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{{short description|Israeli composer}}
{{Short description|Israeli composer (1907–1964)}}
{{Infobox person
⚫
[[File:Mordechai Seter Alexander Boskovich 1940s.jpg|thumb|250px |Composer Uriah Boskovich (left) and [[Mordecai Seter]] in the 1940s]] '''Alexander (Sándor) Uriah Boskovich''' (Boskovits, Boskowitz, etc.) ({{lang-he|אלכסנדר (שאנדור) אוריה בּוֹסְקוֹביץ}}; August 16, 1907 – November 5, 1964) was an Israeli [[composer]] born to a [[Hungarian-Jewish]] family.
| name = Alexander Uriah Boskovich
| image = Mordechai Seter Alexander Boskovich 1940s.jpg
| caption = Composer Uriah Boskovich (left) and [[Mordecai Seter]] in the 1940s
| birth_name = Sándor Boskovich
| birth_date = {{Birth date|1907|08|16|df=yes}}
| birth_place = Kolozsvár, Transylvania, Austria-Hungary (now Cluj-Napoca, Romania)
| death_date = {{Death date and age|1964|11|05|1907|08|16|df=yes}}
| death_place = Tel Aviv, Israel
| occupation = Composer
| nationality = {{flag|Israel}}
| spouse = Miriam Boskovich
| awards =
* 1942: Huberman Award
* 1946: Engel Award
| module = {{Infobox musical artist
| embed = yes
| genre = Classical, Israeli folk music
}}
}}

⚫
'''Alexander (Sándor) Uriah Boskovich''' (Boskovits, Boskowitz, etc.) ({{langx|he|אלכסנדר (שאנדור) אוריה בּוֹסְקוֹביץ}}; August 16, 1907 – November 5, 1964) was an Israeli [[composer]] born to a [[Hungarian-Jewish]] family.


== Life and career ==
== Life and career ==
Boskovich was born in [[Kolozsvár]], [[Transylvania]], [[Austria-Hungary]] (now Cluj-Napoca, [[Romania]]). The origin of his family and of his name was the town Boskovich in [[Moravia]]. In Cluj, Boskovich studied in a Jewish high school called "Culture" which accommodated both [[Neolog]] and [[Orthodox Judaism|Orthodox Jews]]. In 1920, Alexander joined the local Jewish organization "Hashomer" in which he was active for four years.{{citation needed|date=June 2020}}
Boskovich was born in [[Kolozsvár]], [[Transylvania]], [[Austria-Hungary]] (now Cluj-Napoca, [[Romania]]). The origin of his family and of his name was the town Boskovich in [[Moravia]]. In Cluj, Boskovich studied in a Jewish high school called "Culture" which accommodated both [[Neolog]] and [[Orthodox Judaism|Orthodox Jews]].


In 1937, Boskovich sent a piano version of his work "The Golden Chain" to the conductor [[Issay Dobrowen]]. This work, based on Jewish songs from the [[Carpathian Mountains]], was originally written for piano and later on, in 1936, transcribed for orchestra. In 1938, Dobrowen suggested to the "Palestinian Orchestra" to embed this work in a concert under his baton. Boskovich was invited (from abroad) to the premiere of his composition "Jewish Folk Songs" which was performed by the newly founded Palestinian (Jewish) Orchestra. (Later on, that orchestra evolved into the [[Israel Philharmonic Orchestra]].) One consequence of that event was that Boskovich decided to stay in the country and settle in [[Tel Aviv]]. In the coming years, Boskovich often said that Dobrowen, "The Golden Chain", and the orchestra's invitation saved his life.<ref>{{cite book|last=Cohen|first=Yehuda|title=Songs of Israel: Israeli music and musicians|year=1990|publisher=Am Oved (in Hebrew)|pages=110}}</ref>
In 1937, Boskovich sent a piano version of his work "The Golden Chain" to the conductor [[Issay Dobrowen]]. This work, based on Jewish songs from the [[Carpathian Mountains]],{{clarify |Much too vague, huge mt chain. 50% in today's Romania, where hardly any Jews lived in the mountainous areas, so maybe in Slovenia or Ukraine? Quite different cultures. |date= February 2024}} was originally written for piano and later on, in 1936, transcribed for orchestra. In 1938, Dobrowen suggested to the newly founded Jewish "Palestinian Orchestra", which later on evolved into the [[Israel Philharmonic Orchestra]], to embed this work in a concert under his baton. Boskovich was invited from abroad to the premiere of his composition "Jewish Folk Songs", which was performed by the Palestinian Orchestra. One consequence of that event was that Boskovich decided to stay in the country and settle in [[Tel Aviv]]. In the coming years, Boskovich often said that Dobrowen, "The Golden Chain", and the orchestra's invitation saved his life.<ref>{{cite book |last=Cohen |first=Yehuda |title=Songs of Israel: Israeli music and musicians |year=1990 |publisher=Am Oved |lang= Hebrew |page= 110}}</ref>


One of the cornerstones in the development of the art of music in [[Palestine (region)|Palestine]] during the [[Yishuv]] period was the performance of Boskovich's ''Semitic Suite'' by the [[Histadrut Orchestra]] under the baton of [[Frank Pelleg]]. Immediately after his arrival in Israel, Boskovich changed his writing style as is well manifested by his ''Semitic Suite'' -from the [[tonality]] of Europe into textures that imitated the [[Oud]] or the Arab [[Kanun (instrument)|Kanun]].<ref>{{cite web|last=Hirshberg|first=Jehoash|title=The Vision of the East and the Heritage of the West: Ideological Pressures in the Yishuv Period and their Offshoots in Israeli Art Music during the Recent Two Decades|url=http://www.biu.ac.il/HU/mu/min-ad05/en/JehoashH.pdf}}</ref>
One of the cornerstones in the development of the art of music in [[Palestine (region)|Palestine]] during the [[Yishuv]] period was the performance of Boskovich's ''Semitic Suite'' by the [[Histadrut]] Orchestra under the baton of [[Frank Pelleg]]. Immediately after his arrival in Israel, Boskovich changed his writing style as is well manifested by his ''Semitic Suite'' - from the [[tonality]] of Europe into textures that imitated the [[oud]] or the Arab [[Kanun (instrument)|kanun]].<ref>{{cite web |last= Hirshberg |first= Jehoash |title= The Vision of the East and the Heritage of the West: Ideological Pressures in the Yishuv Period and their Offshoots in Israeli Art Music during the Recent Two Decades |url= http://www.biu.ac.il/HU/mu/min-ad05/en/JehoashH.pdf}}</ref>


Writing in the Land of Israel had a profound effect on Boskovich; effect of the varied country's landscapes, the colors of sand and sea, and the sounds of the local music that originated from the various Jewish ethnic groups, as well as from the non-Jewish ones. All of these influences inspired him to develop a personal style peculiar only to himself. Penetrating deep into the [[Hebrew]] language served him as one of the most inspiring sources. Unlike others, he did not use songs or dances of the various Jewish ethnicities for a direct source, but rather formed his new ideas based on them. That approach prompted him to compose his Violin Concerto - his first major work since 1942 which won the [[Bronisław Huberman]]'s first prize. Later on in 1944, it was performed by The violinist Lorand Ervin Fenyves, George Singer conducting. Despite its success, Boskovich lost interest in this Concerto and, in 1957, he re-wrote its middle section as a separate piece for violin and piano. During the same period (1943), he also wrote his Concerto for Oboe and Orchestra which also shows a strong oriental influence.<ref>Cohen, Shem. pp. 110–111.</ref>
Writing in the [[Land of Israel]] had a profound effect on Boskovich; effect of the varied country's landscapes, the colors of sand and sea, and the sounds of the local music that originated from the various Jewish ethnic groups, as well as from the non-Jewish ones. All of these influences inspired him to develop a personal style peculiar only to himself. Penetrating deep into the [[Hebrew]] language served him as one of the most inspiring sources. Unlike others, he did not use songs or dances of the various Jewish ethnicities as a direct source, but rather formed his new ideas based on them. That approach prompted him to compose his Violin Concerto - his first major work since 1942 which won the [[Bronisław Huberman]]'s first prize.{{dubious |Nonsensical. B.H. was a violonist, so "the B.H.'s" is BS. Did B.H. establish an award? Was one est. in his honour? |date= February 2024}} Later on in 1944, it was performed by the violinist {{ill|Lorand Ervin Fenyves |hu|Loránd Fenyves}}, [[George Singer (conductor)|George Singer]] conducting. Despite its success, Boskovich lost interest in this Concerto and, in 1957, he re-wrote its middle section as a separate piece for violin and piano. During the same period (1943), he also wrote his Concerto for Oboe and Orchestra which also shows a strong oriental influence.<ref>Cohen, Shem. pp. 110–111.</ref> During this period, he became part of an influential clique of composers known as the Troika, together with his colleagues [[Ödön Pártos|Oedoen Partos]] and [[Mordecai Seter]],<ref>Seter, Ronit (Summer 2014). "[[doi:10.1093/musqtl/gdu010|Israelism: Nationalism, Orientalism, and the Israeli Five]]". ''Musical Quarterly''. '''97''' (2): 269-271 – via Oxford Academic.</ref> who, according to musicologist Ronit Seter, were united in their "fundamental belief [...] that the local version of contemporary music should reflect local melos, rhythms, views, historical events, and cultural identity".<ref>''Ibid'', p. 270.</ref>


In 1953 and 1956, Boskovich published a two-part article in Hebrew outlining the ideals behind the music he and others composed during the Yishuv period.<ref>Alexander Uriyah Boskovich, "Be'ayat Ha-musica - ve-ha-musica ha-mekorit be-Israel" (The Problem of Music - and Original Music In Israel"), Part 1, ''Orlogin'' 3 (July 1951), pp. 177-187; and Part 2, ''Orlogin'' 9 (November 1953), pp. 280–294. Selection from Part 2 are included as Appendix 3 in Hirshberg and Shmueli, ''Alexander Uriyah Boskovich: His Life, his Work and his Thought'' (Jerualem: Carmel, 1995; in Hebrew), pp. 193-210. This book also includes excerpts from Boskovich's unpublished treatise ''Al Ha-Musika Ha-Mekorit Be-Israel'' (''On Original Music in Israel''); ibid, pp. 211-238. </ref> This article provided a detailed account on the style which Brod and Boskovich defined as Musica yam-tikhonit (Mediterranean music).<ref>Musica yam-tikhonit (Mediterranean music), in Max Brod and Yehuda W. Cohen, ''Die Musik Israels'' (Kassel: Baerenreiter, 1976, orig. published in 1951). </ref> According to musicologist Ronit Seter, this extensive article "consisted mainly of guidelines and generalizations about a utopian Israeli style".<ref>{{Cite journal |last=Seter |first=Ronit |date=Summer 2014 |title=Israelism: Nationalism, Orientalism, and the Israeli Five |url=https://doi.org/10.1093/musqtl/gdu010 |journal=Musical Quarterly |volume=97 |issue=2 |pages=262 |doi=10.1093/musqtl/gdu010 |via=Oxford Academic}}</ref> Boskovich himself was undergoing a period of creative silence while writing this article, and from which he emerged in 1960 with different stylistic priorities.<ref>Joseph Peles, "3. 1948-1960: 'Silence', philosophy and inner growth" and "4. From 1960 to 1964: The last works", in his article "Alexander Uriyah Boskovich". This article was originally published as part of the mini-monograph ''Alexander Uriyah Boskovich'', edited by Uri Golomb (Tel Aviv: Israel Music Institute, 2016), and later published on the Alexander Uriyah Boskovich memorial website (https://alexander-uriyah-boskovich.org/en/home/). </ref>
In the 1940s and the early 1950s, Boskovich formulated and advocated the concept of Mediterranean Music. The [[Mediterranean Sea]] in his opinion represented a new authentic cradle that merged [[Zionism]] with the landscape and climate of the East.{{citation needed|date=June 2020}}

Boskovich loved the opera, he loved [[French culture|everything French]], such as [[Maurice Ravel|Ravel]]'s music and French art, while he equally loved the Jewish melodies of [[Eastern Europe]]. But in Israel---he felt and preached---everything must start afresh---perhaps requiring the abandonment of all the old loves and passions.{{citation needed|date=June 2020}}


==Compositions==
==Compositions==
Boskovich's two key [[Eretz Israel]] works, Concerto for Oboe and Orchestra and the Semitic Suite, were strongly inspired by the music of [[Yardena Cohen]]. The Suite represents most everything that he had aspired to: fragmented [[improvisational]] Middle-Eastern [[Motif (music)|motives]] and piano that sounds like [[string instrument]]s or Middle-Eastern [[percussion]]. This piece served as a model for a whole generation of students. His work includes the ''Concerto for Violin'', the cantata ''[[Bat Israel (cantata)|Bat Israel]]'', and the ''Concerto da Camera''.{{citation needed|date=June 2020}}
Boskovich's two key [[Eretz Israel]] works, Concerto for Oboe and Orchestra and the Semitic Suite, were strongly inspired by the music of Yardena Cohen. The Suite represents fragmented [[improvisational]] Middle Eastern [[Motif (music)|motives]] and piano that sounds like [[string instrument]]s or Middle Eastern [[percussion]].


''[[Songs of Ascent]]'' (1960) was based on the [[Bible]], for spiritual and language effects, and on the [[Kabbalah]] for depth and mythical tone. The primary theme of this work is of a [[Yemenite Hebrew|Yemenite]] character. There are no European traditions nor Mediterranean style in it; the orchestration and rhythms are derived from the sounds of Hebrew words.{{citation needed|date=June 2020}}
''[[Songs of Ascent]]'' (1960) was based on the [[Bible]], for spiritual and language effects, and on the [[Kabbalah]] for depth and mythical tone. The primary theme of this work is of a [[Yemenite Hebrew|Yemenite]] character.


The ''Cantata Beth Israel'' (1960) is written on the basis of [[Hayim Nahman Bialik]]'s song of the same title. The lyrics are primarily for a [[tenor]] [[Solo (music)|soloist]], while the chorus sings verses from the ''[[Song of Songs]]'' and from the [[Shabbat]] prayers. Bialik's text music is written in a modern style, almost surrealistic, while music to the traditional text is written in an archaic style. This synthesis of styles successfully solved the conflict between the [[Ashkenazi Jews|Ashkenazi]] intonation and accent of Bialik's lyrics and the [[Sephardi Jews|Sephardic]] poetry of the emphatically biblical text.{{citation needed|date=June 2020}}
The Cantata ''Bat Israel'' [Daughter of Israel] (1960) is written on the basis of [[Hayim Nahman Bialik]]'s song of the same title. The lyrics are primarily for a [[tenor]] [[Solo (music)|soloist]], while the chorus sings verses from the ''[[Song of Songs]]'' and from the [[Shabbat]] prayers. Bialik's text music is written in a modern style, almost surrealistic, while music to the traditional text is written in an archaic style.


"Be-Adiim" (in your ornamental Jewelry), for flute and orchestra, is an instrumental rendition of the Yemenite version of the [[Music of Israel|Songs of Israel]] related to the [[splitting of the Red Sea]].<ref>Cohen, Shem. Am Oved (in Hebrew). p. 113.</ref>
"Be-Adiim" (in your ornamental Jewelry), for flute and orchestra, is an instrumental rendition of the Yemenite version of the [[Music of Israel|Songs of Israel]] related to the [[splitting of the Red Sea]].<ref>Cohen, Shem. Am Oved (in Hebrew). p. 113.</ref>


Boskovich also composed the song "Dudu" to the words of [[Haim Hefer]] which was one of the greatest hits of the [[1947–1949 Palestine war]]. This music, in essence, contradicts everything Boskovich had been preaching. It is flowing and is saturated with tragic memories of the Jewish Eastern-European history; its harmonics are almost romantic. With "Dudu", it seemed as if Boskovich's Semitic tone at once disappeared, and nothing remained of his preaching voice.{{citation needed|date=June 2020}}
Boskovich also composed the song "Dudu" to the words of [[Haim Hefer]] which was one of the greatest hits of the [[1947–1949 Palestine war]]. This music, in essence, contradicts everything Boskovich had been preaching. It is flowing and is saturated with tragic memories of the Jewish Eastern-European history; its harmonics are almost romantic. With "Dudu", it seemed as if Boskovich's Semitic tone at once disappeared, and nothing remained of his preaching voice.{{citation needed|date=June 2020}}


==Students and private life==
==Students and private life==
Alexander Boskovich had many students: young composers of his own generation as well as older ones. Among his students were [[Rami Bar-Niv]], [[Max Brod]] (orchestration), Ezekiel Braun, Theodore Holdheim, Yoram Papourish, Isaac Sedai, Tzevi Snunit, Habib Touma, [[Yehuda Yannay]] and David Zahavi.{{citation needed|date=June 2020}}
Alexander Boskovich had many students: young composers of his own generation as well as older ones. Among his students were [[Rami Bar-Niv]], [[Max Brod]] (orchestration), Ezekiel Braun, Theodore Holdheim, Yoram Papourish, Isaac Sedai, Tzevi Snunit, Habib Touma, [[Yehuda Yannay]].


Alexander Boskovich was married to Miriam who was also a musician; she taught piano at the music academy in Tel Aviv. After his death, in Tel Aviv,<ref>{{Cite web|url=http://web.nli.org.il/sites/NLI/English/music/news/Pages/Boskovich_105.aspx?PageVersion=512&|title = 105th Anniversary of the Birth of Alexander Uriah Boskovich}}</ref> she cataloged their estate and contributed his manuscripts to the Archive of Israeli Music at the [[Tel Aviv University]].
Alexander Boskovich was married to Miriam who was also a musician; she taught piano at the music academy in Tel Aviv. After his death, in Tel Aviv,<ref>{{Cite web|url=http://web.nli.org.il/sites/NLI/English/music/news/Pages/Boskovich_105.aspx?PageVersion=512&|title = 105th Anniversary of the Birth of Alexander Uriah Boskovich}}</ref> she cataloged their estate and contributed his manuscripts to the Archive of Israeli Music at the [[Tel Aviv University]].

Boskovich was a heavy smoker; he used to say: "One who doesn't smoke is no composer."{{citation needed|date=June 2020}}

His son David Boskovich is a painter.{{citation needed|date=June 2020}}


==Awards==
==Awards==
Line 41: Line 56:
==References==
==References==
{{Reflist|2}}
{{Reflist|2}}

==External links==
Alexander Uriyah Boskovich website: https://alexander-uriyah-boskovich.org/en/home/

Ronit Seter, "Alexander Uriyah Boskovich". In "Israeli Art Music", ''Oxford Bibliographies Online'', [https://www.oxfordbibliographies.com/display/document/obo-9780199757824/obo-9780199757824-0264.xml https://www.oxfordbibliographies.com/display/document/obo-9780199757824/obo-9780199757824-0264.xml#obo-9780199757824-0264-div2-0014] (accessed 21 Nov. 2023)


{{Authority control}}
{{Authority control}}


{{DEFAULTSORT:Boskovich, Alexander Uriah}}
{{DEFAULTSORT:Boskovich, Alexander Uriah}}
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[[Category:20th-century Israeli Jews]]
[[Category:Israeli composers]]
[[Category:Israeli composers]]
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[[Category:Jewish classical composers]]
[[Category:Jewish classical composers]]
[[Category:Romanian emigrants to Mandatory Palestine]]
[[Category:Romanian emigrants to Mandatory Palestine]]
[[Category:Jews in Mandatory Palestine]]
[[Category:Jews from Mandatory Palestine]]
[[Category:1907 births]]
[[Category:1907 births]]
[[Category:1964 deaths]]
[[Category:1964 deaths]]
[[Category:20th-century classical composers]]
[[Category:20th-century Israeli classical composers]]
[[Category:Male classical composers]]
[[Category:Israeli male classical composers]]
[[Category:20th-century male musicians]]
[[Category:20th-century Israeli male musicians]]

Latest revision as of 22:19, 9 December 2024

Alexander Uriah Boskovich
Composer Uriah Boskovich (left) and Mordecai Seter in the 1940s
Born
Sándor Boskovich

(1907-08-16)16 August 1907
Kolozsvár, Transylvania, Austria-Hungary (now Cluj-Napoca, Romania)
Died5 November 1964(1964-11-05) (aged 57)
Tel Aviv, Israel
Nationality Israel
OccupationComposer
SpouseMiriam Boskovich
Awards
  • 1942: Huberman Award
  • 1946: Engel Award
Musical career
GenresClassical, Israeli folk music

Alexander (Sándor) Uriah Boskovich (Boskovits, Boskowitz, etc.) (Hebrew: אלכסנדר (שאנדור) אוריה בּוֹסְקוֹביץ; August 16, 1907 – November 5, 1964) was an Israeli composer born to a Hungarian-Jewish family.

Life and career

[edit]

Boskovich was born in Kolozsvár, Transylvania, Austria-Hungary (now Cluj-Napoca, Romania). The origin of his family and of his name was the town Boskovich in Moravia. In Cluj, Boskovich studied in a Jewish high school called "Culture" which accommodated both Neolog and Orthodox Jews.

In 1937, Boskovich sent a piano version of his work "The Golden Chain" to the conductor Issay Dobrowen. This work, based on Jewish songs from the Carpathian Mountains,[clarification needed] was originally written for piano and later on, in 1936, transcribed for orchestra. In 1938, Dobrowen suggested to the newly founded Jewish "Palestinian Orchestra", which later on evolved into the Israel Philharmonic Orchestra, to embed this work in a concert under his baton. Boskovich was invited from abroad to the premiere of his composition "Jewish Folk Songs", which was performed by the Palestinian Orchestra. One consequence of that event was that Boskovich decided to stay in the country and settle in Tel Aviv. In the coming years, Boskovich often said that Dobrowen, "The Golden Chain", and the orchestra's invitation saved his life.[1]

One of the cornerstones in the development of the art of music in Palestine during the Yishuv period was the performance of Boskovich's Semitic Suite by the Histadrut Orchestra under the baton of Frank Pelleg. Immediately after his arrival in Israel, Boskovich changed his writing style as is well manifested by his Semitic Suite - from the tonality of Europe into textures that imitated the oud or the Arab kanun.[2]

Writing in the Land of Israel had a profound effect on Boskovich; effect of the varied country's landscapes, the colors of sand and sea, and the sounds of the local music that originated from the various Jewish ethnic groups, as well as from the non-Jewish ones. All of these influences inspired him to develop a personal style peculiar only to himself. Penetrating deep into the Hebrew language served him as one of the most inspiring sources. Unlike others, he did not use songs or dances of the various Jewish ethnicities as a direct source, but rather formed his new ideas based on them. That approach prompted him to compose his Violin Concerto - his first major work since 1942 which won the Bronisław Huberman's first prize.[dubious – discuss] Later on in 1944, it was performed by the violinist Lorand Ervin Fenyves  [hu], George Singer conducting. Despite its success, Boskovich lost interest in this Concerto and, in 1957, he re-wrote its middle section as a separate piece for violin and piano. During the same period (1943), he also wrote his Concerto for Oboe and Orchestra which also shows a strong oriental influence.[3] During this period, he became part of an influential clique of composers known as the Troika, together with his colleagues Oedoen Partos and Mordecai Seter,[4] who, according to musicologist Ronit Seter, were united in their "fundamental belief [...] that the local version of contemporary music should reflect local melos, rhythms, views, historical events, and cultural identity".[5]

In 1953 and 1956, Boskovich published a two-part article in Hebrew outlining the ideals behind the music he and others composed during the Yishuv period.[6] This article provided a detailed account on the style which Brod and Boskovich defined as Musica yam-tikhonit (Mediterranean music).[7] According to musicologist Ronit Seter, this extensive article "consisted mainly of guidelines and generalizations about a utopian Israeli style".[8] Boskovich himself was undergoing a period of creative silence while writing this article, and from which he emerged in 1960 with different stylistic priorities.[9]

Compositions

[edit]

Boskovich's two key Eretz Israel works, Concerto for Oboe and Orchestra and the Semitic Suite, were strongly inspired by the music of Yardena Cohen. The Suite represents fragmented improvisational Middle Eastern motives and piano that sounds like string instruments or Middle Eastern percussion.

Songs of Ascent (1960) was based on the Bible, for spiritual and language effects, and on the Kabbalah for depth and mythical tone. The primary theme of this work is of a Yemenite character.

The Cantata Bat Israel [Daughter of Israel] (1960) is written on the basis of Hayim Nahman Bialik's song of the same title. The lyrics are primarily for a tenor soloist, while the chorus sings verses from the Song of Songs and from the Shabbat prayers. Bialik's text music is written in a modern style, almost surrealistic, while music to the traditional text is written in an archaic style.

"Be-Adiim" (in your ornamental Jewelry), for flute and orchestra, is an instrumental rendition of the Yemenite version of the Songs of Israel related to the splitting of the Red Sea.[10]

Boskovich also composed the song "Dudu" to the words of Haim Hefer which was one of the greatest hits of the 1947–1949 Palestine war. This music, in essence, contradicts everything Boskovich had been preaching. It is flowing and is saturated with tragic memories of the Jewish Eastern-European history; its harmonics are almost romantic. With "Dudu", it seemed as if Boskovich's Semitic tone at once disappeared, and nothing remained of his preaching voice.[citation needed]

Students and private life

[edit]

Alexander Boskovich had many students: young composers of his own generation as well as older ones. Among his students were Rami Bar-Niv, Max Brod (orchestration), Ezekiel Braun, Theodore Holdheim, Yoram Papourish, Isaac Sedai, Tzevi Snunit, Habib Touma, Yehuda Yannay.

Alexander Boskovich was married to Miriam who was also a musician; she taught piano at the music academy in Tel Aviv. After his death, in Tel Aviv,[11] she cataloged their estate and contributed his manuscripts to the Archive of Israeli Music at the Tel Aviv University.

Awards

[edit]
  • '1942 '- Huberman Award for the Violin Concerto[12]
  • '1946 '- Engel Award

References

[edit]
  1. ^ Cohen, Yehuda (1990). Songs of Israel: Israeli music and musicians (in Hebrew). Am Oved. p. 110.
  2. ^ Hirshberg, Jehoash. "The Vision of the East and the Heritage of the West: Ideological Pressures in the Yishuv Period and their Offshoots in Israeli Art Music during the Recent Two Decades" (PDF).
  3. ^ Cohen, Shem. pp. 110–111.
  4. ^ Seter, Ronit (Summer 2014). "Israelism: Nationalism, Orientalism, and the Israeli Five". Musical Quarterly. 97 (2): 269-271 – via Oxford Academic.
  5. ^ Ibid, p. 270.
  6. ^ Alexander Uriyah Boskovich, "Be'ayat Ha-musica - ve-ha-musica ha-mekorit be-Israel" (The Problem of Music - and Original Music In Israel"), Part 1, Orlogin 3 (July 1951), pp. 177-187; and Part 2, Orlogin 9 (November 1953), pp. 280–294. Selection from Part 2 are included as Appendix 3 in Hirshberg and Shmueli, Alexander Uriyah Boskovich: His Life, his Work and his Thought (Jerualem: Carmel, 1995; in Hebrew), pp. 193-210. This book also includes excerpts from Boskovich's unpublished treatise Al Ha-Musika Ha-Mekorit Be-Israel (On Original Music in Israel); ibid, pp. 211-238.
  7. ^ Musica yam-tikhonit (Mediterranean music), in Max Brod and Yehuda W. Cohen, Die Musik Israels (Kassel: Baerenreiter, 1976, orig. published in 1951).
  8. ^ Seter, Ronit (Summer 2014). "Israelism: Nationalism, Orientalism, and the Israeli Five". Musical Quarterly. 97 (2): 262. doi:10.1093/musqtl/gdu010 – via Oxford Academic.
  9. ^ Joseph Peles, "3. 1948-1960: 'Silence', philosophy and inner growth" and "4. From 1960 to 1964: The last works", in his article "Alexander Uriyah Boskovich". This article was originally published as part of the mini-monograph Alexander Uriyah Boskovich, edited by Uri Golomb (Tel Aviv: Israel Music Institute, 2016), and later published on the Alexander Uriyah Boskovich memorial website (https://alexander-uriyah-boskovich.org/en/home/).
  10. ^ Cohen, Shem. Am Oved (in Hebrew). p. 113.
  11. ^ "105th Anniversary of the Birth of Alexander Uriah Boskovich".
  12. ^ "Sounds of the Negev". Festival "Sounds in the Desert" in Theater and Entertainment.
[edit]

Alexander Uriyah Boskovich website: https://alexander-uriyah-boskovich.org/en/home/

Ronit Seter, "Alexander Uriyah Boskovich". In "Israeli Art Music", Oxford Bibliographies Online, https://www.oxfordbibliographies.com/display/document/obo-9780199757824/obo-9780199757824-0264.xml#obo-9780199757824-0264-div2-0014 (accessed 21 Nov. 2023)

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