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The Jewish art music movement began at the end of the 19th century in Russia, with a group of Russian Jewish classical composers dedicated to preserving Jewish folk music and creating a new, characteristically Jewish genre of classical music. The music it produced used Western classical elements, featuring the rich chromatic harmonies of Russian late Romantic music, but with melodic, rhythmic and textual content taken from traditional Jewish folk or liturgical music. The group founded the St. Petersburg Society for Jewish Folk Music, a movement that spread to Moscow, Poland, Austria, and later Palestine and the United States. Although the original society existed formally for only 10 years (from 1908 to 1918), its impact on the course of Jewish music was profound. The society, and the art music movement it fostered, inspired a new interest in the music of Eastern European Jewry throughout Europe and America. It laid the foundations for the Jewish music and Klezmer revival in the United States, and was a key influence in the development of Israeli folk and classical music. With the outbreak of World War I and the rise of Communism in Russia, most of the composers active in the Jewish art music movement fled Eastern Europe, finding their ways to Palestine or America. There, they became leaders of the Jewish musical communities, composing for both synagogue and the concert hall. ==Origins== The interest in Jewish national music coincided with the nationalist trends in music throughout Eastern Europe. In Russia, composers led by Rimsky-Korsakov, were composing new works based on Russian folk themes. In Hungary, Zoltán Kodály and later Béla Bartók undertook a massive project of recording and cataloging folk melodies, and incorporating them into their compositions. Other composers such as Antonín Dvořák and Leoš Janáček were increasingly seeking a uniquely national sound in their work. "Europe was impelled by the Romantic tendency to establish in musical matters the national boundaries more and more sharply," wrote Alfred Einstein. "The collecting and sifting of old traditional melodic treasures ... formed the basis for a creative art-music."〔Einstein (1947), p. 332.〕 Parallel with this trend toward national music styles was an awakening of nationalist sentiment among the Jews of Russia and Eastern Europe. Long subjected to severe restrictions on their lives, outbursts of violent antisemitic pogroms, and forced concentration in a segregated region of Russia called the Pale of Settlement,〔For a general history of Russian Jewry, see Dubnow (1975).〕 Russian jewry developed an intense nationalist identity during the 1880s onward. This identity gave rise to a number of political movements - the Zionist movement, which advocated emigration from Russia to Palestine, and the Bund, which sought cultural equality and autonomy within Russia. There was a flowering of Yiddish literature, with authors like Sholem Aleichem, Mendele Mocher Sforim and others. A Yiddish theater movement started, and numerous Yiddish newspapers and periodicals were published. In spite of the restrictions on residency and quotas on Jewish students in universities, many Russian Jews enrolled as music students at the St. Petersburg and Moscow Conservatories. These included violinist Joseph Achron, composer Mikhail Gnesin, and others. Many of the great violinists of the last century — Jascha Heifetz, Nathan Milstein, Efrem Zimbalist, Mischa Elman, to name a few — were Jewish students of Leopold Auer, who taught at the conservatory. While many of these students came from orthodox Jewish backgrounds — Achron, for example, was son of a cantor — their studies of music at the conservatory were strictly of the western classical tradition. However, the rise of nationalism in Russian music also awakened an incipient interest in Jewish music. In 1895, Yiddish writer Y.L. Peretz started collecting lyrics of Yiddish folksongs.〔Weisser(1987), p. 28.〕 Abraham Goldfaden, founder of the Yiddish theater in Russia, incorporated many folksongs and folk style music in his productions.〔 In 1898, two Jewish historians, Saul Ginsburg and Pesach Marek, embarked on the first effort to create an anthology of Jewish folk music.〔Weisser(1987), p. 26.〕 The main catalyzer of the movement for national Jewish music, however, was Joel Engel. Engel, composer and music critic, was born outside the Pale of Jewish settlement, and was a completely assimilated Russian.〔Jacob Weinberg (1946), p. 33 (reprinted in Heskes(1998).〕 A meeting with the Russian nationalist critic Vladimir Stasov inspired Engel to seek his Jewish roots. "(Stasov's) words struck Engel's imagination like lightning, and the Jew awoke in him," (ref.Weinberg(1946), wrote Engel's friend and fellow composer Jacob Weinberg, a Russian-Jewish composer and concert pianist (1879-1956) who joined the Moscow branch of the Society of Jewish Folk Music. Weinberg eventually migrated to Palestine where he wrote the first Hebrew opera, "The Pioneers" (Hechalutz) in 1924. Engel set out to study the folk music of the Jews of the Russian shtetls, spending the summer of 1897 traveling throughout the Pale, listening to and notating Yiddish songs. In 1900, he issued an album of ten Jewish songs, and presented a lecture concert of Jewish folk music.〔Weisser(1987), p.31.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jewish art music movement」の詳細全文を読む スポンサード リンク
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