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The Organ and Its Music in German-Jewish Culture examines the powerful presence of the organ in synagogue music and in the general musical life of German-speaking Jewish communities in the 19th and 20th centuries. It explores the development of a new organ music repertoire as a paradigm for the changing identity of modern Jewry.
A rich interdisciplinary exploration of the world of Sara Levy, a Jewish salonnière and skilled performing musician in late eighteenth-century Berlin, and her impact on the Bach revival, German-Jewish life, and Enlightenment culture.
The first volume of its kind, Dislocated Memories: Jews, Music, and Postwar German Culture draws together three significant areas of inquiry: Jewish music, German culture, and the legacy of the Holocaust. Jewish music - a highly debated topic - encompasses a multiplicity of musics and cultures, reflecting an inherent and evolving hybridity and transnationalism. German culture refers to an equally diverse concept that, in this volume, includes the various cultures of prewar Germany, occupied Germany, the divided and reunified Germany, and even "German (Jewish) memory," which is not necessarily physically bound to Germany. In the context of these perspectives, the volume makes powerful arguments on about the impact of the Holocaust and its aftermath in changing contexts of musical performance and composition. In doing so, the essays in Dislocated Memories cover a wide spectrum of topics from the immediate postwar period with music in the Displaced Persons camps to the later twentieth century with compositions conceived in response to the Holocaust and the klezmer revival at the turn of this century. Dislocated Memories builds on a wide range of recent and critical scholarship in Cold War studies, cultural history, German studies, Holocaust studies, Jewish studies, and memory studies. What binds these distinct fields tightly together are the contributors' specific theoretical inquiries that reflect separate yet interrelated themes such as displacement and memory. While these concepts link the multi-faceted essays on a micro-level, they are also largely connected in their conceptual query by focus, on the macro-level, on the presence and the absence of Jewish music in Germany after 1945. Filled with original research by scholars at the forefront of music, history, and Jewish studies, Dislocated Memories will prove an essential text for scholars and students alike.
By the end of the Second World War, Germany was in ruins and its Jewish population so gravely diminished that a rich cultural life seemed unthinkable. And yet, as surviving Jews returned from hiding, the camps, and their exiles abroad, so did their music. Transcending Dystopia tells the story of the remarkable revival of Jewish musical activity that developed in postwar Germany against all odds. Author Tina Frühauf provides a kaleidoscopic panorama of musical practices in worship and social life across the country to illuminate how music contributed to transitions and transformations within and beyond Jewish communities in the aftermath of the Holocaust. Drawing on newly unearthed sources from archives and private collections, this book covers a wide spectrum of musical activity-from its role in commemorations and community events to synagogue concerts and its presence on the radio-across the divided Germany until the Fall of the Wall in 1989. Frühauf's use of mobility as a conceptual framework reveals the myriad ways in which the reemergence of Jewish music in Germany was shaped by cultural transfer and exchange that often relied on the circulation of musicians, their ideas, and practices within and between communities. By illuminating the centrality of mobility to Jewish experiences and highlighting how postwar Jewish musical practices in Germany were defined by politics that reached across national borders to the United States and Israel, this pioneering study makes a major contribution to our understanding of Jewish life and culture in a transnational context.
A global history of Jewish music from the biblical era to the present day, with chapters by leading international scholars.
How was the re-emerging Jewish religious practice after 1945 shaped by traditions before the Shoah? To what extent was it influenced by new inspirations through migration and new cultural contacts? By analysing objects like prayer books, musical instruments, Torah scrolls, audio documents and prayer rooms, this volume shows how the post-war communities created new Jewish musical, architectural and artistic forms while abiding by the tradition. This peer-reviewed volume presents contributions to the conference „Jewish communities in Germany in Transition", held in July 2021, as well as the results of a related research project carried out by two university institutions and two museums: the Bet Tfila – Research Unit for Jewish Architecture (Technische Universität Braunschweig), the European Center for Jewish Music (Hanover University for Music, Drama and Media), the Braunschweigisches Landesmuseum, and the Jewish Museum Augsburg Swabia. For the first time, post war synagogues in Germany and their objects were researched on a broad and interdisciplinary basis – regarding history of architecture, art history of their furniture and ritual objects as well as liturgy and musicology. The project was funded by the Federal Ministry of Education and Research (BMBF) during the years 2018 to 2021 in its funding line „The Language of Objects".
A comprehensive history of German society in this period, providing a broad survey of its development. The volume is thematically organized and designed to give easy access to the major topics and issues of the Bismarkian and Wilhelmine eras. The statistical appendix contains a wide range of social, economic and political data. Written with the English-speaking student in mind, this book is likely to become a widely used text for this period, incorporating as it does twenty years of further research on the German Empire since the appearance of Hans-Ulrich Wehler's classic work.
By illustrating the quintessentially different self-perceptions of three German writers of Jewish background, all born in or around 1880 in Berlin, this book examines a range of German-Jewish identities in a socio-cultural context in Wilhelmine Germany. Moritz Goldstein (1880-1977), the conflict of his dual identity and the interplay between being a German writer and a cultural Zionist is covered first. Particular attention is given to the genesis of his essay 'Deutsch-jüdischer Parnaß' with its call for Jews to vacate their seats in German literary culture. The range of positions unfolding in the debate, following its publication in 'Der Kunstwart' in 1912, serves to illustrate the spectrum of German-Jewish self-definition at the time. In the second part, the writings of Julius Bab (1880-1955) are examined in so far as they shed light on his advocation of a synthesis of 'Deutschtum' and 'Judentum'. The far side of the spectrum of German-Jewish self-definition is represented by Ernst Lissauer (1882-1937), who propagated complete assimilation, considering the Jewish element as an obstacle which had to be overcome on the road to 'Deutschtum'. This study depicts how external cultural and political influences shaped the transformation of their ideas of what it meant to be Jewish in Germany and how they responded to increasing anti-Semitism. By recognising the way in which the individual's cultural identity was constantly refashioned in the face of external challenges, a fuller understanding of the evolving self-perception of German Jews is reached.