Jak hebrejskou duchovní hudbu proměnil skladatel Max Bruch v romantické hudební dílo (rozhovor)

SPURNÝ, Lubomír. Jak hebrejskou duchovní hudbu proměnil skladatel Max Bruch v romantické hudební dílo (rozhovor). In Epoch Times. online. Praha, 2026, s. n/a.

Základní údaje

Originální název

Jak hebrejskou duchovní hudbu proměnil skladatel Max Bruch v romantické hudební dílo (rozhovor)

Název česky

Jak hebrejskou duchovní hudbu proměnil skladatel Max Bruch v romantické hudební dílo (rozhovor)

Název anglicky

How Composer Max Bruch Transformed Hebrew Sacred Music into a Romantic Musical Work (Interview)

Autoři

SPURNÝ, Lubomír

Vydání

online. Praha, Epoch Times, od s. n/a, 2026

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Další údaje

Typ výsledku

Popularizační texty a aktivity

Obor

60500 6.5 Other Humanities and the Arts

Utajení

není předmětem státního či obchodního tajemství

Odkazy

URL

Označené pro přenos do RIV

Ne

Organizační jednotka

Filozofická fakulta

Klíčová slova česky

Max Bruch; Kol Nidrei; hebrejská hudba; synagogální hudba; romantická hudba; violoncello a orchestr; židovská liturgie; Robert Hausmann

Klíčová slova anglicky

Max Bruch; Kol Nidrei; Hebrew music; synagogue music; Romantic music; cello and orchestra; Jewish liturgy; Robert Hausmann

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Anotace

V originále

The text discusses the origins and musical character of Kol Nidrei, Op. 47 by the German composer Max Bruch. This composition for cello and orchestra was written in 1880 during Bruch’s tenure as music director of the Liverpool Philharmonic Society and is based on the melody of the Jewish synagogue prayer Kol Nidrei sung on the eve of Yom Kippur. In the interview, Professor Lubomír Spurný explains the historical context of the work, Bruch’s interest in Hebrew musical traditions, and the influence of his teacher Ferdinand Hiller and the Berlin cantor Abraham Jacob Lichtenstein, who introduced him to synagogue melodies. The text also discusses the role of the cellist Robert Hausmann, for whom the composition was written. Bruch transformed Jewish liturgical material through the harmonic and orchestral language of late Romantic music, creating a work that combines synagogue tradition with the aesthetic principles of nineteenth-century European music. Kol Nidrei has since become one of the most expressive and enduring works in the cello repertoire.

Anglicky

The text discusses the origins and musical character of Kol Nidrei, Op. 47 by the German composer Max Bruch. This composition for cello and orchestra was written in 1880 during Bruch’s tenure as music director of the Liverpool Philharmonic Society and is based on the melody of the Jewish synagogue prayer Kol Nidrei sung on the eve of Yom Kippur. In the interview, Professor Lubomír Spurný explains the historical context of the work, Bruch’s interest in Hebrew musical traditions, and the influence of his teacher Ferdinand Hiller and the Berlin cantor Abraham Jacob Lichtenstein, who introduced him to synagogue melodies. The text also discusses the role of the cellist Robert Hausmann, for whom the composition was written. Bruch transformed Jewish liturgical material through the harmonic and orchestral language of late Romantic music, creating a work that combines synagogue tradition with the aesthetic principles of nineteenth-century European music. Kol Nidrei has since become one of the most expressive and enduring works in the cello repertoire.