J. Achron - Symphonic Variations and Sonata on a Jewish Theme (Jascha Nemtsov, piano)

Joseph Achron (1886-1943) Symphonic Variations and Sonata on a Jewish Theme, "El jinweh Hagalil" Composed in 1915 Performed by Jascha Nemtsov http://www.musica-judaica.com/disco.htm *** “The song "El jinweh Hagalil [God Will Uplift Galilee] in Hebrew was collected in Ukraine in 1911 by Sussman Kisselgof, a teacher at the Haskalah School in St. Petersburg and a very active member of the Society for Jewish Folk Music. Lazare Saminsky was the first to arrange it; later a version by Michail Gnessin followed. However, the most successful elaboration was by Joseph Achron. Bearing in mind that up to this point in time the New Jewish School had brought forth only small works (songs, short pieces for choir and instrumental works), one can imagine what a sensation was caused by this work in grand concertante form which made the highest demands on the virtuosity and powers of interpretation of the pianist. Clearly, with such an imposing work the composer was claiming a position for Jewish music equal to that of other great musical nations. The word "symphonic" in the title is without doubt a reference to Robert Schumann's "Symphonischen Etüden in Form von Variationen" [Symphonic Studies in Form of Variations]. Achron "outdid" his famous predecessor by adding a sonata on the same theme to the Variations. At the time, Joseph Achron was a world-famous violinist and in 1911 he joined the Society for Jewish Folk Music. Even his first "Jewish" compositions - including "Hebrew Melody", which became known all over the world through Jascha Heifetz - were not content with being purely folkloristic but attempted to develop the Jewish idiom into an independent musical language. The Variations were a further step in this direction. The theme is closely related to synagogal bible cantillation, indicated by the psalmodic repetition of notes and the melodic idioms (tropes), with which each motif ends. The symmetrical construction of the form, and particularly the strict march-like rhythm are typical of Hasidic sacred songs. "The strange thing is, that these songs very often have a pronounced march rhythm, even when the text celebrates the highest things of all, God, and eternity... To me, they symbolise most successfully the firm, resolute, and upright stride of a devout soul. One sees, as it were, armies of like-minded champions of God advancing in vast united throngs." - Max Brod In the Variations, of which there are sixteen, the colourful and effective orientalism evokes the spirit of the "Mighty Handful". Exotic images alternate with virtuoso variations modeled on Paganini. Everything is shaped by the theme which sometimes even leaves its European Ashkenazi home and then sounds clearly oriental and Sephardic (Variations 5 and 9). The sonority of Variation No. 15, with its powerful chords and vigorous glissandi, could compete with "The Great Gate of Kiev". However, it then gives way to the undecided and wistful last Variation which leads into the Sonata. The Sonata is dominated by four new forms of the folk song: an energetic march at the first subject, an even faster, swirling, second subject in which it is possible to hear the babble of a fairground; a rigorous fugue for six voices (!) instead of a development, reminiscent of Bach or even more of Achron's contemporary Taneyev; and the mighty hymn-like coda, where the theme unexpectedly takes on monumental stature.” Jascha Nemtsov. Liner notes for ACROSS BOUNDARIES: DISCOVERING RUSSIA 1910-1940, VOL. 2: THE NEW JEWISH SCHOOL, Jascha Nemtsov, EDA Records EDA 14-2, 1999, compact disc.