Following the foundation of the State of Israel in 1948 one can clearly detect a growing response to world-wide artistic expressions. The new modes of expression, the innovative techniques, the various elaborate media have all become part of Israeli music. And yet, despite these influences some of the composers have kept their idiosyncratic Israeli flavour. The above mentioned influences on Israeli composers in the Sixties and Seventies are discussed in this article.
Includes biographies, and complete list of publications of the Society for Jewish folk music in St. Petersburg (lists of works, of Joel Engel, Joseph Achron, Moses Milner, Lazare Saminsky, Alexander Krein, and Michael Gniessen).
The core of the article is a translation from the German of Lewandowski’s prefaces to his major works of synagogue music. Unfortunately omitted from the editions currently printed by Sacred Music Press, the prefaces provide invaluable material on the evolution of these works, the aims of the composer, and his ideas on synagogue music and hazzanut. The introduction to the article takes issue with aspects of the accounts of Lewandowski found and repeated in the literature.