RE: origins of hatikva

[medelman <medelman...>]

This tune is a migratory melody which Abraham Zvi Idelsohn, the father of
Jewish ethnomusicology,  charts in his "Jewish Music" (1929 Holt, Rinehart
and Winston, now available in paper through Schocken Books.  See p. 222).
Idelsohn's referent is a Yigdal tune, but he notes that the motive appears
in Jewish, Spanish-Basque and Slavic song as well.  Idelsohn includes the
Smetana "Moldau" and the Zionist "Hatikvah" as instances of the
incorporation of this motif, and it is widely believed that there is a
direct relationship between the Moldau and Hatikvah.  In fact, however, the
immediate inspiration for the juxtaposition of Imber's text with the tune we
know was via a Moldavian immigrant to Rishon LeTzion, who contrafacted the
Romanian "Carul cu Boi" to the poem that Imber was "trying out" on the new
residents during his travel through the Yishuv.  (See my new book,
"Discovering Jewish Music" [Jewish Publication Society, p. 190-191] for a
further discussion of this matter.

Marsha Bryan Edelman

-----Original Message-----
From: owner-jewish-music (at) shamash(dot)org
[mailto:owner-jewish-music (at) shamash(dot)org]On Behalf Of Roman Turovsky
Sent: Thursday, July 03, 2003 2:47 PM
To: World music from a Jewish slant
Subject: origins of hatikva


Dear collective-wisdom,
I have been involved in some research concerning the 16th century Italian
canzonetta/harmonic pattern "La Mantovana" that was the basis of many
Eastern European folk songs and dance tunes, and eventually Hatikva. This
tune had been famously noted in Smetana's "Vltava/Die Moldau", Eisler's
"Moldaulied", Mozart's Variations on "Twinkle" etc. There are several vocal
settings, most notably by Gasparo Zannetti and Francesco Provenzale, some
anonymous lute tabulatures from Poland, and several in various compendia on
Ukrainian folk-musik.
Does anyone know any other instance of this melody anywhere else???
RT
______________
Roman M. Turovsky
http://turovsky.org
http://turovsky.it
http://pressioni.com/swv




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