Max Bruch

I had the great privilege and pleasure of being able to attend the Kol Nidre service at TBI Temple Beth Israel in Caulfield, not far from the esteemed, hushed, yes, towers of Jair itself.

Congratulations to Robert Exelman, who performed on the cello beautifully, Cornley Dre, written by Bruch, the man who wrote the violin concerto.

Michelle Lalume then gave a stirring male tenor performance, followed by two soprano performances, which was fabulous.

Service conducted in both English and Hebrew by Rabbi Allison, Rabbi Allison Conyer, I believe.

brahms was very fond of

sitting with good friends over his beer or wine or his beloved cafe with the accent after the viennese fashion on the last syllable in the knypa till the small hours of the day after the performance of samson our party did not break up until half-past two in the morning for a young singer to sit late at night in a stuffy room full of tobacco smoke for hours at a stretch and that between two public appearances is not precisely a thing i could conscientiously recommend any one to imitate but at that time nothing would have induced me to leave the room before brahms so fascinated was i with his personality so jealous of every minute of his company it was not until the early spring of the following year eighteen seventy five that i met brahms again in the meantime some letters had passed between us relating to my singing for the society of the friends of music at vienna of whose concerts brahms at that time was the conductor i had been engaged to sing the part of christ in bach's passion according to st matthew and that of odysseus in max bruch's secular oratorio of that name and it may be imagined how great an inspiration it was for a young musician like myself to sing under the direction of brahms and to be in daily and intimate intercourse with him in anticipation of which privilege i had made arrangements for a prolonged stay in the austrian capital we went for a walk together every day mostly in the prater the favourite out-of-door resort of the viennese and it seemed a matter of no small gratification to brahms to find himself recognised and deferentially greeted everywhere we happened to drop in for an occasional rest the numerous public gardens where gipsy bands played especially attracted us and it was a delight to notice the increased spirit those brown sons of the puzda put into their music in the presence of the master who had done so much toward opening up to their beloved tunes a wider sphere of popularity the two concerts mentioned above went off beautifully brahms had trained the chorus with infinite care and conducted with great earnestness the performance of odysseus was the last that brahms directed for the society having resigned his post early in the year it took place in the forenoon and was followed by the solemn ceremony of presenting brahms with an illuminated address of farewell acknowledging his great achievements as conductor of the society and expressing the society's and the chorus's regret at his resignation a local celebrity rather naughtily styled by brahms the poet of the inner town delivered a very eulogistic oration which brahms who could hardly disguise his being considerably bored merely acknowledged with a painfully curt thank you very much then he took under his arm the folio containing the address and walked away he afterwards told me that such official proceedings were exceedingly distasteful to him far more to his liking was a supper at one of the leading hotels to which on the evening of that day a great many of his friends sat down with him and which the presence of ladies made all the more acceptable to the guest of the evening the memory of the anniversary of beethoven's death march twenty sixth in that year will never fade from my mind since it was my great privilege to spend part of the day with brahms in the very chamber in which the great composer had died common friends of ours were then living in the suite of rooms once occupied by beethoven in the schwarzspanier house from the corner of the room in which beethoven's bed had stood his bust adorned with a laurel wreath looked down upon us and though nearly half a century had passed away since that historical thunderstorm during which the immortal soul of the titan had freed itself from its earthly fetters so deeply were we impressed by the solemnity of the hour that when after a long silence we began to speak again we did so in a subdued whisper only it was in the following year that i began my journal my profession brought me into frequent contact with the master who to my gratification seemed to have permitted the young enthusiastic musician to have in intimate hours an occasional deeper insight into the workings of his mind and the remoter recesses of his heart than was vouchsafed to the outer world against which he appeared to be fortified with the s triplex of irony sarcasm and indifference i was anxious to preserve the many interesting things he had to say on musical and other matters and scrupulously jotted down my recollections in the evening of each day spent in brahms's company i have not attempted to embellish or improve upon the style if style there be of these cursory notes but give them translated literally from the manuscript as it lies before me written in pencil and with no corrections whatever thus indicating the utter absence at that time of any desire on my part to let them see the light of publicity

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Kol Nidre will soon be upon us, one of my favourites.

And in fact, at TBI, they actually start the Kol Nidre session with the cello piece written by, of course, Max Bruch, famous for his violin concerto, obviously, but also very famous for Kol Nidre.

Did you know that Perry Como, yes, Lee Perry Como, actually recorded it Yes, as a single.

Kol Nidre.

By the way, for those of you familiar with the Max-Bruck Colnidre for Cello and Orchestra, published in Berlin in 1881, which we heard at the beginning of this segment, it's interesting to note that the composer was not Jewish, but a Protestant, who was introduced to the melody by a friend who happened to be the chief cantor of Berlin.

Although not intended to be a religious work, Bruch's setting still mesmerizes us.

The Kol Nidre melody is perhaps the most powerful in all of our liturgy.

It evokes memories of our past and inspires prayers for our future.

And our religious school and Bar and Bat Mitzvah programs are available too.

Our play out this morning on Two Jewish for Yom Kippur, this coming Sunday night and Monday, not tonight, but a week from tonight, is Max Bruch's cello setting of the Kol Nidre.

You can hear it next Sunday night, September 20th at Beit Simcha.

My friends, L'shana Tova U'metuka.