Jews From Israel

"Many pages of Prokofiev’s oeuvre continue the important tradition of Russian music based on fairy tale–inspired imagery."

"The piano plays a central role in Prokofiev’s oeuvre. Not only are his works for piano solo or piano with orchestra numerous, but they also rank among his more important compositions. The piano was the first instrument Prokofiev heard and the only one he mastered."

"Prokofiev’s music is usually based on a firm sense of tonality. Whatever tonal uncertainty and ambiguity one experiences, mainly in developmental passages, they are mostly short-lived."

"Examining the musical language of Prokofiev in a more detailed way, we must acknowledge that for him melody was always the most important element of music, one that determined the quality of the composition"

"Prokofiev was not alone among the leading composers of the twentieth century in changing his style repeatedly in the course of his career: Stravinsky, Schoenberg, Bartók, and others modified their musical language drastically at various stages of their creative lives. In Prokofiev’s case, he always maintained certain stylistic facets throughout the transformations of his musical language."

"Young Prokofiev was attentive to new musical trends. We can find traces of various influences in his early compositions. Some of the piano works from the set Visions fugitives,op. 22 (1915–17), are reminiscent of Debussy; the Andante assai section of the First Piano Concerto, op. 10 (1911–12), sounds like Rachmaninov; and the harmonies of the symphonic poem Osen neye(Autumnor Autumnal Sketch), op. 8 (1910), harken back to Scriabin. These, however, were rather passing influences. Others proved to be more enduring. One of them was the fairy-tale streak in Russian music. Russians have always been fond of fairy tales, which to this day continue to be an important part of every child’s upbringing. ... Another significant influence was the Classical style."

"Prokofiev’s creative path traversed many countries and was affected by wars and revolutions. Life brought him into contact with some of the most prominent and influential artistic figures of his time. Observing the magnificent panorama of Prokofiev’s oeuvre, one sees that the composer’s musical style evolved significantly over the course of his creative life. The reasons for the changes of direction have been much discussed and debated."

"In spite of the many valuable books available today, the state of Prokofiev scholarship cannot be considered adequate: suffice it to say that the detailed catalogue of his works has not been updated since it was published in 1961. At present, there is no edition of the Prokofiev sonatas free of errors. I have tried to do my best in pointing out some obvious mistakes, as well as certain doubtful readings. Many questions cannot be answered with certainty, as the manuscripts for some of the sonatas have been lost; those that have survived are not easily available for inspection. To get to some of them, I was fortunate to have the help of Russian colleagues in overcoming the restrictions of the current gatekeepers in Russia."

"Prokofiev had a lifelong love of the sonata form. Ever since learning the basic rules during his childhood years, he strove to master them; … In 1941, describing his Sonatinas op. 54 (1931), he remarked, “I liked the idea of writing a simple work in such a superior form as sonata.” One can learn a lot about the composer’s growth by tracing his progress from the early sonatas, which cautiously dare to bend the textbook rules, to the masterful treatment of the form in his late works."

"Within the vast, virtually limitless piano repertoire, the piano sonatas of Sergei Prokofiev occupy a special place. Apart from Alexander Scriabin early in the century, Prokofiev was the only major twentieth-century composer to pay such consistent attention to the form, … They are a constant presence in concert programs and are considered an indispensable part of the repertoire by almost every serious concert pianist."

"One of the most winning characteristics of Prokofiev’s music is its indomitable energy. In expressing this quality, stability of tempo is particularly important."

"Prokofiev had a particular talent for creating a fully identifiable mood within the first notes of a piece, passage, or theme."

"It is essential that a pianist meticulously observe the composer’s indications regarding tempo, dynamics, and articulation. These are all crucial in creating full characterizations of individual themes and passages. Far too often one hears unidiomatic performances of Prokofiev’s music in which speed and loudness seem to be the only parameters that matter to the pianist."

"The playing of Soviet pianists of the younger generation differed significantly from the composer’s performing style, as discussed above. (Here I am referring to the generation of Richter and Gilels or younger, as opposed to Prokofiev’s coevals such as Neuhaus and Samuil Feinberg, who also had Prokofiev’s works in their repertoires.) Since we know that Prokofiev appreciated their playing, does it mean that he accepted their approach? Should we regard the new generation’s playing as a distortion of the composer’s intentions or as a natural evolution of interpretive style? I believe that Prokofiev, having been exposed to the new performing style of the Soviet pianists, accepted at least some of its qualities. We can mention assertive muscular playing, open expressivity, and a gripping commitment to the music among those traits that brought recognition to Soviet pianists and assured their success in the international arena. These characteristics were concordant with the evolving compositional style of Prokofiev, whose later works became both more virile (often heroic) and expressive in a warmer and more open way."

"Prokofiev’s playing of lyrical music is especially noteworthy. His phrasing can be exquisitely beautiful in its dynamic molding (second theme of the Andante assaifrom Sonata No. 4; the middle section of Vision fugitive,op. 22, no. 11), and his polyphonic voicing can be clear and expressive (Sonatina pastorale, op. 59, no. 3)."

"Prokofiev was especially active as a pianist during his years in the United States. The titles of numerous reviews seem to refer as much to his compositions as to his performances: “A titan of a pianist,” “Volcanic eruption at the keyboard,” “Russian chaos in music,” among others."

"Most characteristic of the Halakhah is its lack of pathos."

"Not every "return to Zion" is a religiously significant achievement: one sort of return which may be described in the words of the prophet: "When you returned you defiled my land and made my heritage an abomination" (Jeremiah 2:7)."

"As for the "religious" arguments for the annexation of the territories—these are only an expression, subconsciously or perhaps even overtly hypocritical, of the transformation of the Jewish religion into a camouflage for Israeli nationalism. Counterfeit religion identifies national interests with the service of God and imputes to the state—which is only an instrument serving human needs—supreme value from a religious standpoint."

"Rule over the occupied territories would have social repercussions. After a few years there would be no Jewish workers or Jewish farmers. The Arabs would be the working people and the Jews the administrators, inspectors, officials, and police—mainly secret police. A state ruling a hostile population of 1.5 to 2 million foreigners would necessarily become a secret-police state, with all that this implies for education, free speech, and democratic institutions. The corruption characteristic of every colonial regime would also prevail in the state of Israel. The administration would have to suppress Arab insurgency on the one hand and acquire Arab Quislings on the other. There is also good reason to fear that the Israel Defense Force, which has been until now a people's army, would, as a result of being transformed into an army of occupation, degenerate, and its commanders, who will have become military governors, resemble their colleagues in other nations.Out of concern for the Jewish people and its state we have no choice but to withdraw from the territories and their population of one and a half million Arabs."

"Our real problem is not the territory but rather the population of about a million and a half Arabs who live in it and over whom we will need to impose our rule. Inclusion of these Arabs (in addition to the half a million who are citizens of the state) in the area under our rule will effect the liquidation of the state of Israel as the state of the Jewish people and bring about catastrophe for the Jewish people as a whole; it will undermine the social structure that we have created in the state and cause the corruption of individuals, both Jew and Arab."

"Our security has been diminished rather than enhanced as a result of the conquests in this war."

"[W]ithout an agreement imposed from the outside, our situation will deteriorate to that of a second Vietnam, to a war in constant escalation without the prospect of ultimate resolution."

""Security" is a reality only where there is true peace between neighbors, as in the case of Holland/Belgium, Sweden/Norway, the United States/Canada. In the absence of peace there is no security, and no geographic-strategic settlement on the land can change this. There is no direct link between security and the territories."

"As the trends he abhorred gained ground in Israeli society Leibowitz's dark vision of Israel's future went pitch black."

"It was strange to Leibowitz, who fled anti-Jewish persecution in Europe and emigrated to Israel to become one of the giants of the founding generation, because it inverted the whole history of the Jewish people, turning them into the spitting image of the pogromists whose terrorism he had fled."

"The theme of this book is encapsulated in its portrayal of one of my heroes—or, I should say, my newest hero, since I had no knowledge of him before reading Blumenthal's work: his name is Yeshayahu Leibowitz. The Israeli polymath, who fled Germany in 1933 and emigrated to Palestine where he taught brain physiology at Tel Aviv University, starting teaching philosophy at the age of 72 (!), was an Orthodox Jewish scholar who edited the Encyclopedia Hebraica—and a hardcore libertarian only a little less radical than Murray Rothbard, whom he resembles in style and mannerisms to an amazing degree."

"Leibowitz argued vehemently for two positions: that holding any state as a value in itself was inherently fascist and that sanctifying any piece of land, including Israel, was a form of idolatry. Very soon after the Six-Day War, Leibowitz predicted that if Israel didn't withdraw immediately from the occupied territories, all of the state's energy would be tied up in ruling another people against its will."

"On the one hand he was a libertarian, an extreme form of classical liberalism, and believed that human beings should be free to determine their way of life without any state interference. On the other hand, he was an ultra-Orthodox Jew who insisted that the state and religion must be separated completely to avoid corrupting each other."

"In his essays, Leibowitz produced sharp and thought-provoking insights on many subjects such as the nature of holiness, chosenness, Messianism, prayer, redemption, and general and personal providence. His consistent and provocative thought gave him a prominent position in contemporary Jewish thought, especially in Israel. His thinking, even when contested, is stimulating and powerful and invites or even forces people to respond by formulating their own views."

"Leibowitz had a very negative view of Christianity as well as of modern Jewish thinkers like Rosenzweig and Buber, who showed intellectual and religious interest in Christianity. In contrast to scholars and thinkers like David Flusser, who investigated the Jewish roots of Christianity, Leibowitz wrote that the very concept of a "Judeo-Christian heritage" is a square circle. A synthesis or symbiosis is impossible; Christianity is for Leibowitz the adversary of Judaism. In his view, Christianity is the heir who does not want to admit that the testator is still alive. Judaism and Christianity cannot coexist, because Christianity claims that it is true Judaism, and is interested in the liquidation of Judaism as the religion of Torah and mitzvot."

"Leibowitz regarded Judaism as a religious and historical phenomenon, which is characterized by a recognition of the duty to serve God in performing mitzvot. The service of God according to binding halakhic norms must be "for its own sake" (li-shemah), and its purpose is not designed to achieve personal perfection or to improve society. Religion is thus not a means toward any specific end. Judaism is for Leibowitz not humanism, or a sentiment or a bundle of memories. Jews have the obligation to take upon themselves the yoke of Torah and mitzvot. Leibowitz's standpoint is thus neither anthropocentric or ethnocentric, but theocentric."

"Emancipation from the bondage of nature can only be brought about by the religion of Mitzvoth"

"Only the prayer which one prays as the observance of a Mitzvah is religiously significant. The spontaneous prayer ("when he is overwhelmed and pours out his complaint before God") a man prays of his own accord is, of course, halakhically permissible, but, like the performance of any act which has not been prescribed, its religious value is limited. As a religious act it is even faulty, since he who prays to satisfy his needs sets himself up as an end, as though God were a means for promotion of his welfare."

"The essence of Jewish faith is consistent with no embodiment other than the system of halakhic praxis."

"From a religious point of view the triadic classification of being as nature, spirit, and God has no validity. There is only the dyad: nature, which includes the human spirit, and God. The only way man can break the bonds of nature is by cleaving to God; by acting in compliance with the divine will rather than in accordance with the human will."

"The formulation "ways to faith" could be interpreted as implying that faith is a conclusion a person may come to after pondering certain facts about the world-facts about history, nature, or consciousness. If that were the case, one could lead a person to this conclusion by presenting these facts to him and pointing out their implications. I, however, do not regard religious faith as a conclusion. It is rather an evaluative decision that one makes, and, like all evaluations, it does not result from any information one has acquired, but is a commitment to which one binds himself. In other words, faith is not a form of cognition; it is a conative element of consciousness."

"The religion of halakhic practice is the religion of life itself."

"Only a religion addressed to life's prose, a religion of the dull routine of daily activity, is worthy of the name."

"I have lived as a Jew in Berlin for the past 23 years, something that would not have been possible if I did not believe that the Germans had thought long and hard about their past. No one else has managed to do this to the extent the Germans have, and I admire them for it."

"Wagner exploited all forms of expression at a composer's disposal -- harmony, dynamics, orchestration -- to the extreme. His music is highly emotional, and at the same time Wagner has extraordinary control over the effect he achieves. That's why there is also something manipulative about Wagner's music, which is not to say that it's not honest. In fact, I believe that it's totally honest, but it also happens to be manipulative."

"I have the greatest respect for the survivors of the Holocaust. We can't even imagine what these people went through. And yet even they have differing positions … I respect that there are survivors who can't, and certainly don't want to, listen to this music. But I don't accept that the fact that an orchestra playing Wagner in Tel Aviv or Jerusalem would do any harm to someone sitting in an apartment in Haifa."

"I'm sure that there are many Israelis who dream of waking up one day to find the Palestinians gone. And there are many Palestinians who dream of going to bed at night and waking up the next morning to find the Israelis gone."

"His exceptional musical talent was already evident then and he has since developed into one of the the preeminent conductors of our time"

"I live in Germany with great concern. Today, there is a highly dangerous new anti-Semitism in Germany, and reactions to this fact, both in society and politics, are far too weak. In the early 1990s I would not have believed that anti-Semitism and xenophobia, glorification of the Nazi past and an aggressive, racial nationalism could become socially acceptable again in Germany in 2019. What is happening every day in Germany cannot be brushed away as “alarm signals”; it is far too late for those. We must condemn and countermand anti-Semitism and xenophobia roundly and jointly, every day. For there are many aspects of German culture I value greatly: literature, music and philosophy, for example. Nazism, however, does not represent the human values this German culture is founded upon. Nazism is inhuman. Before I end, permit me to say a few words on another subject which fills me with concern: in Israel, it is currently unclear how the next government will be formed. No matter how the new government turns out, however, Israelis must finally understand that their own security is inextricably linked to justice for the Palestinian people, which is so urgently needed. There can only be true and lasting peace if the unjust occupation of the Palestinian territories finally ends."

"considered the principle of equality and the pursuit of peace as the bedrock of the society they were building. What happened? ... I still believe that despite all the objective and subjective difficulties, the future of Israel and its position in the family of enlightened nations will depend on our ability to realize the promise of the founding fathers as they canonized it in the Declaration of Independence. Yet, nothing has really changed since 2004. Instead, we now have a law that confirms the Arab population as . It therefore is a very clear form of apartheid. I don’t think the Jewish people survived for 20 centuries, mostly through persecution and enduring endless cruelties, in order to now become the oppressors, inflicting cruelty on others. This new law does exactly that. That is why I am ashamed of being an Israeli today."

"Israel's lasting future depends on its government's willingness to enter into a genuine peace agreement with the Palestinians. That this also goes for the Palestinians grouped around Hamas hardly needs to be stressed. Both sides have to understand that they must live together for better or worse and that hatred, terror and territorial, ethnic and religious exclusion have never produced peace, but rather have led to killing and more killing."

"The thing about Wagner is we’re always wrong about him, because he always embraces opposites … There are things in his operas which viewed one way are naturalistic, and viewed another way are symbolic, but the problem is you can’t represent both views on stage at once."

"Music has the capacity to create a greater reality."

"To have real knowledge, one must understand the essence of things and not only their manifestations."