The notion of a European “renaissance” in the 14th through 17th centuries has grown more problematic in recent decades, challenged by historians of many stripes. They include those who emphasize cultural continuities, as well as those who draw attention to stagnation in science and mathematics during that period of supposed reawakening.
Electric energy pulses through the music of Tel Aviv-born pianist and composer Matan Porat. Earlier this year pianist David Greilsammer and the Israeli Chamber Project released recordings of his works, and he will tour North America this month and next spring with Musicians from Marlboro. He will be at the keyboard for György Ligeti’s 1982 Trio for Violin, Horn, and Piano on October 20 in New York, with subsequent dates in Connecticut, Schenectady, Toronto, Washington, DC, Vermont, Boston, and Philadelphia. In May 2013 he will perform in the rapturous Opus 26 Piano Quartet by Johannes Brahms, to whom Ligeti’s trio pays wry tribute.
The sheer number of oratorios that George Frideric Handel wrote on Jewish subjects, including “Solomon,” “Esther,” “Joseph,” “Saul,” and “Judas Maccabeus,” has long led critics to suppose that he was a stout friend to the Children of Israel, and that London Jews were key patrons of his music. More recent scholarship suggests that Handel’s purported empathy with the Jewish people was invoked to prop up “the sacredness of his works” (too steeped in the profane funk of the theater), and that the enthusiasm of 18th-century Jews for Handel may have been overstated to assuage doubts about Jews as loyal British subjects.
The photo of sweet-faced young people on the CD cover does not prepare you for the ferocity of the music making on “Opus 1” (Azica), the debut recording by the Israeli Chamber Project. Founded in 2008, the ICP as configured for Opus 1 comprises clarinetist Tibi Cziger, cellist Michal Korman, harpist Sivan Magen, pianist Assaff Weisman and violinist Itamar Zorman.
“On the Sublime” is a treatise from early in the Common Era by an unknown author, conventionally styled Longinus. Some scholars suspect that Longinus was a Hellenized Jew because he or she paraphrased Genesis, praising Moses for telling of Divinity’s power “in the opening words of his ‘Laws’: ‘God said’ — what? — ‘let there be light, and there was light: let there be land, and there was.’”
Two enthralling recordings that pair keyboard music from centuries past with contemporary works have been released this year. The first is Jeremy Denk’s “Ligeti/Beethoven” (Nonesuch), which bookends Beethoven’s otherworldly Sonata Opus 111 with György Ligeti’s astringent and electrifying études. The other is “Baroque Conversations” (Sony Classical) by the Jerusalem-born pianist and conductor “David Greilsammer,” who will play a late-night concert on August 14 at New York’s Mostly Mozart Festival and a recital on August 17 at the Ravinia Festival near Chicago.
The bicentennial of Giuseppe Verdi’s birth is coming soon. A new film, ‘Defiant Requiem,’ tells the story of a World War II prisoner who taught one of his inspiring works.
In a thoughtful article published last year, memoirist and novelist André Aciman explored the “pathless Odyssey” around the Mediterranean taken by the song “Naci en Alamo.” Musicians of many different languages and ethnicities, including Yasmin Levy, have taken up this so-called “Song of the Gypsies,” whose origins are disputed and elusive. For Aciman, the ballad epitomizes themes of “displacement, exile, memory, and cultural miscegenation.”