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Ernest Bloch Studies

edited by

Alexander Knapp

Norman Solomon


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Names: Knapp, Alexander, 1945– editor. | Solomon, Norman, 1933– editor.Title: Ernest Bloch studies / edited by Alexander Knapp and Norman Solomon.Description: New York : Cambridge University Press, 2016. | Includes bibliographical referencesand index. | Includes an alphabetical list of Bloch’s published and unpublished works,compiled by Alexander Knapp.Identifiers: LCCN 2016001613 | ISBN 9781107039094 (Hardback)Subjects: LCSH: Bloch, Ernest, 1880-1959–Criticism and interpretation.Classification: LCC ML410.B656 E84 2015 | DDC 780.92–dc23 LC record available athttp://lccn.loc.gov/2016001613

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Contents

List of Figures [page vii]List of Music Examples [viii]Notes on Contributors [xi]Foreword: Reminiscences of My Grandfather by

Ernest Bloch II [xiv]Chronology [xxi]Alphabetical List of Bloch’s Published and Unpublished Works,

Compiled by Alexander Knapp [xxvi]Bloch Resources: Recordings in the Age of the Internet by

Stanley Henig [xlviii]

Introduction Norman Solomon [1]

1 From Geneva to New York: Radical Changes in Ernest Bloch’s Viewof Himself as a ‘Jewish Composer’ during his Twenties andThirties Alexander Knapp [12]

2 The ‘Suffering and Greatness’ of Ernest Bloch: Concepts of theComposer as Genius Klára Móricz [20]

3 Bloch, Wagner and Creativity: Refutation and VindicationMalcolm Miller [37]

4 Sacred Service: the Mass Bloch Never Wrote, the Two That LeonardBernstein Did Write, and Shulamit Ran’s Credo/Ani Ma’amin

David Schiller [61]

5 Oregon Years: the Man and His Music David Z. Kushner [79]

6 ‘The Future Alone Will Be the Judge’: Ernest Bloch’s EpicJourneys between Utopia and Dystopia Philip V. Bohlman [102]

7 The Reception of Bloch’s Music in Palestine/Israel to 1948Jehoash Hirshberg [121]

8 Bloch’s Reception and His Standing in Israel since 1954Zecharia Plavin [132]

9 A Performance History of Bloch’s Opera Macbeth: Paris1910–Manhattan 2014 Stanley Henig [150]

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10 King Solomon and the Baal Shem Tov: Traditional Elements in Bloch’sMusical Representation of Two Iconic Personalities from JewishHistory Alexander Knapp [171]

11 Postscript: the Legacy Norman Solomon [206]

Select Bibliography [215]Index [244]

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Figures

Frontispiece: Ernest Bloch by Valentine Hess, 1949.Permission granted by the heirs of the children of ComposerErnest Bloch [page i]

3.1a and b Sides three and four of a six-side letter from Bloch to HavelockEllis, May 1932 (by kind permission of the British Library) [42]

3.2a and b A postcard to Havelock Ellis from Châtel in Haute-Savoiewhere the Blochs spent the summer of 1934. PostmarkedThonon-Les-Bains, Haute-Savoie, 31 August 1934 [45]

6.1 ‘An den kleinen Radioapparat’ – ‘To the Little Radio’ (from theHollywooder Liederbuch, Eisler 2008: 13, by kind permission ofDeutscher Verlag für Musik Leipzig) [111]

6.2 Opening of Helvetia, p. 1 (by kind permission of BroudeBrothers Ltd) [114]

6.3 Opening of the third movement, America – ‘1926 . . . ThePresent – The Future . . .’, p. 114 (by kind permission of BroudeBrothers Ltd) [117]

6.4 Opening of Anthem at the close of America, pp. 175–6 (by kindpermission of Broude Brothers Ltd) [118]

10.1 Letter from Ernest Bloch to his mother Sophie, 3 December 1920, p. 2(by kind permission of Ernest Bloch II) [188]

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Music Examples

The authors and publishers acknowledge the following sources of copyrightmaterial and are grateful for the permissions granted. While every effort hasbeen made, it has not always been possible to identify the sources of allmaterial used, or to trace all copyright holders. If any omissions are broughtto our notice, we will be happy to include the appropriate acknowledge-ments on reprinting.

3.1 Conclusion of Bloch’s Piano Quintet No. 1, last sixteen bars of Finale,from rehearsal no. 50, pp. 128–9 (by kind permission of G. Schirmer,Inc.) [50]

5.1 Concerto Symphonique: introduction to the first movement, bb. 1–14(©Copyright 1950 by Hawkes & Son (London) Ltd. Reproduced bykind permission of Boosey & Hawkes Music Publishers Ltd) [85]

5.2 Scherzo Fantasque, bb. 1–6 (by kind permission of G. Schirmer,Inc.) [86]

5.3 ‘Rhapsodie’ from Suite Hébraïque, upbeat and bb. 1–4 (by kindpermission of G. Schirmer, Inc.) [90]

5.4 Concerto Grosso No. 2, fourth movement, bb. 1–7 (by kind permission

of G. Schirmer, Inc.) [91]5.5 In Memoriam, bb. 1–5 (by kind permission of Broude Brothers

Ltd) [93]5.6 Symphony for Trombone Solo and Orchestra, first movement, bb. 5–13

(by kind permission of Broude Brothers Ltd) [94]5.7 Proclamation for Trumpet and Orchestra, rehearsal no. 11, bb. 2–5

(by kind permission of Broude Brothers Ltd) [95]5.8 Suite Modale, third movement, rehearsal no. 16, last ten bars (by kind

permission of Broude Brothers Ltd) [99]7.1 Bloch Simchas Torah, p. 2, bb. 1–4 (by kind permission of Carl Fischer

Music) [123]7.2 Bloch Sacred Service (Avodath Hakodesh) – Ma tovu, p. 3, from

rehearsal no. 3 (by kind permission of Broude Brothers Ltd) [128]7.3 P. Ben-Haim Liturgical Cantata – Ma tovu, p. 3, from rehearsal

sign D (by kind permission of Broude Brothers Ltd) [129]7.4 Bloch Sacred Service – Adonay yimloch, pp. 34–5, rehearsal no. 21

(by kind permission of Broude Brothers Ltd) [130]

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7.5 P. Ben-Haim Liturgical Cantata – Adonay malach, p. 25, bb. 29–33(by kind permission of the Israel Music Institute) [131]

7.6 P. Ben-Haim Liturgical Cantata – Hallelujah, p. 67, bb. 221–5, fromrehearsal sign D (by kind permission of the Israel MusicInstitute) [131]

10.1 Comparative chart of synthetic ‘scales’ generated by the motifs ofthe Ashkenazi prayer modes (Steiger) [182]

10.2a Bloch Sacred Service – Tzur Yisroel, vocal score p. 21, bb. 9–15(cantor) (by kind permission of Broude Brothers Ltd) [184]

10.2b Bloch Schelomo, study score p. 60, bb. 4–8 (cello solo) (by kindpermission of G. Schirmer, Inc.) [184]

10.3 Bloch Schelomo: Shofar calls, study score p. 31, b. 2–p. 32, b. 1(brass) (by kind permission of G. Schirmer, Inc.) [185]

10.4 Bloch Schelomo: the quartertone, study score p. 60, bb. 8–11(cello solo) (by kind permission of G. Schirmer, Inc.) [185]

10.5 Bloch Schelomo: Uv’khein theme, study score p. 34, bb. 12–23(oboe/bassoon) (by kind permission of G. Schirmer, Inc.) [186]

10.6a Wohlberg motifs (reproduced from Knapp, 1971: 99–112) [189]10.6b Bloch Schelomo: Uv’khein theme, study score p. 34, bb. 12–23

(oboe/bassoon) (by kind permission of G. Schirmer, Inc.) [189]10.7 Sulzer Uv’chen ten pacht’cho (sic) (reproduced from Schir Zion

(1865) vol. 2, p. 151, no. 233) [193]10.8a Bloch Schelomo, study score p. 45, b. 6–p. 46, b. 2 (cello solo)

(by kind permission of G. Schirmer, Inc.) [194]

10.8b Cohon motifs (reproduced from Cohon 1950: 25, 2aj) [194]10.9a Bloch Vidui, piano score p. 5, bb. 34–7 (violin) (by kind permission

of Carl Fischer Music) [196]10.9b Vinaver motifs (reproduced from Vinaver 1955: 229, no. 55, line 5,

bb. 2–3) (by kind permission of Carlin America, Inc.) [196]10.10 The intervallic relationship between harmonic minor, Mi shebeirach

and Ahavoh rabboh [198]10.11a Bloch Nigun, piano score p. 2, bb. 5–7 (violin) (by kind permission

of Carl Fischer Music) [199]10.11b Cohen Cantillation motifs (reproduced from Cohen 1902: 542,

line 7, col. 1) [199]10.11c Cohon motifs, p. 31, 4fXI–60 [199]10.11d Baer motifs (reproduced from Baer 1877: 3, no. 22b) (by kind

permission of the Sacred Music Press, Hebrew UnionCollege) [199]

10.12a Bloch Nigun, piano score p. 2, bb. 5–7 (violin) (by kindpermission of Carl Fischer Music) [200]

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10.12b Beregovski Frejlexs (reproduced from Beregovski 1962: 147, no. 87,bb. 1–4) (by kind permission of the University of PennsylvaniaPress) [200]

10.13a Bloch Nigun, piano score p. 7, bb. 49–52, 53–6 (violin) (by kindpermission of Carl Fischer Music) [200]

10.13b Cohon motifs, p. 25, 2a40-10-20 [200]10.14a Bloch Nigun, piano score p. 9, bb. 101–6 (violin) (by kind

permission of Carl Fischer Music) [201]10.14b Cohon motifs, p. 25, 2ah-R [201]10.15a Bloch Simchas Torah, piano score p. 2, bb. 1–6 (violin) (by kind

permission of Carl Fischer Music) [202]10.15b Cohon motifs, p. 21, 1cVI-25-27-28 [202]10.16a Bloch Simchas Torah, piano score p. 5, bb. 67–9 (piano) (by kind

permission of Carl Fischer Music) [203]10.16b Warshawski, Di Mizinke Oysgegebn (reproduced from Mlotek

1977: 55, bb. 1–6) (by kind permission of the Workmen’s CircleEducation Department) [203]

10.17a Bloch Simchas Torah, piano score pp. 6–7, bb. 83–6 (piano)(by kind permission of Carl Fischer Music) [204]

10.17b Bloch Schelomo, study score p. 27, b. 2–p. 29, b. 2 (trumpets)(by kind permission of G. Schirmer, Inc.) [204]

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Contributors

ernest bloch ii (‘ernie’), grandson of the composer, after whom he wasnamed, and son of Ivan, was born in 1938, and grew up in Portland, Oregon, closeto where his grandparents, with whom he established a close relationship, hadsettled in 1941. After graduating from Portland State University, he engaged in abusiness career, directing economic planning and development for the airline indus-try. He then joined an electric energy corporation managing government and publicaffairs areas. He describes his mission in life as ‘To have Ernest Bloch’s music heard’;he has created a foundation to channel funding from other foundations, governmentorganizations and individuals to this end.

philip v. bohlman is the Mary Werkman Distinguished Service Professor ofMusic and the Humanities at the University of Chicago and a visiting professor atthe Hochschule für Musik und Theater (Hannover). He has held guest professor-ships at Berkeley, Freiburg, Vienna, Yale, and elsewhere. His research focuses onJewish music and modernity. Among his many publications are World Music:A Very Short Introduction (2002),Music and the Racial Imagination: Cultural Topics(2005), Jewish Musical Modernism, Old and New (2009), Focus: Music, Nationalism,and the Making of the New Europe (2010) and Balkan Epic: Song, History, Modernity(2012). He is Artistic Director of ‘The New Budapest Orpheum Society’ at theUniversity of Chicago; in conjunction with his work with that group, OxfordUniversity bestowed the 2009 Donald Tovey Prize on him and Christine WilkieBohlman. Other honours he has received include the Edward J. Dent Medal from theRoyal Musical Association, the Berlin Prize from the American Academy in Berlin(2003), and the Derek Allen Prize from the British Academy (2007).

stanley henig was, prior to retirement, Head of the Department of Politics andEuropean Studies and Professor of European Politics at the University of CentralLancashire. He has written nine books and numerous articles on European politics.At one time a Member of Parliament, he later became Leader of Lancaster CityCouncil. In the musical world he served as Chairman of the Court of the RoyalNorthern College of Music and as a governor of the British Institute of RecordedSound. He was for many years Secretary of Historic Masters and of Historic SingersTrust. Co-author of a book about Enrico Caruso, he contributed articles to the two-volume Dictionary of Opera. He has written about Ofelia Nieto in The RecordCollector and articles about Nellie Melba, Emmy Destinn, Mahler in Vienna, andthe founding of the Israel Philharmonic Orchestra as well as CD reviews for ClassicalRecordings Quarterly and its predecessor magazines. He has also reviewed CDs forOpera and contributed articles to Musical Opinion and Jewish Renaissance. He iseditor of the twice-yearly newsletter of the International Ernest Bloch Society.

jehoash hirshberg is Hans J. Salter Professor Emeritus of Musicology at theHebrew University, Jerusalem. His research projects have covered music in migrantand refugee societies, the music of the fourteenth century in France, the Italian soloconcerto, 1700–60, and Opera Seria in Italy 1860–70, on all of which he has published.

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alexander knapp graduated from the University of Cambridge with a PhD thesison aspects of Bloch’s ‘Jewish Cycle’. Over the past forty-five years, he has lectured inthe UK, USA, Western and Eastern Europe, Israel, Russia, and China, specializing inJewish music – sacred and secular – and on Bloch. In 1998, the Chinese Academy ofArts published his Anthology of Essays on Jewish Music in Chinese (Youtai YinyueLunwenji). As well as several dozen articles in journals in the UK and abroad, he hascontributed entries on aspects of Jewish art music to The New Grove Dictionary ofMusic and Musicians (2nd edn). Having retired from the Joe Loss Lectureship inJewish Music at SOAS in 2006, he organized the first International Bloch Conferenceat Fitzwilliam College, Cambridge, in 2007, and lectured at the first InternationalBloch Conference in Beijing in 2010. He continues to work as a freelance.

david z. kushner is Professor Emeritus of Musicology, School of Music, Collegeof the Arts, University of Florida at Gainesville. He directs graduate seminars inAmerican Music, Twentieth-Century Music, Romantic Music, Nationalism inMusic, Opera History, Piano Literature, Chamber Music Literature, and SymphonicLiterature; supervises theses and dissertations; and serves as programme coordinatorof the annual Musicology Lecture Series. Kushner has lectured throughout theUnited States, and in Canada, Australia, Israel, Kenya, Italy, England, Scotland,Hungary, and Austria. He has also been recognized for his annual series, ‘Recitals inthe Schools,’ which brings classical art music to young people in the elementary,middle, and high schools in an informal environment.

malcolm miller is a musicologist and pianist, Associate Lecturer at Goldsmiths’University of London, Honorary Associate in Arts and Associate Lecturer at theOpen University in London, and a tutor at the City Literary Institute. He is currentlypreparing a book on ‘Wagner and Song’ based on his King’s College, Londondoctoral study of Wagner’s Wesendonck Lieder. Recent publications include ‘Spin-ning the Yarn: Intertextuality in Wagner’s Use and Reuse of his Songs in his Operas’,The Wagner Journal, 8, 2 (July 2014); ‘Music as Memory: Émigré Composers inBritain and their Wartime Experiences’ in The Impact of Nazism in TwentiethCentury Music; ‘Peak Experience: High Register and Structure in the RazumovskyQuartets Op 59’ in The String Quartets of Beethoven (ed. W. Kinderman, 2006); and‘Jewish Influences in the Music of Berthold Goldschmidt’ (forthcoming). He isEditor of Arietta, Journal of the Beethoven Piano Society of Europe, Assistant Editorof Piano Journal (EPTA), and a regular contributor to academic publicationsincluding New Grove II and MGG, journals including Music and Letters and Tempo,and magazines such as Musical Opinion and Music and Vision Daily.

klara moricz is Professor of Music at Amherst College, Massachuetts. Shespecializes in the music of Béla Bartók, twentieth-century Jewish composers, andRussian music, specifically the music of Arthur Lourié, on whom she jointly editeda volume of essays with Simon Morrison (2013). Her Jewish Identities: Nationalism,Racism, and Utopianism in Twentieth-Century Music appeared in 2008. She is co-editor of two anthologies accompanying Taruskin and Gibbs’s Oxford History ofWestern Music (2012). Since 2009 she has been co-editor of Journal of Musicology.She has served on the board of the Journal of the American Musicological Society(2004–10), the academic advisory board of Jewish Music Forum (2009–2011), and theadvisory board of Studia Musicologica (2006–present). She was awarded the ACLS/Andrew W. Mellon Fellowship (2003), and the Mabelle McLeod Lewis DissertationFellowship (1998), and was honorary recipient of the AMS 50 Award (1998).

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zecharia plavin is an alumnus of the Ciurlionis High School of Arts, LithuanianConservatory and Tel Aviv University Academy of Music. In 1984, he studied pianounder Louis Kentner. He completed a doctoral dissertation on Ernest Bloch at theHebrew University of Jerusalem in 1988. He has performed as piano soloist with theIsrael Philharmonic Orchestra since 1980, and more recently given many recitalsthroughout the USA and Europe. He has recorded piano music for Meridian, SoundStar-ton labels (Schumann, Scriabin, Liszt, Bloch, Franck, Mendelssohn) and for theIsraeli and Lithuanian Broadcasting Authorities classical stations. Since 2000 he hasengaged in the cultural and social research of Israeli society and identity, his studieson these topics appearing in Ben Gurion University and Sapir College publications.His large-scale study of Israeli society, The Heeding Heart (Be-Lev Shomea, inHebrew), was published in 2012. Since 1990 he has served on the faculty ofthe Jerusalem Academy of Music and Dance and of the School of Music of theOno College.

david schiller retired from the University of Georgia Hugh Hodgson School ofMusic in December of 2012. He is the author of Bloch, Schoenberg, and Bernstein:Assimilating Jewish Music (2003), and of the article on Ernest Bloch in the Enzyklo-pädie jüdischer Geschichte und Kultur vol. 1 (2011). With Christy Desmet, he is co-author of the chapter on ‘Shakespeare and Music’ in The Shakespearean World(forthcoming).

norman solomon was educated at the University of Cambridge, where he readMoral Sciences and Music. After further studies he was ordained as a rabbi, and fortwenty-two years served Orthodox Jewish congregations in England in that capacity.This was followed by eleven years of involvement in international inter-religiousdialogue as Founder-Director of the Birmingham-based Centre for the Study ofJudaism and Jewish-Christian Relations. In 1996, he was appointed Fellow of theCentre for Hebrew Studies at Oxford, and until his retirement taught in the facultiesof Theology and Oriental Studies at the University of Oxford. Books he has authoredinclude Judaism and World Religion (1991), The Analytic Movement (1993), A VeryShort Introduction to Judaism (2nd edn 2014), Historical Dictionary of Judaism (3rdedn 2015), and Torah from Heaven (2012). Honours he has received include the SirSigmund Sternberg CCJ Award in Christian-Jewish Relations (1993), and the Dis-tinguished Service Medal of the University of San Francisco (2000).

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Foreword

Reminiscences of My Grandfather

My paternal grandfather, Ernest Bloch, was born in Geneva, Switzerland in1880. My grandparents had three children: Ivan (my father, born 1905),Suzanne (born 1907), and Lucienne (born 1909), each of whom produced a‘first-born’ son in the same year, 1938. My father being the only Bloch son,I was named Ernest Bloch II after my grandfather.

The Background

Though his parents were not particularly artistic, my grandfather showed histalent and determination from an early age. When he was six, his motheroffered him a flute, and the following year he was already composing.At nine he began serious study of the violin, vowed to become a composer,and ritualistically burned a written vow to that effect in the mountainsoutside Geneva.He moved to Brussels at the age of 16, studying under the noted violinist

Eugène Ysaÿe for three years. After finishing his studies in Brussels he

moved to Germany, then to Paris, and back to Geneva (1904), where hemarried Margarethe (Marguerite) Schneider.Success in Europe eluded him. His long westward journey from Europe

began with a move to New York in 1916 to take up an appointment asdirector for a ‘modern dance’ company founded by Maud Allan. Thatquickly folded. He then became a member of the faculty at Mannes Schoolof Music in Manhattan. He brought his family over from Europe in 1917,crossing the Atlantic during the time of World War I submarine warfare,and was welcomed back with open arms and glowing reviews by the musiccommunity in New York.In 1920, he was invited to serve as the first musical director of the newly

founded Cleveland Institute of Music. He remained in Cleveland until 1925,becoming an American citizen in 1924, and continued the journey west toSan Francisco, where for the next five years he served as artistic director ofthe fledgling San Francisco Conservatory of Music. In 1930, when his time atthe conservatory came to an end, he was offered a unique arrangementproffered by the Rosalie and Jacob Stern family, who were patrons of the artsin San Francisco. The Sterns established a trust fund for him to be adminis-tered by the University of California at Berkeley. The terms were that he was

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to occupy an endowed Chair at the university, to dedicate himself exclu-sively to composition, and should be free to live anywhere he chose!For a time he made his home in Switzerland, but in the late 1930s he was

dismayed by the tragedies unfolding throughout Europe, and in late 1938 heand Marguerite returned to the US West Coast. Grandmother relocated toOregon to be closer to her son, Ivan, my father, who lived with our familynear Portland. Grandfather, however, continued to spend most of his time inthe Bay Area teaching at Berkeley, living in San Francisco and composinguntil 1941. It was on one of his drives from Oakland, California to Portland,Oregon via US 101 that he discovered the small village of Agate Beach,Oregon, which became his home.Grandfather may have hoped that reaching the US West Coast at the edge

of the vast Pacific Ocean would put the worst of the world behind him. Butthis was not to be. On December 7, 1941 World War II came to the UnitedStates from the other side of the Pacific. Enemy submarines, just offshore,shelled the coast 100 miles north of his new home. Blackouts were imposed,oilcloth curtains were required for all windows, and candles/flashlightsoutside were forbidden; gas was rationed, and driving was prohibited fromdusk to dawn. Incendiary bombs dispatched by balloon from the westerlypart of the Pacific to ignite forest fires in groves of fir trees made Oregon theonly state in the lower 48 to suffer civilian casualties.Grandfather was deeply distressed by the war, and produced no major

work until the Suite Symphonique of 1944. Once the war was over and he feltfree again, he was able to create some of his finest works; more than twenty-

five manuscripts emanated from his Agate Beach home in the years beforehis death in Portland in 1959.

Agate Beach

My earliest memories of Grandfather are from the mid-1940s, when I wassix or seven. He would come to Portland from time to time, primarily tohave completed manuscripts copied; the copies were then sent to New Yorkfor publication.After the war ended and gas rationing ended, we were able to drive to

Agate Beach. Grandfather’s home was on a bluff overlooking the ocean. Myfirst impression was that, overall, the rooms were somewhat dark; blackoutcurtains were never removed.The house was in the form of a large ‘U’; Grandfather said the large ‘grand

room’ could hold 300 people. The living room was more like a great roomwith a very high ceiling and many windows facing the ocean. It had a largeround glass dining table which seated six to eight people. We had many

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enjoyable, sumptuous meals at that table. Grandmother was a great cook.I remember always leaving the table feeling ‘stuffed.’During dinner there were many stories, mostly of life in Switzerland.

When conversation turned to French, I realized something was beingdiscussed ‘not for the children.’ After dinner and stories, Grandfather wouldleave the dinner table; soon, he would return from his bedroom, smiling,with a luscious choice of European chocolates and liquors. When we becameolder, Grandmother brought out very small glasses and we would shareliquors, cookies, and candy.The rest of the main room contained original wicker furniture left by

previous owners. In the middle wall along side windows facing the oceanwas a large stone fireplace. A second fireplace existed outside the front door/patio entrance area to be used in the summer. At the opposite end of theroom next to a view of the ocean was a large desk. That was whereGrandfather composed, and handled his correspondence. Next to the deskwas a large grand piano. On the far wall hung a life-size crucifix Grandfatherhad brought from Europe. It too was dark and foreboding; our dog wasstartled by it and started barking until we calmed her down.My father used to say, ‘Father was the most optimistic, pessimistic person

I knew.’ My aunt Lucienne commented, ‘Living with father was like livingon top of a volcano. We were a close-knit family, but there were periods ofquiet and periods of explosion, and every tremor affected us.’ As I grewolder, Grandfather’s pessimism became quite evident, but I never did wit-ness the ‘explosions.’

Grandfather often spoke of his admiration for two American heroes:President Abraham Lincoln and Walt Whitman, poet, essayist and journalist.I recall one day Grandfather was lying on the wicker couch in the living

room, with a cigar (Cuban cigars were still legal in the United States). Hewas reading an airmailed issue of The Wall Street Journal. All of a sudden hespoke out loud: ‘The problem with America; the three s’s: stock, sex andsports!’ The full impact of that statement became clearer as I grew older.There was a separate two-story building, ‘the garage,’ that contained three

spaces for parking cars. One parking space became his lapidary area.A staircase led to the upper level, with its own bedroom and full-size bath,a large ‘play room,’ and space for a ping-pong table and an old-fashionedrecord player. In the late 1940s Grandfather had the upper level modified tobecome his ‘studio’ complete with a second grand piano.At times he would tend the vegetable garden alongside the garage,

separate from the main house. He often spoke with a smile on his face ofthe enjoyment he had from tending the garden and extracting fresh itemsfrom the ground. The vegetables were a real treat of freshness compared tothe often wilted, limp produce available from the stores in nearby Newport.

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My father often spoke about the good times in Switzerland, when he andhis father would hike in the mountains, bicycle in the countryside, and enjoypicnics and mushroom hunting. Agate Beach provided Grandfather withabundant nature experiences in a dramatic setting. His outside activitiesapparently provided him with new resolve to continue composing.These experiences led to a closeness; sharing a love of nature. It was

obvious to me that Grandfather seemed to get ‘energy’ from the earth, theocean, and the sense of being with and in touch with nature.

Walks on the Beach

Grandfather invited me to join him on walks down the narrow, cliff-edgetrail. It descended from the house on the bluff down a large, long staircase tothe bottom of the cliff. At the bottom it was necessary to weave in and outand climb over large tree logs washed down the rivers nearby. Grandfatherwould easily navigate. In my case, having polio at age five, being on crutchesoffered interesting opportunities. With ‘four legs’ I could get down, over,and on the sand before Grandfather.In those days the number of agates on the beach was impressive. Grand-

father would wait for the tide to retreat. He would pick up a freshlyuncovered agate and carefully check the exterior features; then he wouldhold it up to light to make sure it was agate, not just a rock. Most were tossed

back. Those worth keeping he put in his pocket. We would retire to one ofthe many logs and sit down. Often Grandmother would have provided athermos of ‘real’ hot chocolate (from Europe) which we shared.Then we faced the long, steep climb up to the house. At a couple of resting

spots would be benches, where Grandfather would say we should take a rest.He carried with him a large canvas bag which he filled with driftwood; heput the driftwood in the large basement under the house for use later for thefireplace inside.Grandfather emptied the agates onto his desk. Those not up to his

standards were tossed outside next to the house. His children gave him abirthday present of a lapidary outfit which he set up in a room built inthe back of the garage. Grandfather held absolute opinions. He opposed thepopular method of polishing dozens of agates in a tumbler. In an irate tonehe would exclaim, ‘Those people using a tumbler are “stealing” these stones.Someday they will be completely gone!’ He was correct. Instead, he wouldprocess the individual agates into works of art, one at a time. Some he wouldpolish on one side. A few he would ‘cut’ by the circular diamond saw intotwo pieces. The times he would invite me to join him in the small roomto polish agates were my favorite times with him. He used cigar boxes in two

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ways. He cut the wood box into small sticks, then used melted sealing wax to‘glue’ onto the agate. Finished, polished agates were then segregated intotypes and resided in intact cigar boxes. The few remaining cigar boxes stillsmell of cigars and contain hundreds of agates.At other times, Grandfather would take long walks on his own in the

forested area surrounding the Agate Beach home. He would bring back largebags of freshly harvested mushrooms, and Grandmother would find deli-cious ways to incorporate them in the meal of the evening.

Later Years

I will always remember February 21, 1949. I was eleven years old. Grand-father was to conduct the Oregon Symphony Orchestra. Our family wasseated in one of the first rows of the main floor. Grandfather came out onstage, and everyone started clapping. I realized the auditorium, which held4,500, was nearly full. Grandfather was short, and spoke in a high-pitchednasal sounding voice. Without a microphone he asked, ‘I hope you can hearme?’ ‘Yes Grandpa, we can hear you,’my younger sister called out. Laughter!He spoke of his love for America, of how he felt as an immigrant (‘New Yorkseemed like another planet’), and of how ultimately he became a citizen. Hedescribed how he had been moved to compose a work based on hisimpressions of ‘this magnificent country.’ Before turning to the podium he

commented, ‘I hope you like my work.’He then conducted America: An Epic

Rhapsody. The audience gave him a standing ovation. The anthem whichaccompanies the work was sung by the audience twice. To this day, thatanthem stirs my heart.After I turned seventeen and had a driver’s license, my grandparents

periodically asked me on Fridays to take the bus from downtown Portlandto the village of Agate Beach. Grandfather met me at the small post office.Grandmother usually prepared a filet mignon steak dinner, cooked in butterno less, with garden-fresh vegetables. Next day, after a large breakfast(Grandmother loved toast and eggs fried in butter), I drove Grandfatherback to Portland. There was usually not much conversation while I drove,yet he would regale me with his strong opinions regarding the encroachinghousing development near the coast. He was particularly outraged by theprocess of ‘clear-cutting’ from the rain forest. His concern was erosion,damage to plant life, disruption to wild life. For most of the drive, whenhe was not speaking, he was quietly ‘thinking.’ And when on the beach hewould take a small, spiral notepad from his chest pocket. He always had asharp pencil to jot down a reminder or perhaps a few notes. Before getting toPortland he would say, ‘I think we should have lunch.’ We went to a

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marvelous Jewish deli noted for its notoriously large servings: pies, pastry,and outrageously large cinnamon buns. As we walked in he suggested, ‘Let’slook at what we want for dessert, then go have lunch. But don’t tell yourmother.’

The Final Years

1956. In the spring Grandfather was showing signs that his illness (rectalcancer) was progressing. My parents asked me to accept on his behalf anhonorary degree from the University of Oregon, awarded for DistinguishedService. And as a result, I chose to attend college at the University of Oregonthat fall.27 July. Grandfather was in Portland to be seen by his doctors. Earlier that

morning the SS Andrea Doria had sunk in the Atlantic Ocean off the USEast Coast; the Andrea Doria was the most famous ocean liner to sink sincethe Lusitania and the Titanic. Grandfather was fascinated by television. Hewatched, amazed at camera replays taken from airplanes as the ship slowlytipped over and slid under the ocean. Thinking back, I wonder what was inhis mind, having made several transatlantic crossings himself.1957. He was brought to Portland by ambulance and hospitalized. Diag-

nosis: cancer had spread to his colon. He needed drastic surgery. I went tovisit him. He was furious, and what the surgery doctors recommended

disgusted him. He considered not having surgery. ‘Instead’, he told me,‘we could go to Europe. I know a doctor who would take care of it and meonce and for all.’ My first thought was ‘a trip to Europe, that would beinteresting.’ Later I realized what he actually had in mind.A day or so later he agreed to have surgery. Recovery took place in

Portland over several months. He and Grandmother rented a comfortablepenthouse. That enabled me to see him often. It had a view of downtownPortland and a view of a large park of trees that carpeted the hills to the west.Fortunately, many other people wanted to pay their respects and came tovisit him. He enjoyed the attention and gestures of appreciation.1958. I was attending the University of Oregon. Grandfather’s poor

health was taking its toll. Visits to the grandparents became sparse. I didmanage to get to Agate Beach to see him for what turned out to be the lasttime. He was weak. When offered the suggestion of a ride in the car, heaccepted. Dressed in warm clothing, we drove out to the Yaquina Light-house/ Yaquina Head Outstanding Natural Area next to the house at AgateBeach. The weather was dry, the wind not too strong. Hardly anyone elsewas around. Grandfather walked out to the very edge of the cliffs, listeningto gulls, the wind rustling in the low-lying bushes. Far below, one could

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hear the waves were crashing against the cliffs. He did not speak.He seemed to be absorbing the power of the natural setting. After a fewminutes he suggested we should return to the house.1959. This was the 100th anniversary of Oregon becoming the 38th State

in the United States. It was early July; I was attending summer classes atPortland State College (now Portland State University) and staffing anexhibit at the State of Oregon 100th Statehood Exhibition. Suddenly, Grand-father was rushed by ambulance from Agate Beach to Portland. He was verysick. A day or two later he fell into a coma. I felt it was necessary to see him.He was unconscious. A nurse came in and pointed to evidence of swelling,indicating his kidneys had failed. I decided just to sit there. Perhaps hewould wake up. Maybe it would be possible to say hello. A day later, afterclass, I called my grandmother to see if it would be OK to visit him. ‘Mydear’ she said, ‘father died earlier this morning. It was a release for him and arelief for us all that his long-term suffering is over.’My parents suggested I go ahead to work, which I did. During the day at

the exhibit, national news was played hourly over the loudspeaker system.And every time it reported, ‘Today the well-known composer Ernest Blochdied from cancer in Portland, Oregon.’ Again I appreciated knowing mygrandfather, but realized he was much more than that to a lot of people. Forme, ‘Grandfather’ was good enough.As I have grown older, I have had the pleasure and honor of traveling to

many faraway places to help extend his legacy. While not a musician myself,I have gained a great deal of satisfaction knowing that some of my efforts

have resulted in people approaching me saying ‘Your grandfather’s musictouches me in ways hard to express.’My most rewarding purpose in life is tocontinue to further Grandfather’s legacy for as long as possible.

ERNEST BLOCH II

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Chronology

Year Bloch Other Composers Events

1880 Born Geneva 24 July1882 Wagner Parsifal1883 Wagner dies1884 Brahms Symphony 41886 Verdi Otello1887 First efforts at composition Emile Berliner invents

successful recordingsystem

1888 R. Strauss Don Juan

1889 Studies violin with AlbertGos

1891 Enters GenevaConservatoire

1892 Violin with Louis Rey1893 Composition with Jaques-

DalcrozeTchaikovsky

Symphony 61894 Leaves school to

concentrate on musicAccession of Nicolas II(last Tsar)Dreyfus trial in France

1895 Symphonie Funèbre fororchestra

Dvořák CelloConcerto

Discovery of X-rays

1896 Mahler Symphony 3 Marconi demonstrateswireless telegraphy

1897 Leaves for Brussels to studyviolin with Ysaÿe andSchörg and compositionwith François Rasse

Brahms dies First Zionist Congress(Basel)

1899 Elgar Enigma

Variations

1900 Studies fugue under IwanKnorr at Frankfurt

Puccini Tosca

1902 Debussy Pelléas et

Mélisande

Peace of Vereenigingends Boer War

1903 Completes Symphony inC sharp minor

Sibelius ViolinConcerto

Kishinev pogromWright brothers achievefirst successfulpowered flight

Henry Ford starts motorcompany

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(cont.)


1904 Meets DebussyMarries Marguerite

Schneider

Mahler Symphony 6 Russo-Japanese warbegins

Freud’s Psychopathologyof Everyday Life

1905 Completes Hiver-Printemps

Debussy La Mer Einstein: Special Theoryof Relativity

1906 Finishes Poèmes

d’Automne

1907 Hague Conference tolimit armaments fails

1908 Mahler Das Lied von

der Erde

Bartók StringQuartet No. 1

Society for Jewish FolkMusic founded in StPetersburg

1909 Finishes Macbeth

Appointed conductor ofOrchestre de Lausannefor subscription concerts

SchoenbergErwartung

1910 First completeperformance ofSymphony in C sharpminor

World premiere ofMacbeth (OpéraComique)

Stravinsky Firebird

Berg String QuartetMahler Symphony 9Vaughan Williams

Tallis Fantasia

1911 Professor at GenevaConservatoire (to 1916)Moves to Satigny

Manchu dynastyoverthrown (China)

1913 Father diesTrois Poèmes Juifs

Stravinsky Rite of

Spring

1914 Finishes Psalm 22 andPsalm 137

World War I begins

1916 Completes IsraelSymphony

String Quartet No. 1

Holst The Planets

To New York as conductorfor Maud Allan’s tour

1917 ‘Jewish Cycle’ at CarnegieHall

Teaches at Mannes Schoolof Music, New York

Revolutions in RussiaBalfour Declaration onPalestine

1918 World War I endsNovember 11

Franchise Act (UK):women over 30 getvote

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(cont.)


1919 Suite for Viola and Pianoawarded ElizabethSprague CoolidgeChamber Music Prize

Treaty of VersaillesBritish mandate inPalestine

1920 Founder-Director ofCleveland Institute ofMusicViolin Sonata No. 1

Ravel La Valse American women getvoteFoundation of Leagueof Nations

1921 Berg Wozzeck

1922 Poems of the Sea BBC commences regularbroadcasts

1923 Piano QuintetBaal Shem Suite forviolin and piano

Turkish Republicproclaimed

1924 Becomes US citizenViolin Sonata No 2Méditation Hébraïque

Three Nocturnes for PianoTrio

Sibelius Symphony 7Gershwin Rhapsody

in Blue

Puccini Turandot

1925 Concerto Grosso No. 1Leaves Cleveland to

become Director of SanFrancisco Conservatory

1926 America: An Epic Rhapsody Janáček Sinfonietta

Berg Lyric Suite

1928 Helvetia: Symphonic Poem Chiang Kai-shek unifiesChinese Republic

1929 Abodah for violin and pianoAcademy of St Ceciliamembership (Italy)

Collapse of New YorkStock Exchange

1930 Returns to SwitzerlandSettles in Roveredo, Ticino

1933 Avodath Hakodesh

completedHitler appointed GermanChancellor

1934 Performances of AvodathHakodesh

Moves to Châtel, Haute-Savoie, France

1935 Piano Sonata Berg ViolinConcerto

1936 Voice in the Wilderness Spanish Civil War(to 1939)

Inauguration of PalestineBroadcasting Service

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(cont.)


1937 Foundation of Ernest BlochSociety (London andNew York)

1938 Violin Concerto completedMacbeth performed in ItalySzigeti premieres Violin

Concerto

World Centre for JewishMusic in Palestine setup

1939 Returns to USA World War II begins1940 Professorship at Berkeley1941 Moves to Agate Beach,

OregonUSA enters war

1943 Bartók Concerto for

Orchestra

1944 Suite Symphonique

1945 String Quartet No. 2 Britten Peter Grimes Germany surrendersunconditionally May 8

Atomic bombs droppedon Hiroshima andNagasaki

Japan surrenders 14August

1947 Gold Medal in Music(American Academy ofArts and Letters)

1948 State of Israel proclaimed1949 Visits UK (London,

Edinburgh)1950 Bloch 70th birthday festival

in ChicagoPremiere of Scherzo

Fantasque

1951 Suite Hébraïque

1952 Concerto Grosso No. 2String Quartet No. 3

Eisenhower electedpresident of USA

1953 String Quartet No. 4 ShostakovichSymphony 10

1954 Trombone Symphony1956 Suite Modale

String Quartet No 5Suites 1 and 2 for

unaccompanied cello1957 Piano Quintet No 2

Suite 3 for celloTakemitsu Requiem

for Strings1958 Suites 1 and 2 for

unaccompanied violinViola Suite unfinished

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(cont.)


1959 Dies in Portland, ORJuly 15

1967 Inauguration of an American Ernest Bloch Society with publication of TheErnest Bloch Society Bulletin

1990 Bloch Music Festival inaugurated at Newport, OR2008 International Ernest Bloch Society relaunched (London)

Ernest Bloch Foundation formed (Oregon)2009 International Jubilee Festival

First International Bloch Competition

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Alphabetical List of Bloch’s

Published and Unpublished Works

Compiled by Alexander Knapp

Introduction

I am indebted to Ernest Bloch II and the Bloch family for their kindcooperation in helping me to assemble this alphabetical list of works, whichhas been drawn from several sources. It provides up-to-date informationabout Bloch’s published and unpublished music (as of February 2015). Itdoes not, however, include Bloch’s orchestral arrangements of works byother composers (e.g., eight of Chopin’s Preludes for piano, and Debussy’sballet music Khamma, for the Maud Allan Dance Company in 1916); nordoes it include short pieces for tin flute (age six) and for violin (up to the ageof eleven), the manuscripts of which have been lost.In the table below, there are five columns.Column 1 states the name and subtitle (if any) pertaining to each com-

position – sometimes in multiple versions. Where an orchestral work isindicated, the number of instruments within each ‘family’ is given

(according to the standard sequence) beneath the title in col. 1: solo instru-ment(s)/voice(s); flute family (i.e., flutes plus piccolo), oboe family, clarinetfamily, bassoon family; French horns, trumpets, trombones, tubas; timpani,percussion, celesta, Glockenspiel, harp(s), piano; strings. Below the instru-mentation appears the name of the dedicatee(s) (if any) in parentheses.Col. 2 indicates the general performing medium and, beneath that, the

descriptive titles (if any) of individual movements within a composite work.Col. 3 lists the date of composition, followed – after a forward slash – by

the date of publication if this is different.Col. 4 gives the length of the work, where known.Col. 5 presents information about the publisher (where appropriate); and

immediately underneath are details of the year of expiry of copyright (alwayson the 31st day of December of that year). If no date is given, the work iseither in manuscript, or in the public domain; or the information is notavailable. Most of Bloch’s works are now published by Broude Brothers,1

1 Works by Bloch originally published byA. M. E., C. C. Birchard, Galaxy Music Corp,Mills Music, Summy-Birchard, and Joseph

Williams, are now published and availablethrough Broude Brothers.

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Carl Fischer, and G. Schirmer in the USA; a few have been brought out byBoosey and Hawkes in the UK, and the remainder by houses in France,Germany, and Italy. Only the current publication details are listed.2

Following the itemization of Bloch’s works in alphabetical order, there is abroadly chronological list of the locations in Europe and the USA wherethey were composed.It is hoped that the cross-referencing will be useful. Footnotes at the end

of the list offer some extra information. I take full responsibility for anyerrors or omissions.

Alphabetical List of Works

Name of Work,

Instrumentation (Orch.

Works), Dedicatee(s)

Medium

Named Movements

Date

Comp./

Publ. Length

Publisher

Expiry of

Copyright

ABODAH (GOD’SWORSHIP) – A YOMKIPPUR MELODY

(Yehudi Menuhin)

Violin and piano 1928/29 5’ Fischer2024

ABODAH – GOD’SWORSHIP

Solo violin, 3333, 3031, timp,perc, stgs.

Violin and orchestraa [1981] 5’ Fischer

ADONAÏ, ELOHIM: FROMFINALE OF ISRAELSYMPHONYb

(Mrs. J. F. D. Lanier)

Five solo voices and piano 1916/24 11’ Schirmer2019

AMERICA – AN EPICRHAPSODY

Unison chorus, 4333, 6331,timp, perc, cel, 2 hps,organ (ad lib), stgs

(Abraham Lincoln and WaltWhitman)

Orchestra and chorusI: 1620: The Soil – TheIndians – (England) – TheMayflower – The Landingof the Pilgrims.

II: 1861–1865: Hours of Joy –Hours of Sorrow.

III: 1926: The Present – TheFuture.

1926/28 42’ Broude2023

AMERICA: ANTHEMc Unison voices and organd 1928 1½’ Broude2023

2 The names and websites of the currentpublishers of Bloch’s music are shown at theend of this document.

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(cont.)

Name of Work,



Medium

Named Movements

Date

Comp./

Publ. Length

Publisher

Expiry of

Copyright

ANDANTE MODERATO: See CONCERTO GROSSO No. 1, and DIRGEANDANTE SUR UN AIRFOLKLORIQUE SUISSEin G major

String quartet 1895 unpublished

AVODAD HAKODESC –

SERVIZIO SACROe

1933/34 49’ Carisch2029

AVODATH HAKODESHf–

SACRED SERVICE FORBARITONE CANTOR,MIXED CHORUS ANDORCHESTRA

Soprano, alto, baritonesoloists, four-part mixedchorus, 3333, 4331, timp,perc, cel, 2 hps, stgs

(Gerald Warburg)

1933g 49’ Broude2029

AVODATH HAKODESH Baritone solo, four-partmixed choir, piano andorgan

1933 49’ Broude2029

AVODATH HAKODESH:BENEDICTION(YEVORECHECHOADONOY)

Baritone solo, four-partmixed choir and piano

1933/66 1½’ Broude2061

AVODATH HAKODESH:SANCTIFICATION(YIMLOCH ADONOYLEOLOM)

Four-part mixed choir andpiano

1933 13/4’ Broude2061

AVODATH HAKODESH:SILENT DEVOTIONAND RESPONSE (YIHYULEROZON)

Four-part mixed choir andpiano

1933 2½’ Broude2057

AVODATH HAKODESH:SONG OF PEACE (ETZCHAYIM)

Baritone solo, four-partmixed choir and piano

1933 4’ Broude

BAAL SHEM – THREEPICTURES OFCHASSIDIC LIFE

(Sophie Bloch)

Violin and pianoVidui (Contrition) – Nigunh

(Improvisation) – SimchasTorah (Rejoicing)

1923/24 12’ Fischer 2019

BAAL SHEM – THREEPICTURES OFCHASSIDIC LIFE

2222, 4300, timp, perc, cel,hp, stgs

Violin and orchestra 1939/40 12’ Fischer 2035

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(cont.)

Name of Work,



Medium

Named Movements

Date

Comp./

Publ. Length

Publisher

Expiry of

Copyright

BAAL SHEM –THREEPICTURES OFCHASSIDIC LIFE

Cello and pianoi

BENEDICTION (YEVORECHECHA ADONOY): See AVODATH HAKODESHBERCEUSE IN D FLATMAJOR

(Louise Bloch)j

Piano 1897 manuscriptlost

C’EST LE TEMPS D’HIVER: See LIED in B flat minorC’EST UN AIR LOINTAIN: See LIED in F majorCHANTY: See POEMS OFTHE SEA

Brass sextetk 1923/59 3’ Schirmer

CHANTY: See POEMS OFTHE SEA

String quartet and guitarl 3’

CINQ PIÈCESHÉBRAÏQUES (SeeSUITE HÉBRAÏQUE andMEDITATION ANDPROCESSIONAL)

Viola and piano 1951 18’ Schirmer

CONCERTINO FORFLUTE, VIOLA (ORCLARINET) ANDSTRING ORCHESTRA

(with alternative ending forfull orchestra: 3222, 4331,timp, perc, stgs)

1950/51 8’ Schirmer2046

CONCERTINO FORFLUTE, VIOLA (ORCLARINET) AND PIANO

1950/51 8’ Schirmer2046

CONCERTO GROSSONO. 1 FOR STRINGORCHESTRA ANDPIANO OBBLIGATO

Prelude – Dirge – Pastoraleand Rustic Dances –Fugue

1925/25 23’ Broude2020

CONCERTO GROSSONO. 1: DIRGE(ANDANTEMODERATO)m

Organ 1950/55 6’

CONCERTO GROSSONO. 2

String orchestra and stringquartet

1952/53 18½’ Schirmer2048

CONCERTO FOR VIOLINAND ORCHESTRA

3333, 4331, timp, perc, cel,hp, stgs

1938/38 34½’ Boosey &Hawkes

2033

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(cont.)

Name of Work,



Medium

Named Movements

Date

Comp./

Publ. Length

Publisher

Expiry of

Copyright

CONCERTO FOR VIOLIN with piano accompaniment 1938/38 34½’ Boosey &Hawkes

2033CONCERTO POURVIOLON ETORCHESTRE

1899 unpublished

Reduction for violin and piano: revised version of POÈME CONCERTANT (q.v.)CONCERTO POURVIOLONCELLE ETORCHESTRE

1902 manuscriptlost

CONCERTOSYMPHONIQUE FORPIANO ANDORCHESTRA

3333, 4331, timp, perc,cel, stgs

(Mary Tibaldi Chiesa)

1948/50 38’ Boosey &Hawkes

2045

CONCERTOSYMPHONIQUE

Two pianos 1948/50 38’ Boosey &Hawkes

2045CONTE BADIN [SADRIE]POUR PIANO

1897 manuscriptlost

DANSES POPULAIRESSUISSES POURORCHESTRE(incomplete)

1899 unpublished

DANSE SACRÉEn Piano 1923 2’ unpublishedDEUX PIÈCES POURQUATUOR À CORDES(See TWO PIECES FORSTRING QUARTET)

(Griller String Quartet)

1938–1950/52

7½’ Broude2047

DEUX PSAUMES POURSOPRANO ETORCHESTRE PRÉCÉDÉSD’UN PRÉLUDEORCHESTRAL:PSAUMES 137 ET 114(See PRELUDE ANDTWO PSALMS)o

(Edmond and MadeleineFleg)

1914/21 12’ Schirmer

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(cont.)

Name of Work,



Medium

Named Movements

Date

Comp./

Publ. Length

Publisher

Expiry of

Copyright

DIRGE: ANDANTEMODERATO fromCONCERTO GROSSONO. 1

Organp 1950/55 6’

ELFES ET SCHERZANDOPOUR PIANO

1903 manuscriptlost

ENFANTINES – TENPIECES FOR CHILDREN

(Suzanne Bloch, Mrs. F. B.Kortheuer, LucienneBloch, Ruth Edwards,Beryl Rubinstein, DorothyPrice, Eleanor Foster,Nathan Fryer, M. EdithMartin, Anita Frank,respectively. All butSuzanne and Luciennewere professors at theCleveland Institute ofMusic.)

PianoLullaby – The Joyous Party –

With Mother – Elves –Joyous March –Melody –

Pastorale – Rainy Day –

Teasing – Dream

1923/24 12’ Fischer2019

ETZ CHAYIM: See AVODATH HAKODESHEVOCATIONS –

SYMPHONIC SUITEFOR ORCHESTRA

3222, 4231, timp, perc, cel,hp, piano, stgs

Contemplation – Houang Ti(God of War) –Renouveau

1937/37 17’ Schirmer2033

EVOCATIONS Two pianos 1937/38 17’ Schirmer2032

EX-VOTO Piano 1903/64 13/4’ Broude2059

FANTAISIE POURVIOLON ET PIANO inC minor

(Eugène Ysaÿe)

1897 unpublished

FANTAISIE-LIED POURVIOLON ET PIANO inE flat major

1898 unpublished

FIVE SKETCHES IN SEPIA(Marguerite Fischel)

PianoPrélude – Fumées sur laVille – Lucioles –Incertitude – Epilogue

1923/24 19’ Schirmer2019

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