory visit to the 
city's sights (the Grand' Place and nearby areas) preceded our evening 
performance.  The concert, sponsored by Merkaz 'Hai, was held at the 
Cercle Ben Gourion--a community center named after Israel's first prime 
minister, a die-hard activist in establishing the Jewish homeland.  At 
500 Belgian Francs (twenty dollars) a ticket, this event served to 
benefit the needy children of Brussels.

Friday, June 30:  Our final concert was scheduled for London.  We 
covered the relatively short trip from Brussels by a laborious 
succession of train-ferry-train-subway, and arrived at our home for two 
and a half days in London--a lovely guest house on London's north side.

Saturday, July 1:  I spent a leisurely day roaming the museums, squares, 
and royal sights of London.  In late afternoon, I took a long subway 
ride to Putney, the neighborhood of London where I had lived for a year 
three decades earlier.  (My father, a physicist at Penn State, spent a 
sabbatical in London, conducting research at Imperial College.)  My 
temporary home and grade school, as well as the winding and charming 
streets of Putney, brought back scattered memories.

Sunday, July 2:  Another day of sight-seeing in a cool and wet London 
ended with the final concert of our European concert tour.  The site was 
the Manor House Society (the largest Jewish Community Center in Europe), 
in a concert jointly sponsored by the London Museum of Jewish Life and 
the Sternberg Centre for Judaism.  Mid-way through the performance, I 
paused to acknowledge a special guest in the audience:  Pamela Hope-
Levin.  Two years earlier, Hope-Levin had visited Wittenberg to 
participate in a Holocaust conference.  She was set to give a dramatic 
presentation with violin accompaniment, only to find that her violinist 
was ill and had not arrived on campus.  With twenty-four hours' notice, 
I was called on to fill in (on cello, of course).  The next day's 
performance, which was quite a success, spurred me to consider 
performing art music inspired by my own Jewish tradition.  (My father, 
now an eminent physicist, is a Sephardic Jew who emigrated to the U.S. 
from Turkey after World War II in search of further education.  My 
mother, an accomplished artist and internationally recognized 
triathlete, is of Ashkenazic descent.)  After several years scouring the 
nation's libraries and databases for scores, I unearthed a body of 
wonderful, but rarely performed, compositions.

Our London performance was wonderfully received.  On stage, at the 
conclusion of our concert (and our European tour), we were each given a 
bottle of fine Rothschild wine!  (The Rothschilds are a long family line 
of world-famous bankers, financiers, and philanthropists.  Our 
performance site in Paris, Temple Victoire, is also known as the 
Rothschild Synagogue.)

Monday, July 3:  By subway, train, ferry, train, tram, train, and 
subway, I traveled from London to Brussels (to store my cello, music, 
and tuxedo), and then to the Amsterdam airport.  My next destination:  
Istanbul, where I would be joined by my family and would have the 
opportunity to visit relatives that I had not seen since 1972.  The 
purpose of my trip, however, was academic:  an examination of music 
performance tradition in Turkey (primarily Istanbul) and Greece 
(Rebetica music).  And that, of course, is yet another story--longer and 
more exotic; but it will have to wait for another day, another page.

   *       *       *       *       *       *       *       *


                    Concert Program

Six Israeli Melodies--Joachim Stutschewsky (1891-1982)

        1. Kinnereth; 2. Raindrops; 3. You, The Earth;
   4. Oriental Melody; 5. Prayer; 6. Wanderer's Song 

Joachim Stutschewsky (1891-1982) was a composer, folklorist, cellist, 
lecturer, writer, and proponent of Jewish music. Born in Ukraine, to a 
family that had been klezmorim (Jewish folk musicians) for several 
generations, Stutschewsky took up the violin at the age of five, and 
switched to the cello at eleven. Later, he moved to Zurich (1914) and 
Vienna (1924), where he founded the Association for the Development of 
Jewish Music.  He moved to Israel in 1938. Stutschewsky collected and 
edited Hassidic melodies, and incorporated many of these in his 
compositions.


Israeli Dance--Julius Chajes (1910-1985)

A resident of Vienna, Tel-Aviv, and then Detroit, Julius Chajes (1910-
1985) was the son of a surgeon and a concert pianist. In Palestine 
(1934-36) he conducted research on ancient Hebrew music. Chajes arrived 
in the U.S. in 1937, and served as Music Director at the Jewish 
Community Center in Detroit. He was chairman of Hashofar, a society for 
the promotion of Jewish music.


Prayer (From Jewish Life)--Ernest Bloch (1880-1959)

At the age of ten, Ernest Bloch (1880-1959) wrote a vow that he would 
become a composer. Then, in ritual fashion, he burned the paper over a 
mound of stones positioned in the shape of an altar. Born in Geneva, 
Switzerland, he worked for a time in the family clock-making business. 
Bloch's earliest works incorporated traditional Jewish tunes as sung by 
his father, who was the son of Meyer Bloch, president of the Jewish 
community of Lengnau (in the Swiss Canton of Aargau). After composing 
many of his major Jewish-inspired works, including Schelomo (1916), he 
moved permanently to the United States, founded the Cleveland Institute 
of Music (1920), and later became director of the San Francisco 
Conservatory (1925). Bloch is one of the best known composers whose 
musical style and subject matter lean toward Judaism.


A Yigdal from Yemen--Harvey Gaul (1881-1945)

American composer and conductor Harvey Gaul (1881-1945) performed as 
organist in his native New York, as well as in Cleveland and Pittsburgh. 
His teachers included the French composer Vincent d'Indy. He was the 
first music director of radio station KDKA and a music critic for the 
Pittsburgh Post-Gazette. Most of his 500+ compositions were published 
under pseudonyms.


Wie einst in schoner'n Tagen--David Popper (1843-1913)

Best known as a master cellist and pedagogue, David Popper (1843-1913) 
was also a prolific composer of very effective genre pieces for the 
cello. He was born in Prague and died near Vienna. His technical works 
form the basis of modern cello study. Popper died in Baden, before the 
beginning of World War I. According to Popper's student and biographer 
Stephen De'ak, Popper's wife "was not able to escape the Nazi occupation 
of Austria, and like millions of others of her faith she was captured by 
the Gestapo, and sent to a concentration camp in Germany, where she met 
her end in the gas chambers."

Four Folk Songs:

"Rozhinkes Mit Mandlen" ("Raisins and Almonds")--A. Goldfaden
"Y'rushalayim Shel Zahav" ("Jerusalem of Gold")--N. Shemer
"Ani Ma-amin"--ghetto song
"Erev Shel Shoshanim"--J. Hadar


Prayer and Dance--Srul Irving Glick (born 1934)

The father of Canadian composer Srul Irving Glick (born in Toronto, 
1934) emigrated to Canada from Russia, where he became cantor in several 
of Toronto's synagogues. The young Glick was deeply influenced by his 
participation in choirs and by hearing his father sing. He studied at 
the University of Toronto, receiving degrees in music theory and 
composition. Glick's teachers include Darius Milhaud and John Weinzweig. 
One of Canada's most celebrated composers, he is also active as a 
conductor, teacher, and radio producer. Glick is composer-in-residence 
at Beth Tikvah Synagogue in Toronto.


Chant hebraique--Mario Castelnuovo-Tedesco (1895-1968)

A member of an old Florentine family, Mario Castelnuovo-Tedesco (1895-
1968) studied music at the Cherubini Royal Institute of Music. His 
discovery (in 1925) of a notebook of Jewish melodies, in his 
grandfather's house, led him to begin composing Jewish compositions: 
"The discovery of this little notebook was one of the deepest emotions 
of my life and became for me a precious heritage." Soon thereafter, he 
became familiar with the sounds of synagogue cantillation and Hebrew 
melodies. Racial laws forced Castelnuovo-Tedesco to leave his native 
Italy. When anti-Semitism became rampant in Italy, during its alliance 
with Nazi Germany, Castelnuovo-Tedesco fled to the U.S. (1939). He 
settled in Hollywood where, like many other composers of his time, he 
composed film music, along with his other works.

Frejlachs--Joachim Stutschewsky

   *       *       *       *       *       *       *       *

Daniel Kazez began playing the cello at the age of five, under the 
tutelage of Leonard Feldman, cellist of the Alard String Quartet.  Kazez 
has earned music degrees from the Oberlin Conservatory, the Peabody 
Institute of the Johns Hopkins University, and a doctorate from the 
University of Michigan (Ann Arbor), where he was awarded three 
consecutive Rackham Fellowships.  With pianist Eric Street, he has 
performed recitals in many of the musical capitals of Europe, including 
Berlin, Salzburg, Brussels, and London.  His Paris and Florence debuts 
(in 1995) earned him standing ovations; and he recently performed to a 
standing-room-only audience in Rome.  His first performance in eastern 
Europe was at the 1995 Prague International Festival of Jewish Culture.  
Kazez has also appeared in most of the major metropolitan areas of the 
United States, including Baltimore, Boston, Chicago, Cleveland, Dallas, 
Los Angeles, Milwaukee, New York, Pittsburgh, and Washington, D.C.  He 
performed as founding member of the Castalia String Quartet, and is now 
a member of the Corinthian Chamber Players.

        He is the author of two books (both dealing with the rhythmic aspect 
of music), a dozen scholarly articles (dealing with music theory and 
music performance pedagogy), and a dozen editions and arrangements of 
music (mostly from the English and Italian Baroque).  In late 1996, W.W. 
Norton will release the second edition of his book Rhythm Reading: 
Elementary Through Advanced Training, a widely used college textbook.  
Kazez has given talks on his research at twenty-five of the leading U.S. 
schools of music and conservatories, including the New England 
Conservatory, the University of Texas, and the Manhattan School of 
Music.  An enduring student of world music, Dr. Kazez has traveled to 
Java and Bali (where he studied gamelan music, dance, and shadow 
theater) and to Turkey and Greece (where he studied urban folk music).  
He is currently Associate Professor of Music at Wittenberg University.

        Kazez's interest in Jewish music is at once personal and 
professional.  His father, now an eminent physicist, is a Sephardic Jew 
who emigrated to the U.S. from Turkey after World War II in search of 
further education.  His mother, an accomplished artist and 
internationally recognized triathlete, is of Ashkenazic descent.  Dan 
lives in central Ohio with his wife, Anne, who is full-time mother to 
their two young children, Benjamin and Rachel.

        Kazez has been heard by radio and television audiences in the U.S. 
and Europe.  In 1993, his performance of J.S. Bach's first Cello Suite 
was broadcast on the ABC program 20/20, to an audience of over 20 
million.  In May, 1996, Kazez will travel to Asia for a concert tour of 
India, at the invitation of Virgo Music (Bombay) and the Indian Council 
for Cultural Relations (New Delhi).  In Spring of 1997, as a Fulbright 
Scholar, Kazez will teach at Bogazici Universitesi in Istanbul, Turkey.
In June of 1997, with the assistance of a grant from the National 
Endowment for the Arts, he and the Corinthian Chamber Players will
perform Jewish-inspired music in Spain and Morocco.