1934 Palestine SIGNED Sheet Music STUTSCHEWSKY Cellist JEWISH COMPOSER Chassidic

Description

DESCRIPTION
:
Here for sale is an
0ver
8
0 years old ORIGINAL AUTOGRAPHED HERBREW - JEWISH - R
USSIAN
sheet music which was published in 19
34
( Dated )
in
ERETZ ISRAEL -
PALESTINE by edition “
NAIDAT
” . STUTSCHEWSKY
was one of the
the RUSSIAN - JEWISH MUSICIANS of the
“ST. PETERSBURG SOCIETY for JEWISH FOLK MUSIC” (
Russian - Obshchestvo Evreiskoi Narodnoi Muzyki . Yiddish -
Gezelshaft far Yidisher Folks-Muzik
)
namely JOACHIM STUTSCHEWSKY
,
JOSEPH ACHRON , SHMUEL ALMAN , JULIUS JOEL ENGEL , MICHAEL GNESSIN , ALEXANDER KREINE, MICHAEL LEWIN and MICHAEL MILNER )
. This is
a
sheet music for "
CHASSIDIC DANCE" for PIANO
by the Jewish composer of Russian
descent JOACHIM STUTSCHEWSKY
, The acclaimed Jewish Cellist and composer . The sheet music - musical score is
BOLDLY HAND SIGNED - AUTOGRAPHED with blue pen by the composer
JOACHIM STUTSCHEWSKY.
The sheet music size is around 12 x 9".  Written in HEBREW and
ENGLISH
. Very good condition. Slight foxing.
( Please look at scan for actual AS IS images )
Will be sent in a special protective rigid sealed packaging.
PAYMENTS
:
Payment method accepted : Paypal .
AUTHENTICITY
:
This SHEET MUSIC is an ORIGINAL HAND SIGNED - AUTOGRAPHED 19
34
publication , NOT a reproduction or a reprint  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
SHIPPMENT
:
Shipp worldwide via registered airmail is $ 19
.
Will be sent  in a special protective rigid sealed packaging.
Will be sent around 5 days after payment .
Most biographies of Jewish artists of the twentieth century are marked by frequent changes of place, flight and expulsion. The life of Joachim Stutschewsky (1891-1982) was particularly restless. In his memoirs, he compares himself to a traveling Jewish musician – a klezmer who was never allowed to remain anywhere for long and was never able to find rest. Stutschewsky was quite familiar with the east European klezmer milieu from his own experience, since he was born into a well-known klezmer family in Ukraine. Like all family members for many generations, he began taking music lessons at a young age and then played in his father's klezmer ensembles. In 1909, Stutschewsky went to Leipzig to study cello with Julius Klengel at the conservatory. After finishing his studies, Stutschewsky first returned to Russia, but soon fled abroad once again to escape having to serve in the Russian military. Then he lived in Jena, where he began to play a large number of concerts as soloist and chamber musician. When the First World War broke out, he had to flee once again because he was a Russian citizen, and moved to Switzerland, where he organized the first concerts of Jewish folk and art music. He moved to Vienna in 1924 and together with Rudolf Kolisch founded the famous Vienna String Quartet, which won international renown with its premieres of works by composers in the New Vienna School founded by Arnold Schoenberg. In Vienna, Stutschewsky also continued his activities in the area of Jewish music as a composer, cellist, journalist and organizer. He was the spiritus rector of the Society for the Promotion of Jewish Music. In 1938, shortly before the arrival of the German troops, he fled to Switzerland and emigrated that same year to Palestine, where at first he continued to perform concerts of new Jewish music as well as holding lectures throughout the country. From the 1950's on, he devoted himself nearly exclusively to composing. In his work, Stutschewsky unites the traditional Jewish idiom with a musical language that was often quite advanced. Elements of the folk music of Ashkenazi, Sephardic and Yemenite Jews from a wide variety of different countries who had now made their homes in Israel found their way into his compositions. Stutschewsky, Joachim [Yehoyachin] (b Romny, Ukraine, 7 Feb 1891; d Tel-Aviv, 1981). Israeli cellist, composer and scholar. His father was a klezmer musician. Stutschewsky studied the cello at the Leipzig Conservatory (1909--12). After returning to Russia, he was soon smuggled to the border to avoid forced conscription. A difficult period as an impoverished cellist in Paris and Jena followed. In 1914 he moved to Zurich where he met Joel Engel and became active performing Jewish music. He settled in 1924 in Vienna, where he became for a time the cellist in the celebrated Kolisch Quartet, which gave first performances of works by Schoenberg, Berg and Webern. He published articles in Jewish periodicals, mostly Die Stimme, corresponded with colleagues in Jerusalem and was involved with the founding of the World Centre for Jewish Music in 1937. A dedicated pedagogue, he also wrote a treatise on cello playing. In 1938, immediately after the Nazi Anschluss, Stutschewsky and his wife Julia, a soprano, emigrated to Palestine. He was appointed inspector for Jewish music by the general council that ran the Jewish autonomy under British mandate. Despite the dismal economic situation, he organized concerts of Jewish folk and art music in Tel-Aviv, which he funded himself. He also presented lecture-recitals throughout the country, using his travels to collect and transcribe Hassidic tunes. He founded a string quartet with Kaminsky, leader of the Palestine Orchestra, and performed piano trios with Taube. As a composer Stutschewsky preferred small forms, dominated by the idiom of Jewish prayer modes ('Prayer' from Israeli Suite, 1977). His deep commitment to Schoenberg and his circle was also expressed in a few works (Composition for Violoncello, 1970). As a scholar he published transcriptions and studies of Hassidic music and biographies of great klezmer musicians. His many periodical and newspaper articles express his total dedication to the struggle for the recognition and dissemination of Jewish music. WORKS (selective list) Orch: Concertino, cl, orch, 1957; To the Youth, str, 1958; Fantasia, ob, hp, str, 1959; Concertante, fl, str, 1963 Vocal: Mizmor leilibi [Song to my heart] (M. Stekelis), 1v, fl, str qt, 1954; Bat Harim [The girl from the mountain] (U. Offek), chorus, 1955; 5 Songs (Offek, L. Goldberg, S. Levi, F. Bergstein, N. Alterman), 1v, pf, 1955; Herzl (A. Broides), SA, cl, 1956; more than 30 other brief song collections Chbr and solo inst: Elli, elli, lama asawtanu [Lord, why have you forsaken us], vc, pf (1923); 4 judische Tanzstucke, pf, 1929; The Art of Playing the Vc, 6 vols., 1932 [studies]; Hassidic Dance, pf, 1934; Landscapes of Israel, pf, 1950; Kaddish, vc, pf, 1957; Three for Three, 3 vc, 1967; Composition, vc, 1970; Israeli Suite, vc, pf, 1977; arrs. and transcrs. for vc MSS in IL-Ta Principal publishers: Culture and Education Centre of the Histadrut, Israel Music Institute, Israeli Music Publications, Jibneh, Juwal, Or-Tav, Peters, Schott, Schirmer, Universal WRITINGS Die Kunst des Cellospiels, i--ii (Mainz, 1929); iii--iv (Vienna, 1938) Mein Weg zur judischen Music (Vienna, 1935) Musika yehudit [Jewish music] (Tel-Aviv, 1946) Klezmerini (Jerusalem, 1959) [on Jewish folk musicians] Musical Folklore of Eastern Jewry (Tel-Aviv, 1959) Zikhronot: korot hayav [Memoirs: the life of a Jewish musician] (Tel-Aviv, 1977) BIBLIOGRAPHY U. Voss: Joachim-Yehoyachin Stutschewsky: a Complete Catalogue of his Works (Tel-Aviv, 1980) P.V. Bohlman: The World Centre for Jewish Music in Palestine 1936--1940 (Oxford, 1992) J. Hirschberg: Music in the Jewish Community of Palestine 1880--1948 (Oxford, 1995) P. Gradenwitz: The Music of Israel (Portland, OR, 1996) STUTSCHEWSKY, JOACHIM STUTSCHEWSKY, JOACHIM (1891–1982), composer, cello player, and folklorist. Stutschewsky was born in Romny (Ukraine) to a family of musicians who had been klezmerim (entertainment players) for several generations. After studying at the Leipzig Conservatory (1909–11) he joined the Jena string quartet and played with the local orchestra. From 1918 to 1924 he stayed in Zurich, where he was active as soloist, chamber-music player, and cello teacher, and began to write his treatise on the art of cello playing which became recognized as one of the major modern manuals and has also been published as an official method in Russia. In Zurich, Stutschewsky began to promote lectures on and concerts of Jewish music, in cooperation with the movement begun by the Society for Jewish Folk Music. From 1924 to 1938 he stayed in Vienna and undertook concert tours dedicated to Jewish music in several countries. Going to Ereẓ Israel in 1938, he established himself as one of the most influential musical personalities in the country, continuing as a cello pedagogue, composer, lecturer, and writer. Stutschewsky's style as a composer began in the East European vein and also absorbed in Israel the local influences of the Near Eastern Jewish communities and the emergent new folk-song styles. His earlier writings, as well as his many arrangements of folk and traditional melodies, were a part of the efforts made during the 1920s and 1930s to propagate the cause of Jewish music as such. In the later ones, such as the book Ha-Klezmerim (1959) and the collections Zemer Am (1940) and 120 Niggunei Ḥasidim (1950), he turned to specific tasks of collection and preservation including, in Ha-Klezmerim, invaluable reminiscences and materials from his own family and regional traditions of the klezmer's life and activities. In the field of general music Stutschewsky published a considerable number of arrangements and transcriptions for cello, which also became repertoire standards, and augmented his cello manual by several books of etudes. His other compositions include a symphonic poem Safed (1960) and other orchestral work; incidental music for the *Ohel Theater's Fishke ha-Ḥigger, based on *Mendele Mokher Seforim's novel (1939); cantatas to texts by S. Shenhod; chamber music for various combinations; piano pieces (including Ze'eiriyyot, Miniatures for Children, 1946); cello pieces; numerous original and arranged songs to Hebrew texts; and arrangements of East European Jewish songs. He also wrote Mein Weg zur juedischen Musik (1936), and autobiographical notes in Taẓlil, 8 (1968), 65–67. Joachim-Yehoyachin Stutschewsky, (Hebrew: יהויכין סטוצ'בסקי‎, Russian: Иоахим Стучевский, b. February 7, 1891, Romni (Ukrainian: Romny), guberniya of Poltava, Ukraine - d. November 14, 1982, Tel Aviv, Israel) was a Ukraine-born Austrian and Israeli cellist, composer, musicologist. Most biographies of Jewish artists of the twentieth century are marked by frequent changes of place, flight and expulsion. The life of Joachim Stutschewsky (1891-1982) was particularly restless. In his memoirs, he compares himself to a traveling Jewish musician – a klezmer who was never allowed to remain anywhere for long and was never able to find rest. Stutschewsky was quite familiar with the east European klezmer milieu from his own experience, since he was born into a well-known klezmer family in Ukraine. Like all family members for many generations, he began taking music lessons at a young age and then played in his father's klezmer ensembles.In 1909, Stutschewsky went to Leipzig to study cello with Julius Klengel at the conservatory. After finishing his studies, Stutschewsky first returned to Russia, but soon fled abroad once again to escape having to serve in the Russian military. Then he lived in Jena, where he began to play a large number of concerts as soloist and chamber musician. When the First World War broke out, he had to flee once again because he was a Russian citizen, and moved to Switzerland, where he organized the first concerts of Jewish folk and art music.He moved to Vienna in 1924 and together with Rudolf Kolisch founded the famous Vienna String Quartet, which won international renown with its premieres of works by composers in the New Vienna School founded by Arnold Schoenberg. In Vienna, Stutschewsky also continued his activities in the area of Jewish music as a composer, cellist, journalist and organizer. He was the spiritus rector of the Society for the Promotion of Jewish Music.In 1938, shortly before the arrival of the German troops, he fled to Switzerland and emigrated that same year to Palestine, where at first he continued to perform concerts of new Jewish music as well as holding lectures throughout the country. From the 1950's on, he devoted himself nearly exclusively to composing. In his work, Stutschewsky unites the traditional Jewish idiom with a musical language that was often quite advanced. Elements of the folk music of Ashkenazi, Sephardic and Yemenite Jews from a wide variety of different countries who had now made their homes in Israel found their way into his compositions. The New Jewish School can be compared to other national currents, forming the European musical landscape since the middle of the 19th century. While Russian, Czech, Spanish or Norwegian national music was able to unfold and establish itself in the cultural conscience, the development of the Jewish school was violently terminated by the Stalinist and national-socialist policy after only three decades.The history of the New Jewish School started in the first decade of the 20th century. In 1908 the Society for Jewish folk music was founded in St. Petersburg - the first Jewish musical institution in Russia. Important composers, such as Joseph Achron, Michail Gnesin, Alexander Krejn, Moshe Milner, Solomon Rosowsky, Lazare Saminsky and others joined it. In contrast to Jewish composers from Western Europe these young artists did not lose their connection to the Jewish community. The more than five million Jews in Russia (at that time about half of the Jews in the world) lived in old traditions, which remained a nurturing soil and a source of inspiration for musicians. Initially, the activities of the Society concentrated on the collection, processing, publication and presentation of Jewish folklore. At the same time more and more original compositions were created, which were published in its own publishing company. Additionally, concerts, lectures and ethnologic expeditions were organized. By 1913, the Society already had more than one thousand members; subsidiaries were opened in seven cities. For young composers (about twenty five of them) the Society was a union of kindred spirits, where discussions could be held and a familiar atmosphere prevailed. As a result of the political and economic collapse in the years 1918 to 1921, the Petersburg Society and its subsidiaries in other cities had to discontinue their work. Most of the leading members from Petersburg emigrated during this time, while the members in Moscow had smaller losses. This is why the center o f Jewish music re-located from Petersburg to Moscow in the 1920s. In Moscow the Society could be revived. David Schor, the first president of the newly formed Society for Jewish music, stressed in a lecture, that in contrast to the previous Society for Jewish folk music, performances, expenses and spreading of Jewish art music would be the center of attention. It was clear from the beginning that the activity of the Society would not attain the same dimensions as its predecessor. Its activities concentrated predominantly on concerts. These concerts played a crucial role for the new Jewish music, as they offered the composers a platform which they normally would not have had. This was especially an important incentive for young composers to devote themselves to Jewish music. In the years 1923 to 1929 hundreds of works (for the most part chamber music), some of which were exclusively composed for the concerts of the Society, were created in this way. The programs were worked out by a music commission, which included, among others, the composers Michail Gnesin, the brothers Grigori and Alexander Krejn and Alexander Weprik.One can judge the high standard of the Society by looking at the names of the performers. First-class Jewish and Russian artists, like the pianist Maria Judina or the members of the famous Beethoven quartet remained linked with the Society throughout the entire time of its existence.Starting in 1925 the Society for Jewish music was attacked by music officials for its repertoire. Serious signs of a crisis became evident at the end of 1927. The Society was increasingly steered by communists. They demanded a complete re-orientation, especially a repertoire that met the requirements of Jewish working people. The days of most Jewish cultural institutions were already numbered - the last event of the society is dated December 22nd, 1929. Jewish artists had to adapt to the reigning cultural doctrine of socialist realism and had to deny their Judaism.But at that time the New Jewish School was no longer confined to Russia. It also had a considerable influence on international Jewish musical life. Just as its activities in Russia had almost come to a standstill, this music spread throughout Europe, with Vienna as the most outstanding center. In 1928 a Society for the Promotion of Jewish Music was founded in Vienna. Its most important composers were Israel Brandmann, Joachim Stutschewsky and Juliusz Wolfsohn.Not only was the New Jewish School a victim of Stalinist antisemitic politics in the Soviet Union in the 1930s, but in other countries too its development was thwarted more and more by antisemitism. The final end came with NS-domination over West- and Central Europe, leading to the expulsion and murder of Jewish musicians       ebay2850