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Riverside radio presents the second in a series of 15 programs Ernest Bloch the man and his music the commentator for these programs is the composer's daughter. Suzanne block MS. BLOCK is a well-known authority on early music a lecturer and a member of the faculty at The Juilliard School. In this series she provides illuminating details about her father's life and work and gives intriguing insights into the background of his compositions. On today's program you hear a trois point three Jewish balms the suite for unaccompanied violin number one performed by Hyman Bres and the concerto Grosso number two for string orchestra and string quartet. And now to introduce our program is the composer's daughter Suzanne block. The three Jewish poems were composed in 1913 and form part of what has been called blocks Jewish cycle. Though we had no such label in mind this is indeed a period when he was involved with the idea of expressing his heritage in music. This idea germinated 906 when he began to read the Old Testament and wrote
his close friend the poet Adam off leg that both of them should begin to express this in the arts with no shame. Fred later translated some of the psalms from he went to French of which three were set to music by blocking nine hundred and twelve. They're starting this cycle. Their work is premiere in Geneva in 1914 and this played a great part in blocs start in America and that is a story worth the telling. Having had left Switzerland in 1916 because you could not make a living there as a musician here ragin America as the conductor for an English dancer who was having an American tour. Her name was Mord Allen. The tour went bankrupt due to poor management after six weeks and block very broke arrived in New York with exactly three dollars in his pocket. One of the plans suggested by his friends was for block to contact Dr Kalam oak conductor of the Boston Symphony Orchestra and sent to him his three Jewish partners.
When blood did not hear much from cow milk no news of Charles the flaws of the quota suggested that he goes to Boston and finance his trips who could meet Mark go to rehearsal and really try to get him interested in their work. So Bloch managed to attend a rehearsal and speak to Mark and asked for an interview. Well he's very busy said he would have only one hour. That following Sunday and Bloch went there and brought quite a bit of his music and began to plays music to look after an hour somebody knocked at the door and said not to muck. Are the hours over and mocked waved away the man said No I'm sorry I'm dizzy. After quite a long session Blok finished playing his music. Dr Monk said to him with his German accent. Then Mr. Block Your music is really really worth performing and I'm very interested in playing your music but how can I play in Boston. I work in tattled three Jewish coins. My father realized that's what Nick was hinting at was that he should change a tattle and
very quietly got up took his score and said thank you very much and to Mark I appreciate you give me so much of your time but I cannot change a tattle I cannot carry and hide my flag in my pocket. And he went to the door. And then Dr MCC went to the door too and facing him. Would you like to conduct the vote yourself. Now this is a true story. What he's got got his first break in America this way of course. The recognition He then received in this country which sounds like a fairy story caused a human cry and his huge cycle of course with the first group of block works to be known. It's interesting to read that in this part of recognition you would rather disparagingly about the work the Jewish point of the first of a cycle. I do not wish that one should judge my whole personality by this fragment this first attempt which does not contain it. The Psalms Shalom all my symphony Israel are more representative because they come from the passion the violence
which I believe to be the characteristics of my nature. In the Jewish poems I have wished in some way to try a new speech. The color of which should serve my future expression there is in them a certain restraint I hold myself back. My orchestration is also guarded. The poems are the work of a new period. They consequently have not the maturity of the Psalms nor of Israel. It is not easy for me to make a program for this work. Music is not translated by words. The titles should sufficiently inform the listener. One that ends this music is all in the coloring coloring rather somber mystical languorous to write this movement is more emotional. But there is something solemn and distance as if in the ceremonies of a cult three cortege a few neighbors. This is more human. My father died. These poems are dedicated to his memory. There is something
implacably severe in the rhythms that obstinately repeat themselves. At the end sorrow bursts forth and at the idea of an eternal separation the soul breaks down. But a very simple and serene melody arises from the orchestral depths as a consolation a balm a gentle faith the memory of our dear departed one does not effaced it lives forever in our hearts. The form of this work is free but is really there for I believe that our Constitution demand order in a work of art. You are not here on this block for three Jewish point is this work is in three movements. The first is entitled dance. The second is right now a third is cooked is the name. It is performed by Fritz Mahler conducting the Hartford Symphony Orchestra.
The bow. Seat.
Eh eh. Eh eh. Eh eh. Eh eh. Luthe thought.
The boy. Would. Win when. The. Going. Going on.
So I'm. The Boss. Yes. Move. The ball. The Bill.
Owens.
Thanks. I am about. The band in. The end. The best. Job.
I EVER. Did. The boy. Abunda. Yeah. Going to. The
big. Boobs.
No. I. Didn't. Thank.
You when. I met. Them. And. The old. The air. Land.
The bank. The bank. The bank going. Going. I had the Illinois.
I am. Lulu air. The air. The air. The OAU. The air. Please. Feel you. Move.
Luke through the lens. Illegible as. You. Move.
Ability. To be a big. Surprise. Surprise.
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Series
Ernest Bloch: The man and his music
Episode Number
Episode 2 of 15
Segment
Part 1
Producing Organization
WRVR (Radio station: New York, N.Y.)
Riverside Church (New York, N.Y.)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip-500-4746tz3h
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip-500-4746tz3h).
Description
Series Description
For series info, see Item 3659. This prog.: Trois Poemes juifs; Suite No. 1 for Unaccompanied Violin; Concerto Grosso No. 2 for String Orchestra and String Quartet
Date
1968-09-17
Asset type
Episode
Topics
Music
Media type
Sound
Duration
00:30:24
Credits
Producing Organization: WRVR (Radio station: New York, N.Y.)
Producing Organization: Riverside Church (New York, N.Y.)
AAPB Contributor Holdings
University of Maryland
Identifier: cpb-aacip-06f4ea5dc14 (Filename)
Format: 1/4 inch audio tape
Duration: 00:30:11
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “Ernest Bloch: The man and his music; Episode 2 of 15; Part 1,” 1968-09-17, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 17, 2022, http://americanarchive.org/catalog/cpb-aacip-500-4746tz3h.
MLA: “Ernest Bloch: The man and his music; Episode 2 of 15; Part 1.” 1968-09-17. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 17, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-4746tz3h>.
APA: Ernest Bloch: The man and his music; Episode 2 of 15; Part 1. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-4746tz3h