Posts Tagged: Aaron Copland Results 11
To some lovers of classical sounds, organ music seems irremediably goyish, despite outstanding achievements by such Jewish composers as Aaron Copland and Arnold Schoenberg in writing for the so-called “king of instruments.” For these, “The Organ and Its Music in German-Jewish Culture,” recently published in paperback, will be a real ear-opener. Its author, musicologist Tina Frühauf, notes that “until the Middle Ages, the organ was not officially permitted in any Christian liturgy inasmuch as instrumental music was associated… with the Jewish services once held in the temple at Jerusalem.”
A November of concerts featuring fall colors and Yiddishkeit is available to Manhattan music lovers. On November 3 & 4 at New Brunswick’s State Theatre in New Brunswick and Newark’s NJPAC respectively, explosively expressionistic colors will be conveyed by the New Jersey Symphony Orchestra and conductor Augustin Dumay in Arnold Schoenberg’s stirring “Transfigured Night.” Also on November 3 at the Ukrainian Institute of America, broodingly autumnal shades will be explored when the Ensemble Made in Canada plays Gustav Mahler’s ultra-romantic Piano Quartet. On the same day at Bargemusic the bountiful musical harvest will continue as Trio 21 offers the New York premiere of an arrangement for piano trio and narrator of Glen Roven’s sensitively fashioned orchestral work for children, “Runaway Bunny.”
On November 8 at Lincoln Center’s Rose Studio will be two performances of a chamber music programme including Aaron Copland’s kaleidoscopic 1937 Sextet for Clarinet, String Quartet, and Piano by an ensemble featuring violinists Arnaud Sussmann and Areta Zhulla, as well as cellist Fred Sherry. Copland, who is most likely the only Jewish gay Communist composer whose music was ever performed and recorded by The United States Marine Band, is also unique for the splendid range of expression and melodic charm of his works.
As this fall’s concert season kicks off, Manhattanites in search of classical performances with a dollop of Yiddishkeit will have a delightful array of choices, starting with the genial ghost of beloved Austrian Jewish violinist Fritz Kreisler, which presides over the New York Philharmonic’s Opening Gala. On September 27 at Avery Fisher Hall, Itzhak Perlman will play Kreisler’s “Tambourin Chinois,” which some music snobs might see as an unadventurously musty selection for such a high-profile orchestral outing, but Kreisler’s legion of fans will be ever-grateful.
• Aaron Copland owed much of his career to Serge Koussevitzky.
• Leonard Bernstein was in Tanglewood’s first class and became a Koussevitzky protégé and a worldwide symbol of Tanglewood.
As summertime slowly approaches, concerts of music both minimal and maximal will enchant Manhattanites in search of aural Yiddishkeit. On April 29 at the Walter Reade Theater, flutist Claire Chase will perform Steve Reich’s “Vermont Counterpoint” in its version for flute and tape; the alternate version, for eleven flutes, would doubtless exceed even the gifted Chase’s capacities. She will be joined for other, less minimalist, works on the program by the pianist Jacob Greenberg. On May 1 at Carnegie Hall, Reich’s mini-fluting is exchanged for emotional maxing-out in the form of Gustav Mahler’s songs interpreted by baritone Matthias Goerne with the superstar pianist Leif Ove Andsnes.