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==Biography== |
==Biography== |
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Israel Lovy was born in Schottland, near [[Gdańsk|Danzig]], into a lineage of ''ḥazzanim'' from [[Poland]] and [[Pomerania]].<ref name=roten>{{cite web|website=Institut Européen des Musiques Juives|title=Lovy, Israël (1773-1832)|first=Hervé|last=Roten|url=https://www.iemj.org/en/onlinecontent/biographies/lovy-israel-1773-1832|access-date=16 March 2019}}</ref> He received a [[Talmud]]ic and secular education at [[Głogów|Glogau]], where his father was ''ḥazzan''. From the age of 13 he acted as assistant ''ḥazzan'' in various communities of [[Moravia]], [[Bohemia]], [[Saxony]], and [[Bavaria]]. Lovy travelled extensively, visiting the greatest cantors of the time, and studying the works of the greatest masters, especially those of [[Joseph Haydn]] and [[Wolfgang Amadeus Mozart]]. |
Israel Lovy was born in Schottland, near [[Gdańsk|Danzig]], into a lineage of ''ḥazzanim'' from [[Poland]] and [[Pomerania]].<ref name=roten>{{cite web|website=Institut Européen des Musiques Juives|title=Lovy, Israël (1773-1832)|first=Hervé|last=Roten|url=https://www.iemj.org/en/onlinecontent/biographies/lovy-israel-1773-1832|access-date=16 March 2019}}</ref> He received a [[Talmud]]ic and secular education at [[Głogów|Glogau]], where his father was ''ḥazzan''. From the age of 13, he acted as assistant ''ḥazzan'' in various communities of [[Moravia]], [[Bohemia]], [[Saxony]], and [[Bavaria]]. Lovy travelled extensively, visiting the greatest cantors of the time, and studying the works of the greatest masters, especially those of [[Joseph Haydn]] and [[Wolfgang Amadeus Mozart]]. |
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From 1799 to 1806 Lovy was employed in [[Fürth]], where he continued his secular and musical education, becoming accomplished in [[violin]], [[violoncello]], and [[piano]], and becoming proficient in [[French language|French]], [[Italian language|Italian]], and [[Hebrew language|Hebrew]].<ref name=huji>{{cite web|url=https://www.jewish-music.huji.ac.il/content/israel-lovy|title=Israel Lovy|website=Jewish Music Research Centre|access-date=16 March 2019}}</ref> At the request of [[Duke of Bavaria]] [[Maximilian I Joseph of Bavaria|Maximilian Joseph]], Lovy sang the [[tenor]] part in a performance of Haydn's ''[[The Creation (Haydn)|The Creation]]'' and was allowed to give public concerts in [[Nuremberg]], which at the time was officially off limits to Jews.<ref name=conway>{{cite book | last=Conway | first=David | title=Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner | publisher=Cambridge University Press | location=New York | year=2012 | isbn=978-1-139-05848-3 | oclc=777549429| page=211}}</ref> |
From 1799 to 1806, Lovy was employed in [[Fürth]], where he continued his secular and musical education, becoming accomplished in [[violin]], [[violoncello]], and [[piano]], and becoming proficient in [[French language|French]], [[Italian language|Italian]], and [[Hebrew language|Hebrew]].<ref name=huji>{{cite web|url=https://www.jewish-music.huji.ac.il/content/israel-lovy|title=Israel Lovy|website=Jewish Music Research Centre|access-date=16 March 2019}}</ref> At the request of [[Duke of Bavaria]] [[Maximilian I Joseph of Bavaria|Maximilian Joseph]], Lovy sang the [[tenor]] part in a performance of Haydn's ''[[The Creation (Haydn)|The Creation]]'' and was allowed to give public concerts in [[Nuremberg]], which at the time was officially off limits to Jews.<ref name=conway>{{cite book | last=Conway | first=David | title=Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner | publisher=Cambridge University Press | location=New York | year=2012 | isbn=978-1-139-05848-3 | oclc=777549429| page=211}}</ref> |
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After having served for short terms at congregations in [[Mainz|Mayence]], [[Strasbourg]], and [[London]], he went to [[Paris]] in 1818, where he became the ''ḥazzan'' of the now-defunct Temple rue Saint-Avoie.<ref>{{cite journal|publisher=American Society for Jewish Music|title=A Golden Age for Jewish Musicians in Paris: 1820–1865|first=John H.|last=Baron|journal=Musica Judaica|volume=12|date=1992|pages=30–51|jstor=23687684}}</ref> In May 1822 he became ''ḥazzan'' of the newly founded [[Synagogue de Nazareth|Temple rue Notre-Dame-de-Nazareth]], which dedicated a new [[synagogue]] building and introduced the use of an [[Organ (music)|organ]] and [[Boys' choir|boys' chorus]].<ref>{{cite book|title=Chants religieux: Composés pour les Prières Hébrai͏̈ques|first=Israel|last=Lovy|url=http://sammlungen.ub.uni-frankfurt.de/freimann/content/titleinfo/951723|date=1862|location=Paris|publisher=Administration du Temple Israelite}}</ref> The synagogue commissioned Lovy to compose a new rendition of the [[Jewish prayer|service]] to complement these reforms.<ref>{{cite book | last=Frühauf | first=Tina | editor-last=Walden | editor-first=Joshua S. | title=The Cambridge Companion to Jewish Music | chapter=The Reform of Synagogue Music in the Nineteenth Century | year=2015 | publisher=Cambridge University Press | location=Cambridge | isbn=978-1-139-15121-4 | doi=10.1017/cco9781139151214.013 | pages=187–200|url=https://www.cambridge.org/core/books/cambridge-companion-to-jewish-music/reform-of-synagogue-music-in-the-nineteenth-century/4DBD634C41159BFE16BEDC002BA0292E}}</ref> These compositions, along with other earlier works, were published posthumously as ''Chants religieux, Composés pour les Prières Hébraïques'' (1862).{{r|huji}} He received attractive offers from the stage, but the [[Israelite Central Consistory of France|Jewish Consistory of Paris]] elected him for life and thus induced him to remain as ''ḥazzan''. |
After having served for short terms at congregations in [[Mainz|Mayence]], [[Strasbourg]], and [[London]], he went to [[Paris]] in 1818, where he became the ''ḥazzan'' of the now-defunct Temple rue Saint-Avoie.<ref>{{cite journal|publisher=American Society for Jewish Music|title=A Golden Age for Jewish Musicians in Paris: 1820–1865|first=John H.|last=Baron|journal=Musica Judaica|volume=12|date=1992|pages=30–51|jstor=23687684}}</ref> In May 1822, he became ''ḥazzan'' of the newly founded [[Synagogue de Nazareth|Temple rue Notre-Dame-de-Nazareth]], which dedicated a new [[synagogue]] building and introduced the use of an [[Organ (music)|organ]] and [[Boys' choir|boys' chorus]].<ref>{{cite book|title=Chants religieux: Composés pour les Prières Hébrai͏̈ques|first=Israel|last=Lovy|url=http://sammlungen.ub.uni-frankfurt.de/freimann/content/titleinfo/951723|date=1862|location=Paris|publisher=Administration du Temple Israelite}}</ref> The synagogue commissioned Lovy to compose a new rendition of the [[Jewish prayer|service]] to complement these reforms.<ref>{{cite book | last=Frühauf | first=Tina | editor-last=Walden | editor-first=Joshua S. | title=The Cambridge Companion to Jewish Music | chapter=The Reform of Synagogue Music in the Nineteenth Century | year=2015 | publisher=Cambridge University Press | location=Cambridge | isbn=978-1-139-15121-4 | doi=10.1017/cco9781139151214.013 | pages=187–200|url=https://www.cambridge.org/core/books/cambridge-companion-to-jewish-music/reform-of-synagogue-music-in-the-nineteenth-century/4DBD634C41159BFE16BEDC002BA0292E}}</ref> These compositions, along with other earlier works, were published posthumously as ''Chants religieux, Composés pour les Prières Hébraïques'' (1862).{{r|huji}} He received attractive offers from the stage, but the [[Israelite Central Consistory of France|Jewish Consistory of Paris]] elected him for life and thus induced him to remain as ''ḥazzan''. |
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He died from a [[breast disease]] on 7 January 1832, and is buried in the [[Montmartre Cemetery|North-Montmartre Cemetery]] of Paris.{{r|roten}} Many of his tunes became popular as far as Poland; and one of them was adopted by [[Abraham Goldfaden]] in his opera ''Shulamith''.<ref name=idelsohn>{{cite book|first=Abraham Zevi|last=Idelsohn|author-link=Abraham Zevi Idelsohn|title=Jewish Music: Its Historical Development|url=https://books.google.com/books?id=sqrrPJ6Eh-cC|year=1992|publisher=Dover Corporation| location=New York |isbn=978-0-486-27147-7|oclc=25411577|pages=226–229}}</ref> |
He died from a [[breast disease]] on 7 January 1832, and is buried in the [[Montmartre Cemetery|North-Montmartre Cemetery]] of Paris.{{r|roten}} Many of his tunes became popular as far as Poland; and one of them was adopted by [[Abraham Goldfaden]] in his opera ''Shulamith''.<ref name=idelsohn>{{cite book|first=Abraham Zevi|last=Idelsohn|author-link=Abraham Zevi Idelsohn|title=Jewish Music: Its Historical Development|url=https://books.google.com/books?id=sqrrPJ6Eh-cC|year=1992|publisher=Dover Corporation| location=New York |isbn=978-0-486-27147-7|oclc=25411577|pages=226–229}}</ref> |
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[[Category:1773 births]] |
[[Category:1773 births]] |
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[[Category:1832 deaths]] |
[[Category:1832 deaths]] |
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[[Category:18th-century Jews]] |
[[Category:18th-century German Jews]] |
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[[Category:19th-century French composers]] |
[[Category:19th-century French composers]] |
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[[Category:19th-century French singers]] |
[[Category:19th-century French male singers]] |
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[[Category:19th-century Jews]] |
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[[Category:19th-century male musicians]] |
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[[Category:Burials at Montmartre Cemetery]] |
[[Category:Burials at Montmartre Cemetery]] |
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[[Category:French people of Polish-Jewish descent]] |
[[Category:French people of Polish-Jewish descent]] |
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Latest revision as of 17:06, 28 September 2021
Israel Lovy | |
|---|---|
 Portrait of Israel Lovy by Auguste Hirsch | |
| Personal life | |
| Born | August 31, 1773 Schottland, Polish–Lithuanian Commonwealth |
| Died | January 7, 1832 (aged 58) |
| Children | Julius Lovy |
| Religious life | |
| Religion | Judaism |
| Jewish leader | |
| Successor | Samuel Naumbourg |
Israel Lovy (31 August 1773 – 7 January 1832), also known as Israel Glogauer and Israel Fürth, was a ḥazzan and composer.
Biography
[edit]Israel Lovy was born in Schottland, near Danzig, into a lineage of ḥazzanim from Poland and Pomerania.[1] He received a Talmudic and secular education at Glogau, where his father was ḥazzan. From the age of 13, he acted as assistant ḥazzan in various communities of Moravia, Bohemia, Saxony, and Bavaria. Lovy travelled extensively, visiting the greatest cantors of the time, and studying the works of the greatest masters, especially those of Joseph Haydn and Wolfgang Amadeus Mozart.
From 1799 to 1806, Lovy was employed in Fürth, where he continued his secular and musical education, becoming accomplished in violin, violoncello, and piano, and becoming proficient in French, Italian, and Hebrew.[2] At the request of Duke of Bavaria Maximilian Joseph, Lovy sang the tenor part in a performance of Haydn's The Creation and was allowed to give public concerts in Nuremberg, which at the time was officially off limits to Jews.[3]
After having served for short terms at congregations in Mayence, Strasbourg, and London, he went to Paris in 1818, where he became the ḥazzan of the now-defunct Temple rue Saint-Avoie.[4] In May 1822, he became ḥazzan of the newly founded Temple rue Notre-Dame-de-Nazareth, which dedicated a new synagogue building and introduced the use of an organ and boys' chorus.[5] The synagogue commissioned Lovy to compose a new rendition of the service to complement these reforms.[6] These compositions, along with other earlier works, were published posthumously as Chants religieux, Composés pour les Prières Hébraïques (1862).[2] He received attractive offers from the stage, but the Jewish Consistory of Paris elected him for life and thus induced him to remain as ḥazzan.
He died from a breast disease on 7 January 1832, and is buried in the North-Montmartre Cemetery of Paris.[1] Many of his tunes became popular as far as Poland; and one of them was adopted by Abraham Goldfaden in his opera Shulamith.[7]
See also
[edit]References
[edit]
This article incorporates text from a publication now in the public domain: Singer, Isidore; Warsaw, Isidow (1904). "Lovy, Israel". In Singer, Isidore; et al. (eds.). The Jewish Encyclopedia. Vol. 8. New York: Funk & Wagnalls. p. 191.
- ^ a b Roten, Hervé. "Lovy, Israël (1773-1832)". Institut Européen des Musiques Juives. Retrieved 16 March 2019.
- ^ a b "Israel Lovy". Jewish Music Research Centre. Retrieved 16 March 2019.
- ^ Conway, David (2012). Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner. New York: Cambridge University Press. p. 211. ISBN 978-1-139-05848-3. OCLC 777549429.
- ^ Baron, John H. (1992). "A Golden Age for Jewish Musicians in Paris: 1820–1865". Musica Judaica. 12. American Society for Jewish Music: 30–51. JSTOR 23687684.
- ^ Lovy, Israel (1862). Chants religieux: Composés pour les Prières Hébrai͏̈ques. Paris: Administration du Temple Israelite.
- ^ Frühauf, Tina (2015). "The Reform of Synagogue Music in the Nineteenth Century". In Walden, Joshua S. (ed.). The Cambridge Companion to Jewish Music. Cambridge: Cambridge University Press. pp. 187–200. doi:10.1017/cco9781139151214.013. ISBN 978-1-139-15121-4.
- ^ Idelsohn, Abraham Zevi (1992). Jewish Music: Its Historical Development. New York: Dover Corporation. pp. 226–229. ISBN 978-0-486-27147-7. OCLC 25411577.
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