scholarly journals Arno Nadel (1878–1943): A Contributor to Modern German-Jewish Identity from Vilnius

Menotyra ◽  
2021 ◽  
Vol 28 (1-2) ◽  
Author(s):  
Kamilė Rupeikaitė
Keyword(s):  
Cultural History ◽  
Jewish Identity ◽  
Original Compositions ◽  
Folk Songs ◽  
Liturgical Music ◽  
Jewish Music ◽  
National Socialists ◽  
German Jewish ◽  
Cultural Connections ◽  
Second World

The phenomenon of Arno Nadel (1878–1943) is presupposed by his extremely diverse activities in art, scholarship, and musical journalism. A music arranger, musicologist, music journalist and collector, composer, choirmaster, pianist and organist, as well as a poet, playwright, painter and translator, Arno Nadel was born in a religious Jewish family in Vilnius and spent his first twelve years there. Having lived and studied in Königsberg for five years, in 1895 Nadel settled in Berlin, one of the largest centres of German Jewish cultural life before the National Socialists came to power in 1933. Nadel was murdered in Auschwitz in 1943. So far, his creative legacy has not been studied in Lithuania. The aim of this article is to bring Nadel back on the horizon of multinational Lithuanian cultural history and to review his contribution to the formation of modern German-Jewish identity in the context of Nadel’s Vilnius origins and his diverse musical activities. Nadel’s original compositions, arrangements of traditional Jewish liturgical music and folk songs, research in and texts about Jewish music contributed to a new approach towards cultural connections between the Jews of Eastern Europe and Germany, and were important for the development of German Jewish music in the first half of the twentieth century, as well as for the documentation and renewal of Jewish liturgical music. Although Arno Nadel composed music in a variety of genres himself, it was his work as a scholar and arranger of Jewish music and as a musicologist that received the most attention among his contemporaries and in the articles written after the Second World War.

Hamburger Juden – deutsche Patrioten. Alfred Cossen und die Sportgruppe »Schild«

Aschkenas ◽  
2017 ◽  
Vol 27 (1) ◽  
Author(s):  
Claudia Bade
Keyword(s):  
Social Networking ◽  
Jewish Identity ◽  
Young Generation ◽  
Sports Clubs ◽  
Sports Organizations ◽  
Self Confidence ◽  
Zionist Movement ◽  
National Socialists ◽  
German Jewish ◽  
Sports Organization

AbstractAfter the National Socialists came to power in 1933 the Jews in Germany were excluded from most sports clubs. As a reaction to this, and in order to still be able to participate in all kinds of sports, many Jews assembled in Jewish sports associations. In Germany, there were two competing sports organizations: the Maccabi sports movement which was part of the National Jewish/Zionist movement, and the »Sportbund Schild« (shield) which attracted the »assimilated« and patriotic German-Jewish followers. Using the example of the Jewish »Sportgruppe Schild« in Hamburg, which existed between 1933 and 1938, this contribution shows that the Jewish Sports organization meant much more than only physical training and social networking: for the young generation in particular, the »Sportgruppe Schild« played an important part in enhancing their self-confidence and strengthening their Jewish identity.

The Folk Song Project at the Confluence of Music and Nationalism

2017 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Nineteenth Century ◽  
South America ◽  
Cultural History ◽  
Intellectual History ◽  
English Translation ◽  
Paradigm Shift ◽  
Folk Songs ◽  
Folk Song ◽  
World Music ◽  
Musical Thought

Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of the chapter contains translations from Herder’s own introductions to the songs, and part two contains twenty-four songs that represent the paradigm shift inspired by this monumental work on folk song.

‘Astray in a Dark Forest’? The Emotional Politics of Reconstruction Britain

Total War ◽  
2020 ◽  
pp. 137-156
Author(s):  
Claire Langhamer
Keyword(s):  
Public Sphere ◽  
Cultural History ◽  
Ways Of Knowing ◽  
Political Work ◽  
Additional Question ◽  
Emotional Politics ◽  
Historical Moment ◽  
Second World ◽  
Cultural Theorist ◽  
Individual Mass

Based on material generated by the British social investigative organisation Mass Observation between 1944 and 1946 this chapter maps some of the political work that emotion did in the immediate aftermath of the Second World War. It adapts cultural theorist Sara Ahmed’s question ‘What do emotions do?’ to a precise historical moment. It approaches emotion through the lens of social, as well as cultural, history by asking an additional question: ‘What did people do with emotion?’ It examines how the interlinked categories of feeling and experience were invoked by individual Mass Observers as ways of knowing a rapidly changing world and as grounds for participating in a dynamic public sphere. The chapter argues that a distinctive form of ‘emotional citizenship’ emerged out of the war; one which deployed feeling as a form of epistemology and experience as an evidential base.

Transmigrations: Wolf Krakowski’s Yiddish Worldbeat in its Socio-Musical Context

2003 ◽  
pp. 296-312
Author(s):  
Alex Lubet
Keyword(s):  
Jewish Community ◽  
Jewish Life ◽  
Folk Songs ◽  
Jewish Music ◽  
The Holocaust ◽  
Musical Context

This chapter examines Wolf Krakowski's legendary CD Transmigrations, which was the first example of Yiddish worldbeat. Transmigrations comprises principally secular songs, although these are at times referenced, as is nearly unavoidable in chronicles of Jewish life. Two songs, ‘Shabes, shabes’ and ‘Zol shoyn kumen di geule’ (Let the Redemption Come), are traditionally devotional, if non-liturgical. The songs that address the Holocaust and other Jewish suffering pose basic spiritual questions that Jews must ask, though not in formal prayer. In determining any music's Jewishness, lessons from the sacred repertoire of Judaism may be applied. On utilitarian grounds, all settings of sacred Hebrew texts for use in Jewish worship are Jewish music. This principle extends to all Yiddish song, since Jewish languages are tools of Jewish community. This includes all twelve songs on Transmigrations. Ultimately, Transmigrations—an album of Yiddish folk songs and works by Yiddish theatre and literary artists, its melodies forthrightly Jewish—defies expectations of Yiddish song in broader aspects of style.

The Media and the Arts

2007 ◽  
pp. 139-161
Author(s):  
Nadia Malinovich
Keyword(s):  
Jewish Life ◽  
Important Change ◽  
Folk Songs ◽  
New Developments ◽  
Religious Orientations ◽  
Jewish Art ◽  
Jewish Music ◽  
Cultural Life ◽  
The Arts ◽  
The Media

This chapter focuses on the expansion of the Jewish press, the development of a lively Jewish art and music scene, and the strengthening of the interfaith movement. It discloses the creation of a wide variety of journals of differing Zionist, literary, and religious orientations that marked an important change in contemporary French Jewish life. It also investigates the journals that served as a vehicle to discuss new developments in the Jewish associational and cultural life of the day and provided a forum to discuss diverse aspects of Jewish culture and history. The chapter discusses the prominence of Jewish artists in the international Ecole de Paris as another important development in Jewish cultural life during the 1920s. It also describes French Jews that formed musical societies and choruses to perform Jewish music, from traditional religious compositions to Yiddish folk songs, in public settings.

Setting the Stage: Jewish Identity in the Nineteenth Century and the Impact of the Dreyfus Affair

2007 ◽  
pp. 15-37
Author(s):  
Nadia Malinovich
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
Jewish Identity ◽  
Modern World ◽  
Ethnic Nationalism ◽  
Dreyfus Affair ◽  
The Impact ◽  
Jewish Intellectuals

This chapter provides a background on Jewish social and cultural history in the nineteenth century and describes the complex impact of the Dreyfus affair on French Jewry. It looks at the first generations of post-revolutionary Jewish intellectuals and communal leaders that had been primarily concerned with promoting Jewish integration and acculturation. It also recounts how the emergence of ethnic nationalism and the modern antisemitic movement forced French Jews to negotiate between a commitment to universalist Enlightenment principles and the racialized discourses of identity. The chapter investigates the explosion of the Dreyfus affair that openly questioned Franco-Judaism and confronted the complexity of Jewish identity in the modern world head-on. It looks at the antisemitism in France, the affair prompted more sympathetic attitude towards Jews in French leftist circles.

The Jewish Liturgical Music Printing Revolution

2020 ◽  
pp. 100-136
Author(s):  
Edwin Seroussi
Keyword(s):  
Liturgical Music ◽  
East European ◽  
Music Printing ◽  
Jewish Music ◽  
European Jewish

Orality is the hallmark of all Jewish music cultures, and most especially of their liturgical music. Orality is not simply a technique of music mnemonics and transmission among Jews through the generations; it became, as Judit Frigyesi puts it, an aesthetical ideal, and this principle applies not only to the East European Jewish traditions studied by her but to all Jewish traditions....

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