(415 results found)
Las horas de la vida (A la una nassé io [nassi io], A la una nassio)
… Spanish artists touring the Ottoman Empire (Seroussi in press 1). A la una nací yo, a las dos me bautizaron, a las … recordings … Judeo-Spanish - Ladino … Ladino … Liturgical music … Spanish … Twentieth (20th) Century … Sephardi … …
Judith Cohen
… and lived in Tel Aviv. Cohen studied at "the seminary for music teachers" (1953-1956). After her military service, she … she wrote her doctoral thesis, which focused on Renaissance music. Upon her return to Israel, she began teaching at "the music teacher's seminary" and other institutions. She joined …
32. La agonía del amante Rosa mia (CES)
… and they are all from Salonica. The melody appears in a musical transcription by Idelsohn ( 1923 , no. 484) with the … - Ladino … Ladino Songs … Ottoman Empire … Sephardic music … Salonica … Saloniki … Thessaloniki … Eastern …
65. El baile de los falsos (Sida Musafija)
… originates in an 1895 zarzuela (lyrics by P. Cadenas; music by Pedro Badía) and is not strictly related to the … in its name. La Mattchiche usually appears in early sheet music editions as “Spanish march.” The zarzuela itself draws … imitation of the French refrain “Allons doucement, ne pressons pas l’mouvement.” This recording ends with an …
“Unter dem kinds Wiegele” – Beneath the Baby’s Cradle
… rhythm in the next phrase. This contemplative rhythmic expression is underlined with an idiomatic bowing called louré … - Violoncello … Folk songs … Joachim Stutschewsky … Klezmer music … “Unter dem kinds Wiegele” – Beneath the Baby’s Cradle …
“Schlof majn Kind, ich wel dich wigen” (Wiegenlied) – Sleep my child, I will cradle you (Lullaby)
… However, Stutschewsky’s personal interpretation is again expressed in his piano part. The piano does not double the … - Violoncello … Folk songs … Joachim Stutschewsky … Klezmer music … “Schlof majn Kind, ich wel dich wigen” (Wiegenlied) …
Nahôn libbo is hujire – Whole-heartedly is the fearful believer
… tune adapted from Idelsohn’s Thesaurus of Hebrew Oriental Music (1923b: 140, no. 193) is an unexpected turn after four … some of Idelsohn’s ideas related to the antiquity of the music of the Yemenite and Babylonian Jews were echoed in … attempt to avoid clear tonal connotations in order to express “otherness” is found in the use of subdominant and the …
“Die alte Kasche” (Volkslied) – The Old Question (Folksong)
… melody in bars 12-13 allows the soloist freedom to express in a textless gesture the content of the text. The … - Violoncello … Folk songs … Joachim Stutschewsky … Klezmer music … “Die alte Kasche” (Volkslied) – The Old Question …
Lied ohne Worte (chassidisch)
… Jews thrived and turned the Song without Words into pure music (is that a coincidence that a converted, assimilated … for piano?). (Stutschewsky 1958: 59) In Hasidic thought, expressing the yearning for a total spiritual experience is … - Violoncello … Folk songs … Joachim Stutschewsky … Klezmer music … Lied ohne Worte (chassidisch) …
A Nigun on a soff (chassidisch) – A Tune without Ending
… Stutchewsky seems to hint at two sides of the same musical coin in Hasidic thought. Cyclical return and the … chords in the very two opening bars announces a bold expressionistic harmonic language. The foreign notes and tense … - Violoncello … Folk songs … Joachim Stutschewsky … Klezmer music … A Nigun on a soff (chassidisch) – A Tune without …