leaderboard1 -

Organ Music by Israeli Composers: A Tradition of Diversity

May 31, 2003
Default

The music composed in Israel is much like the population itself--it defies classification. The country is composed of people representing a spectrum of geographic, religious and cultural backgrounds. This potpourri of influences, interests and traditions is clearly manifested in the music of Israel's composers. While it is difficult to pinpoint a definitive school of composition, it is precisely this diversity which commands interest.

The influences on Israeli composers are many and varied; however, four sources of inspiration emerge as most significant: the Bible, landscape, geographical and cultural heritage and politics. One composer who wrote many Biblically-inspired works was Paul Ben-Chaim. Commissioned by the Koussevitsky Foundation in 1953, Ben-Chaim composed Sweet Psalmist of Israel, a symphonic work, which won the Israel State Prize in 1957. The piece was written for Jerusalem's 3000th anniversary as capital of Israel. Other important works composed for the occasion included Schoenberg's De Profundis and Milhaud's opera, David.

Among landscape-inspired works are Karel Salomon's four-movement romantic symphony, Nights of Canaan (1949), and Ben-Chaim's five-movement suite From Israel (1951). In the latter, a distinctive Eastern Mediterranean atmosphere is evoked through frequent changes of timbre, avoidance of full orchestra and unusual instrumentation.

An important work exemplifying geographical influence is Salomon's Four Greek Dances in which Greek folk tunes are treated symphonically. This work reflects the similarity between Greek and Palestinian folksong.

A fourth influence on music by Israeli composers is politics. Probably the most famous work in this category is Ben-Chaim's Fanfare for Israel which is often performed at festive ceremonies. Originally composed for symphonic band or full orchestra, it was later transcribed for organ by Salomon.

Most Israeli composers are quite prolific and many have contributed at least a few works to organ repertory. The two most significant first generation composers were Karel Salomon and Paul Ben-Chaim, both of whom were born in 1897 and settled in Israel, then called Palestine, in 1933. Salomon was one of the most versatile Israeli composers. As a young man, he studied in Strauss' master classes at the Berlin Academy of Arts and played an active role in the Handel revival. In 1936 he was appointed Music Director of the Palestine Broadcasting Service under the British mandate.

Salomon's Western-European roots are evident in his songs, chamber pieces, orchestral compositions and organ works, most of which rely on conventional forms. His Israeli Youth Symphony (1950) shows the influence of Hindemith's "Gebrauchsmusik" or "music for use"--music of a practical nature composed for amateurs. This concept is clear in Salomon's work, which may be performed by a large or small ensemble and by a variety of interchangeable instruments. The work is particularly appropriate for youth and amateur orchestras.

Also accessible are his two organ works of moderate difficulty. The brief, yet charming, Invention is based on two themes, the first of which is stated in the opening section. (Example 1) The second more playful theme, based on sixteenth and eighth note figuration, opens the following quiet section. (Example 2) After a crescendo, this theme is then heard in imitation building to the final passage on full organ in which the two themes are combined.

Salomon's other significant work, Six Pieces for Organ, is based on traditional Hebrew liturgical tunes. In the first piece, "In the Beginning," the disjunct melody is accompanied by repetitive figuration in the left hand and a quiet drone in the pedal. The "Fanfare" which follows is similar in style, but different in mood. Played on the full organ, the melody is heard in stark fourths and is accompanied by arpeggiated seventh chords in the left hand with a persistent drone in the pedal. "For from Zion Came the Law" provides a refreshing change of style in its use of imitation. The ancient melodies heard in the next three pieces are exotic, yet simple. The tune, "At the Sound of the Ram's Horn" is from Carpentras, and that which follows, "Amos," comes from the Isle of Djerba, an ancient Jewish community off the coast of Tunis. The final piece, "In the Hands of the Poor," is a Sephardic tune. (Example 3)

The other first generation Israeli composer, Paul Ben-Chaim, also received a strong musical education in Germany. A graduate of the Munich Academy, Ben-Chaim went to Palestine in 1933. In 1961 he wrote, "I am of the West by birth and education, but I stem from the East and live in the East. I regard this as a great blessing indeed and it makes me feel grateful. The problem of a synthesis of East and West occupies musicians over the world. If we--thanks to our living in a country that forms a bridge between East and West--can provide a modest contribution to such a synthesis in music, we shall be very happy." (Gradenwitz p. 64)

Ben-Chaim became acquainted with Near-Eastern chants and folk music through the singer and folklore collector, Bracha Zefira, of Yemenite descent. He accompanied her, arranged folksongs for her and later composed original songs in the style of folksong.

Ben-Chaim's only organ work, Prelude (1966), hints at both the East and West. His fascination with coloristic possibilities is apparent with frequent changes of timber and dynamics. The over-all implication is a dramatic crescendo and decrescendo.

In addition to his innovative works drawing on East and West, Ben-Chaim composed works which rely on older material. His Symphonic Metamorphosis on a Bach Chorale (1968) was inspired by Bach's richly ornamented chorale "Wer nur den lieben Gott Lässt walten" and utilizes forms such as the recitative, passacaglia, capriccio, ricercare and fugue. Another Bach chorale, "Vor deinen Thron tret' ich," was set by Ben-Chaim as An Orchestral Interpretation.

The organ works of both Salomon and Ben-Chaim were probably written with the Austin organ (1932) at the Jerusalem YMCA in mind. Donated by the Juilliard Foundation, this instrument was supposedly the largest pipe organ in the Middle East at the time of its purchase. It contains 47 speaking stops, 40 ranks, a celesta and a set of chimes. Although the organ is in poor repair and is largely forgotten today, it was an important influence and resource for the first generation of Israeli composers. (Appendix A)

Paul Ben-Chaim was one of the most influential teachers of the second generation of Israeli composers born between 1910 and 1920. Many of these musicians were exposed to contemporary Western-European innovations such as the twelve-tone system and neo-classicism. Giora Schuster (b. Hamburg 1915), a student of Wolfgang Fortner, settled in Rehovot in 1938. His organ work, Intrata and Passacaglia Piccola (1966-67), integrates older structures with the twelve-tone technique. According to notes on the score, "the Intrata presents a forceful, aggressive, and basically monophonic melodic line, divided between the manual and the pedal. The Passacaglia Piccola is constructed upon a basso ostinato consisting of seven tones. The bass line unites the various sections which make up the passacaglia and also supplies the musical material for the rest of the melodic lines. The ostinato is presented in full, in part or with alterations in organ registers. At the end of the work the Intrata returns, in a shortened and more concentrated form." (Example 4)

In 1934 composer Ze'ev Steinberg settled in Palestine. This famous violist who joined the Israel Philharmonic Orchestra in 1942 also had a passion for the organ. He owned a house organ built by Gideon Shamir and wrote two compositions for organ. His Preambulum, Fughetta, Toccata and Imitatio I-III (1967) has characteristics which are decidedly neo-baroque--continuity of rhythm and use of traditional forms. However, harmonically the piece reflects an adaptation of the twelve-tone system. His other organ work is a transcription of Ockeghem's motet, Ut Heremita Solus.

Arthur Gelbrun, the Polish conductor and composer who came to Israel via Switzerland, contributed the important Passacaglia to organ repertory. This work is a transcription of a ballet inspired by Rodin's famous sculpture, "Les Bourgeois de Calais."

One of the most important composers of this group is Joseph Tal. In 1950 he joined the faculty of Hebrew University and in 1961 founded the first studio in Israel for the production of electronic music. He has become one of Israel's foremost composers of electronic music and is one of the few composers in Israel to exhibit an interest in opera. He wrote one organ work, Salve venia, in 1983.

There is yet a third group of Israeli composers, all born in the 1940s, who have written for the organ. Joseph Dorfman, a faculty member at Tel Aviv University, composed the colorful Phantasy, and Gabriel Iranyi wrote the sonata, Shir hamaalot, for organ. Finally, Yoram Paporisz composed the Fantasia for Organ in 1975. This work is progressive in its use of tone clusters and glissandi. (Example 5) Notational editing in the score is provided by William Y. Elias, the noted Israeli musicologist and notation expert.

Although Israel is not known as a center for organ music, numerous fine instruments exist in Jerusalem and Tel Aviv. Many of the works discussed here have been performed at Dormition Abbey or the Lutheran Church of the Redeemer, both in Jerusalem. (Appendix B and C) Through the efforts of organists Oskar Gottlieb Blarr and Elisabeth Roloff, many of these works have been performed, both in Israel and abroad. Most of these pieces are published by the Israeli Music Institute or Israeli Music Publications, Tel Aviv.

The musical life of Israel was given a new impetus in the 1930s with the arrival of European Jews fleeing the Nazi regime. What resulted was a synthesis of ideas from both the East and West. Is the result an Israeli style? The music is clearly a reflection of Israel's population representing many facets of culture and civilization--a monument to its diversity.

Bibliography

Blarr, Oskar Gottlieb. "Contemporary Organ Music." Paper presented at Rubin Academy, Tel Aviv, April 29, 1985.

Gradenwitz, Peter. Music and Musicians in Israel. Tel Aviv: Israeli Music Publications Limited, 1978.

Elias, William. Tel Aviv Music Consultants, Tel Aviv, Israel. Interview, October 1991.

Sadie, Stanley, ed. Groves Dictionary of Music. London: MacMillan Publishing Limited, 1980.

Musical Examples

Karel Salomon, Invention. Israeli Music Publications Limited.

Karel Salomon, Six Pieces based on Traditional Tunes. Israeli Music Publications Limited.

Giora Schuster, Intrata and Passacaglia Piccola. Israel Music Institute.

Yoram Paporisz, Fantasia for Organ. Israel Music Institute.

Appendix B

The Organ of the Basilica of the Dormition Abbey on Mount Zion

Built by the firm of Oberlinger Brothers

                                                PEDAL

                        16'            Principalbass

                        16'            Subbass

                        8'                Oktavbass

                        8'                Pommer

                        4'                Choralbass

                                                Hintersatz III

                        16'            Posaune

                                                II. MANUAL

                        16'            Gedacktpommer

                        8'                Principal

                        8'                Rohrflöte

                        4'                Octave

                        4'                Kleingedackt

                        22/3'      Quinte

                        2'                Superoctave

                                                Mixture V

                                                Cymbel III

                        8'                Trompete

                                                Cymbelstern

                                                III. MANUAL

                        8'                Hohlpfeife

                        8'                Salicional

                        8'                Voix celeste

                        4'                Principal

                        4'                Koppelflöte

                        2'                Waldflöte

                        1'                Octävlein

                                                Sesquialter II

                                                Fourniture V

                        16'            Dulcian

                        8'                Hautbois

                        4'                Clairon

                                                Tremulant

                                                I. MANUAL

                        8'                Holzgedackt

                        4'                Principal

                        4'                Blockflöte

                        2'                Octave

                        11/3'      Sifflöte

                                                Cymbel IV

                        8'                Krummhorn

                                                Tremulant

                                                Glockenspiel

Appendix C

The Organ of the Evangelical Lutheran Church of the Redeemer, Jerusalem (Built 1971, extended autumn 1984 by Karl Schuke, Berlin)

                                                I. MANUAL

                        8'                Principal

                        8'                Gemshorn

                        4'                Oktave

                        4'                Rohrflöte

                        22/3'      Nassat

                        2'                Waldflöte

                                                Mixtur IV-V

                        8'                Trompete

                                                II. MANUAL

                        8'                Krummhorn

                                                Scharff III

                        11/3'      Quinte

                        2'                Principal

                        4'                Blockflöte

                        8'                Gedackt

                                                Sesquialter II

                                                Tremulant

                                                PEDAL

                        16'            Fagott

                        16'            Subbas

                        4'                Nachthorn

                        8'                Oktave

                        8'                Pommer

                                                Hintersatz III

Related Content

March 18, 2024
The celebration “These people will be your friends for life,” Karel Paukert pronounced to his organ class at Northwestern University in the mid-1970s…
March 18, 2024
That ingenious business Great Britain’s King George III (1738–1820), whose oppressive rule over the American colonies led to the American…
March 18, 2024
Robert Eugene Leftwich Robert Eugene Leftwich died January 13, 2024. He was born July 2, 1940, in Texas and grew up in Longmont, Colorado. He…