Musical Gesture and Transcendence in Bloch’s Nigun

Authors

DOI:

https://doi.org/10.35699/2317-6377.2021.33956

Keywords:

Ernest Bloch, Nigun, Performance, Devekut, Musical gesture

Abstract

In 1923, Ernest Bloch composed “Baal Shem: Three Pictures of Chassidic Life”. This musical work has three parts representing the Hasidic overground, respectively “Vidui”, “Nigun” and “Simchas Torah”. The second movement became a widely known piece and incorporated into the repertoire of violinists. Bloch associates the nigun, interpreted by the human voice, with the violin, putting the instrument in the place of the Cantor or Rabbi. The violin incorporates the praying figure that characterizes the nigun, including gestures, and using music as a vehicle from materiality to transcendence (devekut). Through expressive analysis, this essay aims to show the similarities between Nigun's composition and the homonymous musical genre, emphasizing musical gesture and interpretative cadential movement, and to awaken some thoughts about the theme, without the intention of presenting conclusive answers.

Author Biographies

  • Edison Valério Verbisck, Federal University of Mato Grosso do Sul, Brazil

    Doctoral student in Music and Musicology at the University of Évora, develops the thesis “The violin as protagonist of the musical aesthetics of composer Ernest Bloch” (temporary title). He holds a Masters in Musical Interpretation (Violin) at the University of Évora (2012). Performed as a violinist in orchestras in Portugal and Brazil, such as Orquestra do Algarve, Orquestra Sinfónica Juvenil, Orquestra Clássica da Academia (Portugal), Orquestra de Câmara do Pantanal, Orquestra Clássica de Mato Grosso do Sul and Orquestra Sinfónica Municipal de Campo Grande (Brazil). Worked as a violin teacher at the Conservatório de Portimão, Centro de Artes de Sines, Academia de Música de Lagos (Portugal). At the moment, he is Assistant Professor of Music at the Universidade Federal de Mato Grosso do Sul (Brazil).

  • Eduardo Lopes, University of Évora, Portugal

    Studied classical percussion and drum set at the Rotterdams Conservatorium in the Netherlands. Holds a Bachelor Degree in Performance and Composition with the highest honours (Summa Cum Laude) from the Berklee College of Music in Boston-USA. He obtained a PhD in Music Theory from the University of Southampton-UK, under the supervision of Nicholas Cook. In 2015 he was award by unanimity the Habilitation in Music and Musicology at the University of Évora-Portugal. Throughout his career he has received many national and international prizes and scholarships. Performs on a regular basis with some of the most relevant Portuguese musicians and renown international artists such as: Mike Mainieri (Steps Ahead); Dave Samuels (Spyro Gyra); Myra Melford; Susan Muscarella; Kevin Robb, Phil Wilson; e Bruce Saunders. He has recorded several CDs, some of these as the main artist. Performed in concerts in Portugal, Spain, France, Netherlands, England, Scotland, Brazil, Japan, and the USA. He is Yamaha Artist (Europe), and endorses Zildjian cymbals and Remo. He is the author of many published texts and articles on the topics of performance practice; music theory and rhythm; jazz studies; and music education. He has taught at the University of Southampton-UK and at the Superior School of Music and Performing Arts, Porto-Portugal. From 2012 to 2016 he was the Head of the Department of Music at the University of Évora. During the academic period of 2016-1017 he was Full Visiting Professor in the School of Music and Scenic Arts at the Federal University of Goiás, Brazil. At the moment he is Associate Professor with Habil. in the Department of Music at the University of Évora; Head of the PhD program in Music and Musicology of the UÉ; Coordinator of the CESEM branch at the UÉ; co- editor of the Brazilian musicology journal HODIE; and editor of the Portuguese Journal of Music Education.

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Published

2021-07-04

Issue

No. 41 (2021): General Topics

Section

Articles in Portuguese/Spanish

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How to Cite

“Musical Gesture and Transcendence in Bloch’s Nigun ”. 2021. Per Musi, no. 41 (July): 1-15. https://doi.org/10.35699/2317-6377.2021.33956.

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