MUSIC OF THE “FOLKS‐NESHOME”

Abstract

In their task of creating a style of “Jewish” national art music based on ethnographic research, many of the composers affiliated with the St. Petersburg Society for Jewish Folk Music wrote arrangements of traditional ethnic songs and dances for small chamber ensembles. These works, generally no longer than the duration of a traditional folk melody, and written with the aim of evoking Jewish village folk culture, occupy a genre that I call the “rural miniature”. This genre was popular in Eastern and Central Europe during this period, and was most commonly composed and performed by musicians who conducted ethnographic fieldwork themselves or studied the findings of other ethnographers of music. The rural miniature was a critical art music genre in the development of state and diaspora musical nationalism. Works in the genre assumed a standard role in the chamber music and solo repertoire during the first four decades of the twentieth century. As the genre’s early proponents moved away from their homes and settled throughout the diaspora, however, the continued survival of rural Jewish life appeared increasingly imperilled by urbanization, emigration, and anti‐Semitism. A discussion of Joseph Achron’s “Hebrew Melody” will demonstrate that, with this cultural migration, the ethnographic component of the rural miniature came gradually to be superseded by the aesthetic elements of propaganda and nostalgia, as the genre was appropriated for fictional idealizations of traditional life in the Eastern European shtetl 1 1. David Assaf defines the shtetl as “a physical enclave represented by hundreds of small and midsized towns in Eastern Europe whose Jewish character was in clear evidence”. Assaf, Journey to a Nineteenth‐Century Shtetl, 20. and expressions of a Zionist longing for the biblical Jewish homeland.

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