Joachim Stutschewsky

Joachim Stutschewsky with Alexander Schaichet

Joachim Stutschewsky , actually Yehoyachin Stutschewsky , ( Hebrew יהויכין סטוצ'בסקי, Russian Иоахим Стучевский ; * March 26th ^jul. / April 7,  1891 ^greg. in Romny in Poltava Oblast , Russian Empire ; † November 14, 1982 in Tel Aviv ) was a Russian- Israeli cellist , composer and musicologist .

Life

His father, Kalmen-Leyb Stutschewsky, came from a family of Jewish minstrels ( klezmorim ), was a clarinetist and directed the family orchestra in the Poltava district in Ukraine. He received violin lessons as a child, but switched to the cello at the age of eleven. A year later he was playing in the orchestra of the city of Nikolaev and also appeared as a soloist. From 1909 to 1912 he studied at the Royal Conservatory of Music in Leipzig with Julius Klengel and became a member of the Jena String Quartet .

He then lived in Zurich from 1914 to 1924 and became interested in Jewish music for the first time in the vicinity of Zionist circles . This did not mean the music of the great Jewish composers such as Meyerbeer , Mendelssohn , Halévy or Mahler , but the music for “[…] preserving and preserving the Jewish peculiarities in artistic creation, the right to shape the Jewish way of being and to respect one's own Need for creativity: Not about music by Jews, but about Jewish music. ” The basis of this New Jewish School in Music was the musical tradition of Eastern Jewry from everyday life and the synagogue.

Stutschewsky gave private lessons and gave many concerts in Switzerland, where, in addition to contemporary music, he also played Jewish music for a non-Jewish audience. From 1924 he was in Vienna (1928: Belvederegasse 10/11: Grosse Neugasse 2, 1934) established and founded by Rudolf Kolisch , Fritz Rothschild (violin) and Marcel Dick (Viola), the Vienna String Quartet and the pianist Friedrich Wührer the Vienna Duo . With these ensembles he mainly devoted himself to compositions of the Second Viennese School . In addition, he made a lasting contribution to Jewish music and worked in the Association for the Promotion of Jewish Music . He organized concerts with this music in Vienna and many European countries and was a leader in the Association for the Promotion of Jewish Music . He spanned an extensive network of Jewish music organizations, making Vienna the international center for Jewish music societies. He published numerous treatises on Jewish music and musicians of the New Jewish School , the relationship between Jewish music and other musical cultures. In 1936 a collection of essays was published in Vienna under the title Mein Weg zur Jewish Musik . In this way he became the most important theoretician and mediator of the New Jewish School .

His four-volume work Das Violoncellspiel , published in the 1930s and highly regarded by Casals and Feuermann , became the standard textbook at the Juilliard School in New York and at the Curtis Institute of Music in Philadelphia as well as in the Soviet Union .

A few days prior to the connection of Austria to the German Reich in 1938 fled Stutschewsky to Switzerland, where he could count on the support of numerous sponsors. From there he emigrated to Palestine . He became music representative of the Jewish National Council and organized concerts in Tel Aviv. He traveled almost all over the country and gave lectures on Jewish and Hasidic music, which he accompanied by playing the cello. In addition, he published essays on the development of Israeli music and carried out extensive collecting activities in the field of Hasidic songs. He was increasingly active as a composer again and, in his second creative period, also processed folk music by Yemeni and Sephardic Jews.

Today his estate forms one of the largest collections in the Archives for Israeli Music in the Felicja Blumenthal Music Center in Tel Aviv.

Stutschewsky was married twice:
Regina (Rewekka, "Wecki") Schein (cellist; 1908 Zurich - 1999 London)
Julia Bliudz (singer, October 25, 1908 Tsarskoe Selo -?).

Awards (selection)

• 1963 Piatigorsky Prize of the New York Cello Society
• 1966 Honorary Award of the City of Tel Aviv
• 1973 Israel Philharmonic Orchestra Prize

Works (selection)

Fonts

• Studies of a new playing technique on the cello . Schott publishing house, Mainz 1927–1929.
• The cello game. Systematic school from beginning to end . Schott publishing house, Mainz 1932–1937.
• My way to Jewish music . Jbneh-Verlag, Vienna 1936.
• The Folklore of the Jews of Eastern Europe . Tel Aviv 1958 (in Hebrew).
• Jewish minstrels (klezmorim) . Tel Aviv 1959 (in Hebrew translation).
• Hassidic Tunes, Collected and Edited by J. Stutschewsky , 3 vols., Tel Aviv 1970–1973.
• The life path of a Jewish musician. A life without compromise (1944–76) Tel Aviv 1977 (in Hebrew translation).
• The Vilna Balebessel. Texts and letters . Edited by Silja Haller, Antonina Klokova, Jascha Nemtsov and Sophie Zimmer. Wiesbaden 2013 (Jewish Music, Volume 13)
• Hundreds of specialist articles in German and Hebrew .

Compositions

• 13 Jewish folk tunes for violin (or violoncello) and piano (1924)
• Palestinian sketches for piano (1931)
• Trois pièces hébraïques (Kinah - Méditation Chassidique - Freilachs) for cello and piano (1933/34)
• Suite for violin and piano in four movements (1940)
• Duo for violin and violoncello in four movements (1940)
• "Israeli Suite" for cello and piano (1942)
• Three improvisations for flute and piano (1943)
• "Israeli Landscapes" (Galilee - Negev - Jerusalem - Emek) for piano (1950)
• "Songs of Radiant Mourning" cantata for speaker, mezzo-soprano, baritone, singing and speaking choir and orchestra (1958)
• Safed , Symphonic Poetry (1960); WP: IPO , Paul Kletzki
• "In the mirror through 24 hours" cantata for speaker, soprano, tenor and instruments (1960)
• Suite Israel for orchestra (1964)
• "Three for Three" for three cellos (1967)
• Kol Nidrei , for viola and piano (1972)
• Hasidic Fantasy for clarinet, cello and piano (1972)
• Chassidic Suite for violoncello and piano (1969)
• Numerous songs
• Numerous arrangements, transcriptions and arrangements of works by other composers for cello and piano

Sound carrier

• In Hassidic Mood. Joachim Stutschewsky's Compositions for cello and piano . Emanuel Gruber, violoncello, Michael Boguslavsky, piano. 1993, barcode 1089-9202.
• Eli Zion - from St. Petersburg to Jerusalem . With works by Joachim Stutschewsky, among others, David Geringas, violoncello; Jascha Nemtsov, piano. 2005, hänssler CLASSIC / SWR.
• The New Jewish School: St. Petersburg - Moscow - Berlin - Vienna . Works by Joachim Stutschewsky among others: Helene Schneiderman, mezzo-soprano; Ingolf Turban, violin; Tabea Zimmermann, viola; Jascha Nemtsov, piano. hänssler CLASSIC / SWR 2001 (double CD).

literature

• Salomon Wininger : Large Jewish National Biography with more than 11,000 biographies of well-known Jewish men and women of all times and Countries. A reference work for the Jewish people and their friends . Volume 6, Tipografia “Arta”, Czernowitz, undated (1931), p. 60f.
• Encyclopaedia Judaica . Keter Publishing, Jerusalem 1972, Volume 15, p. 462.
• Biographical handbook of German-speaking emigration after 1933 . (Eds. Herbert A. Strauss , Werner Röder). KG Saur Verlag, Munich 1983, Volume 2, p. 1144, ISBN 3-598-10089-2 .
• Brockhaus-Riemann Musiklexikon edited by Carl Dahlhaus, Hans Heinrich Eggebrecht and Kurt Oehl. Mainz 1995, Volume 4, p. 209.
• Darryl Lyman: Great Jews in Music . Jonathan David Publ. Inc., Middle Village, NY, 1986, p. 311, ISBN 0-8246-0315-X .
• Peter Gradenwitz: The music of Israel . Amadeus Press, Portland Oregon 1996, ISBN 1-57467-012-3 .
• Max Brod : The Music of Israel . Bärenreiter Verlag, Kassel 1976, ISBN 3-7618-0513-6 .
• Susanne Blumesberger, Michael Doppelhofer, Gabriele Mauthe: Handbook of Austrian authors of Jewish origin from the 18th to the 20th century. Volume 3: S – Z, Register. Edited by the Austrian National Library. Saur, Munich 2002, ISBN 3-598-11545-8 , pp. 1343f.
• Jascha Nemtsov: The New Jewish School in Music . Harrassowitz Verlag, Wiesbaden 2004, ISBN 3-447-05034-9 .
• Olga Brainin: The extensive archive of Joachim Stutschewsky in Tel Aviv . In: Jewish art music in the 20th century: sources, history of development, style analyzes . Jascha Nemtsov (Ed.) Harrassowitz Verlag, Wiesbaden 2006, pp. 37–45, ISBN 3-447-05293-7 .

Documents

Letters from Joachim Stutschewsky are in the holdings of the Leipzig music publisher CFPeters in the Leipzig State Archives .

Web links

• Literature by and about Joachim Stutschewsky in the catalog of the German National Library
• Joachim Stutschewsky in the Lexicon of Persecuted Musicians of the Nazi Era (LexM)
• CV with photo
• From the entry in The New Grove Dictionary of Music and Musicians

Individual evidence

1. ^ Joel Rubin: hagalil.com, June 15, 2005
2. ↑ Zionister student association "Hechawer"
   Source: J. Nemtovs, "Enzyklopädisches Findbuch zum Archiv der Neue Jüdische Schule", p. 339
3. ↑ Joachim Stutschewsky: On the question of Jewish music . In: Die Neue Welt of October 4, 1929, p. 10.
4. ↑ The quartet brought z. B. on January 8, 1927 Alban Berg's Lyric Suite premiered.
5. ↑ ^{a b} State Archives Basel-Stadt Signature: PD-REG 3a 19368 ( [1] )
6. ↑ Details on Regina Schein ( Memento from September 28, 2007 in the Internet Archive )
7. ↑ Biographical Handbook of German-Speaking Emigration , aas Lit.