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Josef Tal (Hebrew: יוסף טל; September 18, 1910 – August 25, 2008) was an Israeli composer. He wrote three Hebrew operas; four German operas; dramatic scenes; six symphonies; thirteen concerti; chamber music, including three string quartets; instrumental works; and electronic compositions.〔Hirshberg, Jehoash; ''Josef Tal: Past, Present and Future'', in IMI news 2008/1-2, pp. 15–16 ISSN 0792-6413 http://www.imi.org.il/UploadedFiles/06990f45-2eb8-49d7-a881-d78696f689f6.pdf〕 He is considered one of the founding fathers of Israeli art music.〔Seter, Ronit: ''Jerusalem and Tel-Aviv: Different News from Israel''. In Tempo 59 (233) 46–61 Cambridge University Press (2005) 〕 ==Biography== Josef Tal was born ''Josef Grünthal'' in the town of Pinne (now Pniewy), near Poznań, German Empire (present-day Poland). Soon after his birth his family (parents Ottilie and Rabbi Julius Grünthal,〔Fled to the Netherlands, arrested in Eindhoven and deported to Sobibor extermination camp, where he was murdered on April 16, 1943.〕 and his elder sister Grete), moved to Berlin, where the family managed a private orphanage.〔Eckhardt, Ulrich & Nachama, Andreas: ''Jüdische Orte in Berlin'', 2005, Berlin: Nicolai, p153 ISBN 3-89479-165-9.〕 Rabbi Julius Grünthal was a docent in the Higher Institute for Jewish Studies (Hochschule für die Wissenschaft des Judentums), specializing in the philology of ancient languages.〔http://www.dbc.wroc.pl/dlibra/docmetadata?id=2495&from=&dirids=1&ver_id=80498&lp=1&QI=1C6AF43498B39BF1FF528F80B48E1527-1〕 Tal's first encounter with music was at the synagogue, where there was a choir and his grandfather served as a non-professional cantor. After attending his first concert, he began to take piano lessons.〔Der Sohn des Rabbiners〕 Tal was admitted to the ''Staatliche Akademische Hochschule für Musik''〔Today Berlin University of the Arts.〕 in Berlin and studied with Max Trapp (piano and composition), Heinz Tiessen (theory), Max Saal (harp), Curt Sachs (instrumentation), Fritz Flemming (oboe), Georg Schünemann (history of music), Charlotte Pfeffer and Siegfried Borris (ear training), Siegfried Ochs (choir singing), Leonid Kreutzer (piano methodology), and Julius Prüwer (conducting). Paul Hindemith —his composition and theory teacher— introduced him to Friedrich Trautwein, who directed the electronic music studio in the building cellar.〔 Gluck, Robert J.: ''Fifty years of electronic music in Israel'', Organised Sound 10(2): 163–180 Cambridge University Press (2005) http://journals.cambridge.org/action/displayFulltext?type=1&pdftype=1&fid=335698&jid=OSO&volumeId=10&issueId=02&aid=335697〕 Tal completed his studies in the academy in 1931, and married dancer Rosie Löwenthal one year later. He worked giving piano lessons and accompanying dancers, singers, and silent movies. Nazi anti-Jewish labour laws rendered Tal jobless and he turned to studying photography with ''Schule Reimann'' with the intention of acquiring a profession that would make him eligible for an "immigration certificate" to Palestine.〔Fleisher, Robert: ''Twenty Israeli composers: voices of culture''. Wayne State University Press (1997) (0-8143-2648-X ), pp.67-78〕 In 1934, the family immigrated to Palestine with their young son Re'uven.〔Later a member of kibbutz Megiddo, killed in action in the Six-Day War.〕 Tal worked as a photographer in Haifa〔 and Hadera for a short time. The family moved then to Kibbutz Beit Alpha and later to Kibbutz Gesher, where Tal intended to dedicate his time to his music. Finding it hard to adjust to the new social reality in the kibbutz, the family settled in Jerusalem where Tal established professional and social connections. He performed as a pianist, gave piano lessons and occasionally played harp with the newly founded ''Palestine Orchestra''. In 1937, the couple divorced. Tal accepted an invitation from Emil Hauser to teach piano, theory, and composition at the ''Palestine Conservatory'', and in 1948 he was appointed director of the Jerusalem Academy of Music and Dance in Jerusalem, a post he held until 1952. In 1940 Tal married the sculptress Pola Pfeffer.〔Their son Etan Tal was born in 1948.〕 In 1951 Tal was appointed Lecturer at the Hebrew University of Jerusalem and Full Professor in 1978. In 1961 he established the ''Centre for Electronic Music in Israel''.〔Shiloah, Amnon and Gerson-Kiwi, Edith: ''Musicology in Israel, 1960-1980'' in Acta Musicologica, Vol. 53, Fasc. 2 (Jul. - Dec., 1981), p. 203〕 He published academic articles, and wrote many music entries in the ''Encyclopaedia Hebraica''. In 1965 he was appointed senior professor and later chairman of the Musicology Department at the Hebrew University, a post he held until 1971. Among his many pupils are the composers Ben-Zion Orgad, Robert Starer,〔Starer, Robert. (1987) ''Continuo – A Life in Music''. Random House, New York. pp. 26-44 ISBN 0-394-55515-5.〕 Naomi Shemer, Jacob Gilboa, and Yehuda Sharett, conductor Eliahu Inbal, musicologist Michal Smoira-Cohn, cellist Uzi Wiesel, pianists Walter Hautzig, Bracha Eden, and Jonathan Zak, and soprano Hilde Zadek. Tal represented Israel at the International Society for Contemporary Music (ISCM) conferences and in other musical events and attended many professional conferences around the world. He was a member of the Berlin Academy of the Arts (''Akademie der Künste''), and a fellow of the Institute for Advanced Study, Berlin (''Wissenschaftskolleg zu Berlin''). Until his sixties Tal appeared as a pianist〔''Musical Notes from Abroad'', The Musical Times, Vol. 79, No. 1144 (Jun., 1938), pp. 466-467〕〔''Music in Palestine'', The Musical Times, Vol. 80, No. 1153 (Mar., 1939), p. 225〕 and conductor with various orchestras, but his major contribution to the music world lies in his challenging compositions and his novel use of sonority. In the 1990s Tal conducted, together with Dr Shlomo Markel,〔Markel, Shlomo,: On Notation for Electro Acoustic Music and Interactive Environment for Composition, PhD. Thesis submitted to the "Technion", Haifa, January 1993〕〔Shimoni, Uri; Markel, Shlomo; Tal, Josef: Icon Notation for Electroacoustic and Computer Music, in: Proceedings of the 14th International Computer Music Conference, Cologne, Sept 20-25, 1988 pp 430-436〕〔Tal, Josef; Markel, Shlomo; Shimoni, Uri: Talmark notation for electroacoustic and computer music, in: M.I.M Colloque International "Musique et Assistance Informatique", Marseiile, 3-6 Oct 1990, pp169-172〕 a research project (''Talmark'') aimed at the development of a novel musical notation system in cooperation with the Technion – Israel Institute of Technology, and VolkswagenStiftung. During these years his eyesight deteriorated due to macular degeneration and it became increasingly difficult for him to continue composing. Using a computer screen to enlarge the music score, he managed to compose short musical works for few instruments, write his third autobiography, and complete his visionary analysis of future music.〔Tal, Josef: ''Musica Nova in the Third Millennium'', Israel Music Institute, 2002, ISBN 965-90565-0-8〕 The complete cycle of his symphonies conducted by Israel Yinon was released on the German label CPO.〔http://www.jpc.de/jpcng/cpo/detail/-/lang/en/currency/EUR/hnum/6305013/art_hex/4a6f7365662d54616c2d53796d70686f6e69656e2d4e722d312d33〕 Josef Tal died in Jerusalem. He is buried in Kibbutz Ma'ale HaHamisha, near Jerusalem. Part of his archival legacy is kept〔Hasson, Nir: ''Saving the Holy of Holies of Jewish texts'' () in Haaretz site 〕 in the National Library of Israel in Jerusalem.〔http://web.nli.org.il/sites/NLI/English/music/archives/detailed_archives/Pages/Josef_Tal.aspx〕 Almost all of Tal's works are published by the Israel Music Institute (IMI).〔http://www.imi.org.il/site/〕 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「Josef Tal」の詳細全文を読む スポンサード リンク
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