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ViolinAllViolinViolaTrumpetTromboneTimpaniString instrumentOboeHarpFrench hornFluteClarinetCelloBassoonAlto saxophoneArrangements:
Violin + ...
Piano + Violin (Unknown) Bassoon + Cello + Clarinet + Double bass + French horn + Viola + Violin (Hoek, Arie van)Other
Cello + Piano (Unknown) Cello + Piano (Unknown) Piano + Viola (Mandozzi, Orfeo) Piano (Heinrich Reimann) Cello + Organ (Heinrich Reimann) Clarinet (Hoek, Arie van) French horn(4) (Hoek, Arie van)Wikipedia Kol Nidrei, Op. 47 (also known as All Vows, the meaning of the phrase in Aramaic), is a composition for cello and orchestra written by
Max Bruch.
It is styled as an Adagio on 2 Hebrew Melodies for Cello and Orchestra with Harp and consists of a series of variations on two main themes of Jewish origin. The first theme, which also lends the piece its title, comes from the Kol Nidre declaration, which is recited during the evening service on Yom Kippur. In Bruch's setting of the melody, the cello imitates the rhapsodic voice of the cantor who chants the liturgy in the synagogue. The second subject of the piece is quoted from the middle section of
Isaac Nathan's arrangement of "O Weep for Those that Wept on Babel's Stream", a lyric which was penned by Lord Byron in his collection Hebrew Melodies (which also includes the famous poem "She Walks in Beauty").
Bruch was a Protestant and first became acquainted with the Kol Nidrei melody when his teacher
Ferdinand Hiller introduced him to the Lichtenstein family, the head of which served as the cantor-in-chief of Berlin. Cantor Abraham Jacob Lichtenstein was known to have cordial relations with many Christian musicians and supported Bruch's interest in Jewish folk music. While some commentators, including
Abraham Zevi Idelsohn, have criticized the lack of Jewish sentiment in Bruch's concert-hall Kol Nidrei, Bruch never presumed to write Jewish music. He only wished to incorporate Jewish inspirations into his own compositions.
Even though I am a Protestant, as an artist I deeply felt the outstanding beauty of these melodies and therefore I gladly spread them through my arrangement (Bruch)
In his presentation, the melody entirely lost its original character. Bruch displayed a fine art, masterly technique and fantasy, but not Jewish sentiments. It is not a Jewish Kol-Nidre which Bruch composed. (Idelsohn, from Jewish Music in its Historic Development, 1929)
The work is scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp and strings.