The New Reform Temple of Berlin
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The New Reform Temple of Berlin
THE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of Bowl The New Reform Temple of Berlin ling Green State University in partial fulfillment of the requirements for (he degree ofMASTER OF MUSIC43313Committee:Arne Spohr. AdvisorEftychia Papanikolaouiii ABSTRACTArne Spohr. AdvisorDuring the first decades of the nineteenth century. Israel Jacobson (1768-1828) created a radically new service The New Reform Temple of Berlin that drew upon forms of worship most commonly associated with the Protestant faith. After finding inspiration as a student in the ideas of the HaskalThe New Reform Temple of Berlin
ah, or Jewish Enlightenment. Jacobson became committed to revitalizing and modernizing Judaism. Musically. Jacobson's sen ice was characterized by itsTHE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of Bowl The New Reform Temple of Berlin itional music of the synagogue, a custom that had developed over more than a millennium. The music of the sen ice worked in conjunction with Protestant-style sermons, the use of both Gentian and Hebrew, and the church- and salon-like environments in which Jacobson's services were held. The music, li The New Reform Temple of Berlin turgy, and ceremonial of this new mode of worship demonstrated an affinity with German Protestantism and bourgeois cultural values while also maintainThe New Reform Temple of Berlin
ing Judaism's core beliefs and morals.In this thesis, 1 argue that Jacobson's musical agenda enabled a new realization of German-Jewish identity amongTHE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of Bowl The New Reform Temple of Berlin its wider historical, political, and social context within the well-documented services at the Jacobstempel in Seesen and the New Reform Temple in Berlin. Although much of this project discusses general practice rather than specific repertoire. 1 examine several works composed for these services: a The New Reform Temple of Berlin canata by Johann August Gunther Heinroth (1773-1843). a hymn by Jacobson, and the 1815 Hallelujah Cantatine by Giacomo Meyerbeer (1791 -1864).ivACKNOWThe New Reform Temple of Berlin
LEDGMENTSI first encountered the topic that would evolve into this thesis over a year and a half ago while reading Deborah Hertz's How Jews Became GerTHE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of Bowl The New Reform Temple of Berlin f this book. The entire premise of this project is heavily indebted to Hertz’s theorization of German identity among the acculturated Jews of Berlin, in addition to the work of Michael A. Meyer, Abraham z. Idelsohn. Tina Friihauf. and Ruth HaCohen.I am also beyond gratefill to my advisor. Dr. Arne S The New Reform Temple of Berlin pohr—he first lent me Deborah Hertz’s book after he happened upon it in a Detroit bookstore and thought that I would enjoy it. Beyond that first introThe New Reform Temple of Berlin
duction. Dr. Spohr has been instrumental to my success in countless ways, but especially through his assistance in translating the many German sourcesTHE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of Bowl The New Reform Temple of Berlin vice on how best to structure my writing (her suggestion was usually to get to the point, a reminder that I often require). I am also thankfill for the time donated by Dr. Samuel Adler in helping me find the musical sources most essential to the earliest stages of my research.On a more personal note The New Reform Temple of Berlin , thank you to Bob and Mary Coffey, two friends and musicians who for many years sponsored my musical education with a generous scholarship. Lastly. IThe New Reform Temple of Berlin
want to thank my mother, Sandra Smith, who has been my biggest supporter through 25 years and three degrees. After sending her the first complete draTHE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of Bowl The New Reform Temple of Berlin highly doubt that any other compliment will ever make me feel as accomplished.VTABLE OF CONTENTSPageINTRODUCTION................................................................... 1CH.APTER I. THE HISTORICAL ORIGINS OF REFORM JUDAISM........................... 5Musical Components of Jewish Worship. The New Reform Temple of Berlin .................................... 5The Music of the Second Temple and the Aftermath of its Destruction...... 8Synagogue Music and European InfluencThe New Reform Temple of Berlin
e Among the Ashkenazim............ 11Musical Innovations of the Hazzanim..................................... 13Synagogue Music in Berlin.............THE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of Bowl The New Reform Temple of Berlin OF MUSICAL REFORM IN SEESEN 23The Influence of the Haskakih........................................... 23Israel Jacobson: Educational and Religious Reform....................... 26The Consecration of the Jacobstempel.................................... 30Johann August Gunther Heinroth’s Cantata..... The New Reform Temple of Berlin ........................... 34Lutheran-Influenced Hymnals of Reform Judaism........................... 39THE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of BowlTHE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAHSamuel TeepleA ThesisSubmitted to the Graduate College of BowlGọi ngay
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