Josef Valley

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Josef Tal in 1987

Josef Tal ( Hebrew יוסף טל; * September 18, 1910 in Pinne near Posen ; † August 25, 2008 in Jerusalem ; actually: Grünthal , also Joseph Tal ) was an Israeli composer . Josef Tal can be seen as one of the co-founders of Israeli classical music .

Life

Josef Tal with his father Julius Grünthal (1917)

Tal was born in Pinne in what is now Poland . In 1910 the parents, Ottilie and rabbi Julius Grünthal, and his older sister Grete moved to Berlin, where the family ran a private orphanage from then on. Rabbi Julius Grünthal was a lecturer at the University for the Science of Judaism and specialized in the philology of ancient languages.

Study time

Josef Tal studied at the Musikhochschule Berlin with Paul Hindemith , Max Trapp (piano, composition), Heinz Tiessen ( music theory ), Max Saal ( harp ), Curt Sachs (instrumentation), Fritz Flemming ( oboe ), Georg Schünemann (music history), Charlotte Pfeffer and Siegfried Borris (ear training), Siegfried Ochs (choir singing), Leonid Kreutzer (piano methodology) and Julius Prüwer (conducting). Paul Hindemith - his composition and theory teacher - introduced Tal to Friedrich Trautwein , who ran a studio for electronic music at the university . Tal finished his studies at the college in 1931 and a year later married the dancer Rosie Löwenthal. Tal worked as a piano teacher and accompanied dancers and singers, and he also worked as a pianist in silent films.

Palestine

In 1934 Tal left Nazi Germany with his wife and son Re'uven (1932–1967) - later a member of Kibbutz Megiddo , killed in the Six Day War  - and emigrated to Palestine . There he worked for a short time as a photographer in Haifa and Hadera . The family then moved to Kibbutz Beit Alpha and later to Kibbutz Gescher , where Tal intended to devote himself to his music. Since it was difficult for the family to adapt to the social rules in the kibbutz, they settled in Jerusalem , where Josef Tal made professional and social contacts. He performed as a pianist, gave piano lessons and occasionally played the harp in the newly founded Palestine Orchestra . In 1937, Tal and Rosie Löwenthal were divorced.

Jerusalem

From 1937 on, at an invitation from Emil Hauser , he taught piano, music theory and composition at his Palestine Conservatory, which he founded in 1933 . In 1948 he was appointed director of the Jerusalem Academy for Music and Dance , which he directed until 1952. In 1940 he married the sculpture artist Pola Pfeffer. In 1951 Tal was appointed professor at the Hebrew University of Jerusalem , where he founded the Center for Electronic Music in Israel in 1961 . He published academic articles and wrote many entries in the Encyclopaedia Hebraica . In 1965 he was appointed senior professor and later head of the Hebrew University Music Department, a post he held until 1971. Well-known students are the composers Ben-Zion Orgad , Robert Starer, Naomi Schemer , Jacob Gilboa , Yehuda Sharett, the musicologist Michal Smoira-Cohn, the cellist Uzi Wiesel and the soprano Hilde Zadek .

Tal was an avid teacher. He represented Israel in the conferences of the International Society for New Music and participated in lectures and symposiums around the world. Tal was a member of the Berlin Academy of the Arts and a fellow at the Wissenschaftskolleg zu Berlin .

Josef Tal has received numerous awards for his work, including the Israel Prize (1970), the Engel Prize of the City of Tel Aviv in 1949, 1958 and 1977 , the Art Prize of the City of Berlin (1975), the Wolf Prize Prize (1982), the Federal Cross of Merit 1st Class (1984) and the Johann Wenzel Stamitz Prize (1995).

Works

Tal proofreading a manuscript (2006)

Operas

  • Amnon and Tamar (Amnon and Tamar) (1959). Opera in one act for mezzo-soprano, tenor, baritone, bass, male choir and chamber orchestra. Libretto: Recha Freier after 2 Sam 13  EU .
  • Ashmedai (1969; world premiere in Hamburg State Opera , November 9, 1971). Opera in 2 acts for 2 sopranos, mezzo-soprano, 6 tenors, 5 baritones, 2 basses, mixed choir, tape and symphony orchestra. Libretto: Israel Eliraz
  • Massada 967 (1972). Opera in 15 scenes for 3 sopranos, 2 old men, 8 tenors, 6 baritones, 2 boy sopranos, narrator, two-part male choir (baritone, bass) and tape. Libretto: Israel Eliraz
  • The Temptation (1975). Opera in 2 acts for 6 tenors, 4 baritones, bass, mixed choir, tape and symphony orchestra. Libretto: Israel Eliraz
  • The tower (The Tower) (1983). Opera in 2 acts for 3 sopranos, mezzo-soprano, 7 tenors, 4 baritone, 3 basses, 5 narrators, mixed choir, tape and symphony orchestra. Libretto: Hans Keller
  • The Garden (1987). Chamber opera in 7 scenes for soprano, tenor, narrator and instrumental ensemble. Libretto: Israel Eliraz
  • Josef (1993). Opera in 2 acts for 2 sopranos, mezzo-soprano, 2 tenors, 2 baritones, bass, mixed choir and symphony orchestra. Libretto: Israel Eliraz

Works for keyboard instruments

Josef Tal's Piano Concerto No. 2 (1953)
  • Pieces for Piano (1931) for piano four hands
  • Chaconne (1936) for piano
  • Three Pieces (1937) for piano
  • Cum Mortuis In Lingua Mortua (1945). 7 variations for piano on a theme by Mussorgsky
  • Six Sonnets (1946) for piano
  • Sonata (1949) for piano
  • A Little Walk (1951) for piano four hands
  • Five Inventions (1956) for piano
  • Dodecaphonic Episodes (1962) for piano
  • Concerto No. 5 (1964) for piano and MagT
  • Concerto (1964/1977) for harpsichord and MagT
  • Concerto No. 6 (1970) for piano and MagT
  • Five Densities (1975) for piano
  • Salva Venia (1983) for organ
  • Five Essays IV (1986-2000) for piano
  • A Tale in Four Parts (1988) for piano four hands

Works for orchestra and instrumental ensembles

  • Suite (1937) for violoncello
  • Sonata (1937) for violoncello
  • Prelude (1939) for chamber orchestra
  • Suite (1940) for viola
  • Theme and Variations on Expressions of Time (1940) for 2 pianos and percussion
  • Concerto No. 1 (1945) for piano and symphony orchestra
  • Lament (1947) for violoncello and harp
  • Hora (1949) for violoncello and harp
  • Reflections (1950) for string orchestra
  • Sonata (1952) for oboe and piano
  • Sonata (1952) for violin and piano
  • Symphony No. 1 (1952)
  • Concerto No. 2 (1953) for piano and symphony orchestra
  • Duo (1953) for 2 flutes
  • Concerto (1954) for viola and symphony orchestra
  • String Quartet No. 1 (1954)
  • Festive Vision (1959) for symphony orchestra
  • Intrada (1959) for harp
  • Symphony No. 2 (1960)
  • Sonata (1960) for viola and piano
  • Concerto (1960) for violoncello and string orchestra
  • Structure (1962) for harp
  • String Quartet No. 2 (1963)
  • Duo (1965) for viola and piano
  • Woodwind Quintet (1966)
  • Fanfare (1968) for 3 trumpets and 3 trombones
  • Double Concerto (1969) for violin, cello and chamber orchestra
  • Concerto (1971/1980) for harp and MagT
  • Treatise (1973) for violoncello
  • Trio (1973) for violin, violoncello and piano
  • Shape (1975) for flute, oboe, clarinet, bassoon, trumpet, 2 horns, trombone, percussion and string quintet
  • Concerto (1977) for flute and chamber orchestra
  • Symphony No. 3 (1978) for symphony orchestra
  • Double Concerto (1979) for 2 pianos and symphony orchestra
  • Concerto (1980) for clarinet and chamber orchestra: horn and strings
  • Movement (1980) for tuba and piano
  • Dance of the Events (1981/1986) for symphony orchestra
  • Piano Quartet (1982) for violin, viola, cello and piano
  • Imago (1982) for chamber orchestra
  • Chamber Music (1982) for soprano recorder, marimbaphone and harpsichord
  • Symphony No. 4 (1985) for symphony orchestra
  • In Memoriam of a Dear Friend (1985) for violoncello
  • Symphonic Fanfare (1986) for symphony orchestra
  • String Quartet No. 3 (1987)
  • Duo (1989) for trombone and harp
  • Dispute (1989) for harp
  • Symphony No. 5 (1991) for symphony orchestra
  • Symphony No. 6 (1991) for symphony orchestra
  • Duo (1992) for oboe and cor anglais
  • Quartet (1994) for tenor saxophone, violin, viola and violoncello
  • Perspective (1996) for viola
  • Good Night (2005) for 2 recorders

Vocal compositions

Solo singing without accompaniment

Solo voice with instrumental accompaniment

  • Three songs of peace (Three Songs of Serenity) (1936) for soprano and piano. Texts: Paul Verlaine , Georg Heym , Christian Morgenstern (G)
  • Festive Prologue (1950) for narrator and 2 pianos. Text: Rachel Bluwstein
  • Three Songs (1936/1955) for soprano and piano. Text: Rachel Bluwstein
  • Song (1971) for baritone or alto, flute, horn, 2 tom toms and piano. Text: Heinrich Heine
  • My Child (1975) for soprano and clarinet. Text: Natan Jonatan
  • Else Homage (1975). Chamber scene for mezzo-soprano, narrator, horn, piano, viola and violoncello. Text: Israel Eliraz
  • The Hand (1987). Dramatic scene for soprano and violoncello. Text: Israel Eliraz
  • Wars Swept Through Here (1991) for baritone, flute / picolo, English horn, clarinet, tenor saxophone, horn, trumpet, trombone, tuba, percussion (1), piano, viola and violoncello. Text: Israel Eliraz
  • Bitter Line (1991) for baritone, clarinet, bassoon, horn, 2 violins, violoncello and double bass. Text: Israel Eliraz
  • My Blue Piano (My Blue Piano) (1993) for mezzo-soprano and piano. Text: Else Lasker-Schüler

Solo voice with orchestra

  • Exodus (1946). Symphonic poem for baritone and symphony orchestra. Text: Exodus , Book of Psalms
  • Concerto No. 3 (1956) for tenor, piano and chamber orchestra. Text: Eleazar Ha'Kalir
  • Saul at Ein Dor (1955). Opera concertante for narrator, mezzo-soprano, tenor, baritone and chamber orchestra. Text: 1 Sam 28.3-25  EU

Works for choir a cappella and with instrumental accompaniment

  • On the Way (1936) for 4 female voices. Texts: Rachel Bluwstein
  • 3 Songs on Yemenite Themes (1952) for choir
  • Alenu Leshabe'ach (1954) for three-part female choir, tenor, piano / organ
  • Succoth Cantata (1955) for soprano, alto, tenor, bass, mixed choir and chamber orchestra. Text: Eleazar Ha'Kalir
  • The Death of Moses (1967). Requiem for alto, tenor, bass, mixed choir, chamber orchestra and MagT. Text: Yehuda Ya'ari
  • Parade of the Fallen (Misdar Ha'Noflim) (1968) cantata for soprano, baritone, mixed choir and symphony orchestra. Text: Haim Hefer
  • Death Came to the Wooden Horse Michael (1975) for soprano, alto, tenor, bass, mixed choir and MagT. Text: Natan Zach
  • With All Thy Soul (1978). Cantata for 3 sopranos, baritone, boys' choir of equal voices, mixed choir and chamber orchestra. Text: 1 Makk
  • Dream of the Circles (1985) for baritone, mixed choir, Bb clarinet, horn, tenor saxophone and viola. Text: Rabbi Nachman
  • Touch a Place (1987) for solo voice and three-part choir for equal voices a cappella. Text: Israel Eliraz
  • God Full of Mercy (1993?) For mixed choir

Electronic music

  • Exodus (II) (1958) for ballet
  • Ranges of Energy (1963) for ballet
  • Variations (1970) for ballet
  • Ashmedai (1970). Electronic overture to the opera of the same name
  • Frequencies 440-462 (1972)

Fonts

Music theory

  • (Grünthal, Josef :) Basics of Music Theory . Benno Balan, Jerusalem 1944 (Hebrew).
  • Introduction to the Theory of Musical Form . Merkaz Letarbut Vehasbara, Tel Aviv 1951 (Hebrew).
  • Musica Nova in the third millennium . Israel Music Institute, Tel Aviv 2002, Cat No. 1018G, ISBN 965-90565-0-8 .

Autobiography

  • The rabbi's son. A way from Berlin to Jerusalem . An autobiography, Quadriga, Berlin 1985, ISBN 3-88679-123-8 (Originally as The Son of the Rabbis: a Way from Berlin to Jerusalem ).
  • Reminiscences, Reflections, Summaries. Retold in Hebrew by Ada Brodsky . Carmel, 1997, ISBN 965-407-162-2 .
  • Soundtrack. In search of the sound of life. An autobiography . ( On Search for the Sound of Life ) Ed .: Ulrich Eckhardt . Henschel Verlag, Berlin 2005, ISBN 3-89487-503-8 .

Essays and essays

  • The Impact of the Era on the Interrelation Between Composer, Performer and Listener. Music in Time - A Publication of the Jerusalem Rubin Academy of Music and Dance. 1983-1984, pp. 23-27.
  • Rational and Sensitive Components of “Understanding” . In: Music and Understanding - Essays on Semiotic Theory, Aesthetics and Sociology of Musical Reception. Arno Volk Verlag, 197 ?, pp. 306-313
  • Music on the move - cross-sections between yesterday and tomorrow. In: Berlin lessons. Bertelsmann, 1992, pp. 79-90.
  • Wagner and its consequences in 20th century music . Reprint from the President's Annual Report, University of Bayreuth, 1983, pp. 167–181.
  • The way of an opera . Wissenschaftskolleg yearbook 1982/83. Siedler, pp. 355-356.
  • Thoughts on the opera Ashmedai. In: Ariel - Reports on Art and Education in Israel , No. 15, (1972), pp. 89-91.
  • Music, Hieroglyphics and Technical Lingo. In: The World of Music , Vol. XIII, No. 1/1971 B. Schott's Sons, Mainz, pp. 18–28.
  • A person-to-person experience at the Wissenschaftskolleg Berlin. In: Axel von dem Bussche , Hase & Koehler Verlag, 1994, ISBN 3-7758-1311-X , pp. 125-131.

literature

  • Max Brod : The Music of Israel. Bärenreiter, Kassel 1976, ISBN 3-7618-0513-6 , pp. 129-132.
  • Jeffrey Burns: From a conversation with Josef Tal . In: Zeitschrift für Musikpädagogik, Issue 41, September 1987, pp. 3–9.
  • Reinhard D. Flender: In search of a cultural home. Stefan Wolpe and Josef Tal - two German-Jewish composers from Berlin . In: Neue Zeitschrift für Musik 1998, No. 3.
  • Jehoash Hirshberg: Josef Tal In: Stanley Sadie (Ed.): The New Grove Dictionary of Opera . 1992, ISBN 0-333-73432-7 / ISBN 1-56159-228-5 .
  • Jehoash Hirshberg: Joseph Tal's Homage to Else . In: Ariel - A Quarterly Review of Arts and Letters in Israel No. 41: 83-93 (1976).
  • Shlomo Markel: On Notation for Electro Acoustic Music and Interactive Environment for Composition . Dissertation, Technion, Haifa 1993.
  • Yohanan Ron: The Music of Josef Tal - Selected Writings . The Israeli Music Archive, Tel Aviv University, Department of Musicology, 2000.
  • Irmgard Scharberth: Josef Tal: "Ashmedai" . In: Music theater with Rolf Liebermann . Hans Christians Verlag, 1975, pp. 96-99.
  • Elmar Weingarten, Habakuk Traber (ed.): Displaced music. Berlin composer in exile . Argon, Berlin 1987, ISBN 3-87024-118-7 , pp. 340-341.

Web links

Commons : Josef Tal  - Collection of images, videos and audio files

Remarks

  1. ↑ His father later fled to Holland , was arrested in Eindhoven and died in the Sobibor extermination camp on April 16, 1943.
  2. ↑ Your son Etan Tal was born in 1948.
  3. ↑ In 1962 Hugh Le Caine came to Jerusalem to install his Creative Tape Recorder in the Center.

Individual evidence

  1. ^ Robert Jay Fleisher: Twenty Israeli Composers - Voices of a Culture , Wayne State University Press, Detroit, 1971, p. 68
  2. ↑ Heidede Becker: Explore a piece of the city. Filum Rubrum Verlag, Nauen near Berlin 2012, ISBN 978-3-940678-02-7 , pp. 93-110.
  3. ^ Ulrich Eckhardt, Andreas Nechama: Jewish places in Berlin. Nicolai, 2005, ISBN 3-89479-165-9 , p. 153.
  4. ↑ see also: Julius Grünthal: The Syrian translation for the book Esther.
  5. ↑ Brocke, Michael; Carlebach, Julius (Ed.): Biographisches Handbuch der Rabbis. KG Saur (2004)
  6. ↑ Amnon Shiloah, Edith Gerson-Kiwi: Musicology in Israel, 1960–1980. In: Acta Musicologica , Vol. 53, Fasc. 2 (Jul-Dec, 1981), p. 203.
  7. ^ Robert Starer: Continuo - A Life in Music . New York 1987, ISBN 0-394-55515-5 , pp. 26-44.
  8. ^ Robert Jay Fleisher: Twenty Israeli Composers - Voices of a Culture , Wayne State University Press, Detroit, 1971, p. 68
personal data
SURNAME Tal, Josef
ALTERNATIVE NAMES Gruenthal, Josef (birth name); Tal, Joseph
BRIEF DESCRIPTION Israeli composer
DATE OF BIRTH September 18, 1910
PLACE OF BIRTH Tiller at Posen
DATE OF DEATH August 25, 2008
Place of death Jerusalem