Preminger retrospective to showcase his cinematic art.
Steve Reich, composer, turns 70 and wonders what all the fuss is about.
The High Holidays provide some of the greatest frissons one can experience in a synagogue. And the music is, indeed, a big part of those rising chills.
The second annual Jewish Music Awards were given out on Sept. 11.
The Days of Awe evoke many feelings, but my first thoughts invariably turn to the special music of these days. From the solemn, almost brooding melody of Kol Nidre to the lilting "High Holiday" tune that unifies the music of both Rosh Hashanah and Yom Kippur, there is much in which to delight.
Perhaps because this is the only synagogue music that many Jews hear all year, there are fewer alternative versions of the High Holiday liturgy than of, say, "Lecha Dodi" or "Adon Olam." Still, these albums should help put you in a proper frame of mind.
Despite its air of celebration, Passover is a bittersweet remembrance, one in which the joy of liberation is marked by the pain of recollection of what we were liberated from and what we lost on the way from Egypt to Eretz Yisrael. Our seder liturgy reflects that ambivalence, although it may require hearing some unfamiliar music to remind us.
Given that the first Jews to arrive in what became the United States were Sephardim on the run from the Inquisition's Brazilian representatives, it is ironic that the music of the Sephardic Jews gets so little attention here.
If the mark of a fully matured film industry is that directors have logged enough time behind the camera that one can spot personal styles emerging over several films, then this year's Israel Film Festival proves that the Israelis have definitely reached that plateau.