Re: Kol Nidre

[robert wiener <wiener...>]

Robert,

Thanks for the advice on an anti-Semitic program.  But, as you saw,
what some may see as of marginal taste, others may see as blatant
anti-Semitism (e.g., "Jap Rap").   Clearly judgment calls must be made
in cases of self-depricating humor (e.g., Jews making jokes about
cheap Jews and Jewish mothers).

As to Kol Nidre, I'll find my file before the High Holidays or if
someone ask me to do a program.  For now, let me include the Beethoven
on the list and add two more listed in Gerson's formerly cited book:
Paul Dessau: C Major Symphony
Arnold Schoenberg: Kol Nidre, Op.39
a Cello/Piano anthology by Sonia Wieder Atherton (cello) on the
    classical ADDA label includes a Kol Nidre arrangement for 2 cellos
    by Wider-Atherton

That makes 4 (in addition to the dozen or so renditions I have of the
Bruch) and there are several more (let alone the cantorial renditions
and those by pop artists (Perry Como and several others) and Yom
Kippur inspired popular music).

I'll be sending letters/brochures on my musical programs out in
January and if some organization sponsors a Kol Nidre presentation
I'll tell the group and hope that some list members can get to hear
them.

Bob Wiener

P.S. I hope that some of you get to hear the Zamir concert today
(Sunday) in Carnegie Hall with Shoshana Damari and other wonderful
artists.  One of the featured artists is Lorna Wallach-Kalet.  She is
a friend (from my childhood synagogue in Brooklyn, summer camp, and
Town & Village Synagogue where, until recently, she was hazzan).  I
would be most appreciative if anyone who does attend gives the group a
report.
-----Original Message-----
From: robert cohen <rlc (at) jewishmail(dot)com>
To: World music from a Jewish slant. <jewish-music (at) shamash(dot)org>
Date: Friday, December 18, 1998 1:22 PM
Subject: Re: Kol Nidre


>I only know of the supposed (i.e., some heard it and others were
dubious, tho' I've thought it reasonble enough to include in lectures
on Jewish music history) incorporation of a few bars of Kol Nidre in
Beethoven's sublime 14th String Quartet--but you allude to half a
dozen classical composers who have used the Kol Nidre melody.   Could
you advise who you mean and in what pieces--other than the Beethoven
above and, obviously, Bruch?  Many thanks.  BTW, for what it (my
unsolicited advice) is worth, if you're going to do a program (radio?
where?) on anti-Semitic music--about which, frankly, I have my doubts
(see re unsolicited advice above) given a culture in which anti-S. is
not normatively or acceptably expressed--anyway, if you're going to do
that and have doubts as you mentioned re inclusion of a particular
song or not, I would always advise, if you have any doubts, DON'T
include:  "Anti-Semitic" shd mean so blatantly so that any reasonable
person would see as such.  _Any_ inclusions of dubious or problematic
material would impeach the credibility, I think, of the entire
project--this has happened w/ ADL's recent assessment of Black
anti-Semitism, wherein accepting as true (or more-or-less true?) any
of several perfectly valid overall judgments of Jews (like we stick
together!), some benign or postive (!), some less so, was seen as
anti-Semitic, to the indignation of some Blacks and others who pointed
out that they invoke some of these characterizations of us as
qualities their (Black) people should _emulate_!  So that's my two
dollars.  Mel Brooks may be/often is tasteless, vulgar, etc., when
he's not being brilliant and hysterical, but to call a song from The
Producers anti-Semitic is to rob the term of any meaning at all--and,
again, to vitiate the entire project/program.  Thanks for
listening--as we say in the radio biz.
>--
>
>On Thu, 17 Dec 1998 09:08:37   robert wiener wrote:
>>From: Robert (proud to be a) Wiener
>>
>>The original Bruch "Kol Nidre" was written for cello but many
>>transcriptions have been recorded.  I don't have my complete list
>>handy, but it's been done at least by violin, viola, clarinet,
French
>>horn, string bass, and harp.  Of course that doesn't mean you,
Peter,
>>will like any of them, although it's possible that you like the
first
>>part (arrangement of traditional melody) and not the second part
>>(improvisation) or vice versa.
>>
>>The Ashkenazi melody has been used as a theme by at least half a
dozen
>>classical composers.  I've done some research on this for a program
I
>>did at CAJE and elsewhere.  Perhaps we'll be interested in talking
>>more about Kol Nidre (e.g., our favorite cantorial renditions)
around
>>Yom HaKippurim.
>>
>>Bob
>>
>>-----Original Message-----
>>From: Peter Hollo <raven (at) fourplay(dot)com(dot)au>
>>To: World music from a Jewish slant. <jewish-music (at) shamash(dot)org>
>>Date: Thursday, December 17, 1998 8:46 AM
>>Subject: Re: Kol Nidre
>>
>>
>>>Robert Weiner: Many thanks for clearing that up for me! My
experience
>>>being of the cello piece by Bruch, I implied that it is by a
gentile,
>>>but of course had I thought about it more I'd have realised that
the
>>>underlying melodies are Jewish.
>>>Doesn't make me like it more (just a personal thing!), but I won't
>>make
>>>the same implication again.
>>>
>>>Peter.
>>>--
>>>Peter Hollo  raven (at) fourplay(dot)com(dot)au
>>http://www.fourplay.com.au/me.html
>>>           FourPlay - Eclectic Electric String Quartet
>>>             http://www.fourplay.com.au
>>>"Of course, dance music can be a music where you lie on your back
and
>>>your brain cells dance" -Michael Karoli of Can, quoted in Wire mag.
>>>
>>
>>
>
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