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Richard Taruskin

shown to be the remains of an unrealized project to compose an opera or oratorio on the subject of Longfellow’s Hiawatha , was intended as a Herderian object lesson to the Americans on how they might achieve a distinctive ‘school’ of composition. As quoted by the critic Henry Krehbiel, Dvořák urged that they submit the indigenous musics of their country, namely native-American (‘American Indian’) melodies and ‘plantation songs’ (alias ‘Negro spirituals’), ‘to beautiful treatment in the higher forms of art’. But of course higher forms that would justify and canonize


Edwin Seroussi, Joachim Braun, Eliyahu Schleifer, Uri Sharvit, Sara Manasseh, Theodore Levin, Tang Yating, Kay Kaufman Shelemay, Jehoash Hirshberg, Philip V. Bohlman, Israel J. Katz, Bret Werb, Walter Zev Feldman, Don Harrán, Alexander Knapp, David Bloch, and Emily Thwaite

klezmer violinist Wolf Kostakowsky published a major commercial collection of dance repertory in 1916. Between roughly 1912 and 1929 American record companies issued a large number of klezmer recordings featuring large ensembles, clarinetists or violinists. A more purely American klezmer repertory was issued in the 1940s and 1950s. Previously unknown repertory is emerging from older Jewish musicians from the former Soviet Union. Certain ḥasidic groups in Israel and America still preserve some of their instrumental traditions; several ḥasidic vocal repertories


Irén Kertész Wilkinson

( phari gili ) – a classification also used in Bulgarian traditional music – which are mostly laments in Romani language, or Romani mixed with Turkish or Bulgarian; ‘slow-songs’ ( loki gili ), which are slower versions of čoček dance melodies and ‘dance-songs’ ( khelimaski gili ), comprising adaptations of Bulgarian and Serbian dance-songs. ‘Heavy-songs’ follow the Bulgarian epic ( na trapeza ) but add Romani topics of loneliness, loss and sorrow. Song structure has a wider tonal range than other Bulgarian songs, reaching a 7th or an octave, with highly ornamented


Richard Henninger

revised by Elaine Keillor

Interlude in an Artist’s Life, 1943 Our Canada (Music for Radio no.1), 1943 Divertimento no.1, fl, str, 1946 Edge of the World (Music for Radio no.2), 1946 Divertimento no.2, ob, str, 1948 Red Ear of Corn (ballet), 1949 Round Dance, band, 1950 Vn Conc., 1951–4 Sym. Ode, 1958 Divertimento no.3, bn, str, 1960 Divertimento no.5, tpt, trbn, wind, 1961 Pf Conc., 1966 Harp Conc., 1967 Divertimento no.4, cl, str, 1968 Dummiyah (Silence),


David Brodbeck, Tihamér Hlavacsek, and Balázs Mikusi

brief reserve military service during Hungary’s War of Independence (1848–9), Goldmark struck out on his own by playing in theater orchestras in Ödenburg and Buda/Ofen. Prevailing in these circles was a ‘Hungaro-Germanism’ that insisted on maintaining an important place for German cultural distinctiveness within the multilingual and multinational Hungarian kingdom. Upon returning to Vienna in 1851 , he eked out a subsistence living both as a theater musician (an experience that would later serve him well as an opera composer) and a piano teacher (even though he was in