Classical music
Jerzy Fitelberg was a favorite of Aaron Copland and Arthur Rubinstein. Then he was lost to history. Now, sixty years after his death, his music is being played again.
A newly translated biography.
He wants to take the Berlin State Opera to Tehran.
“We will sing to the Nazis what we cannot say to them.”
A remarkable concert reintroduces three Jewish composers who fled fascist Europe to America, where two of them pioneered a new art form—the symphonic film score.
Most orchestral music composed since 1950, writes Oliver Rudland, pales in comparison with that of the previous 100 years. Even popular music, after its mid-century. . .
For most people, “Jewish music” implies klezmer, East European folk tunes, or liturgical compositions. But for over a century, Jewish composers have created art music. . .
At first skeptical of Zionism, the violin virtuoso Bronislaw Huberman, founder of the Israel Philharmonic, came to see it as a miracle.
The 1940 Nazi invasion of France turned the country’s classical-music scene into a mix of the good, the bad, and the ugly.
Just as music has shaped Jewish history and Jewish identity, Jews have influenced the course of music in all its forms.
The Leonard Bernstein Letters, just published, reveal more about both the outer and inner life of the American Jewish composer than any biography.
Never, in two centuries of either classical music or organized sport, had a major player crossed from one to the other and back—until Israeli soccer. . .