During the mid-19th century, the works of Arthur Schopenhauer and Richard Wagner sparked an impulse toward German cultural renewal and social change that drew on religious myth, metaphysics, and spiritualism. The only problem was that their works were deeply antisemitic and entangled with claims that Jews were incapable of creating compassionate art. By looking at the works of Jewish composers and writers who contributed to a lively and robust biblical theatre in fin de siècle Vienna, Caroline A. Kita shows how they reimagined myths of the Old Testament to offer new aesthetic and ethical views of compassion. These Jewish artists, including Gustav Mahler, Siegfried Lipiner, Richard Beer-Hofmann, Stefan Zweig, and Arnold Schoenberg, reimagined biblical stories through the lens of the modern Jewish subject to plead for justice and compassion toward the Jewish community. By tracing responses to antisemitic discourses of compassion, Kita reflects on the explicitly and increasingly troubled political and social dynamics at the end of the Habsburg Empire.

When Adolf Hitler created the model camp at Theresienstadt (Terezin in Czech) for the better-known of Europe's Jewish transportees, he gathered together many of the continent's finest musicians. This examination of the associations, the compositions, the performances, and above all, the people in Terezin accentuates the roles the active musical life played in the struggle for hope in those darkest of times. This second edition of "Music in Terezin" adds information on the lives of the survivors of the camp and corrects some material from the first edition.

The original 1893 book by Eduard Birnbaum was published in German as Jüdische Musiker am Hofe von Mantua von 1542-1628. This 1978 edition was translated, revised, and enlarged by Judith Cohen from a 1975 Hebrew edition. Published jointly with the Council for Culture & Art of the Ministry of Education and Culture for the World Congress on Jewish Music, Jerusalem, 1978.

A 3-volume work containing program guides for the 1963-1964 Jewish Music Festival; "Music of Israel today;" "The music of Gershon Ephros, Solomon Rosowsky, Heinrich Schalit, and Jacob Weinberg;" and "The music of Abraham Ellstein and Max Helfman."

With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany's historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment.

Second edition of the original 1959 publication. Provides a history of Jewish sacred music followed by chapters about Jewish composers, conductors, soloists, musicologists, and professional organizations.

This work is Volume 32 of Polin: Studies in Polish Jewry. The work contains five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music.

This program study guide was published immediately after World War II by the National Federation of Temple Sisterhoods. Each topic includes listening and discussion questions, lists of composers, and bibliographies.

David Schiller's study of the Jewish music of Bloch, Schoenberg, and Bernstein reveals how, in the mid-twentieth century, the problem of assimilation was acutely felt as the unfinished business of European Jewry, at a time when American Jewry was creating its own distinctive culture (albeit with European roots). This incisive study sheds new light on an important aspect of the cultural and aesthetic achievements of these seminal Jewish composers.

Includes biographies and works lists of Jewish composers Joel Engel, Joseph Achron, Moses Milner, Lazare Saminsky, Alexander Krein, and Michael Gniessen, as well as a list of publications by the Society for Jewish folk music in St. Petersburg.