{"id":43201,"date":"2017-01-11T11:51:09","date_gmt":"2017-01-11T10:51:09","guid":{"rendered":"https:\/\/www.iemj.org\/la-musique-juive-baroque\/"},"modified":"2021-12-08T14:24:51","modified_gmt":"2021-12-08T13:24:51","slug":"la-musique-juive-baroque","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/de\/la-musique-juive-baroque\/","title":{"rendered":"Die j\u00fcdische Barockmusik"},"content":{"rendered":"<p>Entgegen der weitverbreiteten Annahme, verf\u00fcgten die italienischen, die provenzalischen und die Amsterdamer Juden \u00fcber eine gute Kenntnis, der Kunstmusik der christlichen Welt.\u00a0 Im 15. Jahrhundert besuchten die italienischen Juden auch Musik- und Tanzschulen.<\/p>\n<p>Im 16. und im fr\u00fchen 17. Jahrhundert empfing der herzogliche Hof der Gonzaga von Mantua j\u00fcdische Musiker, unter ihnen <a href=\"https:\/\/www.iemj.org\/de\/rossi-salomone-vers-1570-vers-1630\/\" target=\"_blank\" rel=\"noopener\">Salomone Rossi<\/a> (ca. 1570 \u2013 ca. 1630). 1622-23 ver\u00f6ffentlichte dieser eine erste Sammlung von 33 Chorges\u00e4ngen auf Hebr\u00e4isch f\u00fcr die Synagoge von Mantua.<\/p>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\" alignright  wp-image-12679\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/01\/doc_1_baroque_45.jpg\" alt=\"doc_1_baroque_45.jpg\" width=\"180\" height=\"365\" align=\"right\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/01\/doc_1_baroque_45.jpg 192w, https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/01\/doc_1_baroque_45-148x300.jpg 148w\" sizes=\"(max-width: 180px) 100vw, 180px\" \/>Um 1680 schrieb Carlo Grossi eine Kantate f\u00fcr eine j\u00fcdische Bruderschaft in Modena oder in Venedig. In den Jahren 1332, 1733 und 1735 wurden drei Kantaten in der kleinen Synagoge von Casale Monferrato aufgef\u00fchrt.<\/p>\n<p>Gegen Ende des 17. Jahrhunderts beauftragte ein ranghoher Jude des Comtat Venaissins, der sehnlichst auf einen m\u00e4nnlichen Erben hoffte, den christlichen Komponisten Louis Saladin mit einem \u201eDivertissement pour une circoncision\u201c (\u201eDivertimento f\u00fcr eine Beschneidung\u201c) f\u00fcr Solisten, einen vierstimmigen Chor und Orchester. In Bordeaux und in Amsterdam spielten die portugiesischen Juden auch zeitgen\u00f6ssische Musik.<\/p>\n<p>Im Amsterdam des 18. Jahrhunderts wurde in den pr\u00e4chtigen Salons wohlhabender portugiesischer j\u00fcdischer Familien Opern und Kantaten aufgef\u00fchrt. Diese Genres drangen mit den Werken von Abraham Caceres und <a href=\"https:\/\/www.iemj.org\/de\/lidarti-cristiano-giuseppe-1730-apres-1793\/\" target=\"_blank\" rel=\"noopener\">Cristiano Giuseppe Lidarti<\/a> bis in die Synagoge vor. 1774 schrieb Lidardi das <a href=\"https:\/\/www.iemj.org\/de\/ester-un-oratorio-de-pourim-du-compositeur-lidarti-1730-ap-1793\/\" target=\"_blank\" rel=\"noopener\">Oratorium Ester<\/a>, das mit einer L\u00e4nge von zwei Stunden, das l\u00e4ngste seiner Art, zur Zeit der j\u00fcdischen Barockmusik war.<\/p>\n<p><img decoding=\"async\" class=\" aligncenter size-full wp-image-12681\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/01\/doc_3_baroque500px.jpg\" alt=\"doc_3_baroque500px.jpg\" width=\"500\" height=\"445\" align=\"middle\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/01\/doc_3_baroque500px.jpg 500w, https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/01\/doc_3_baroque500px-300x267.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/musiques-juives-baroques\/\"><img decoding=\"async\" class=\"wp-image-6881 aligncenter\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2014\/04\/emission_de_radio_55_.jpg\" alt=\"emission_de_radio_55_.jpg\" width=\"50\" height=\"44\" align=\"left\" \/><\/a><a href=\"https:\/\/www.iemj.org\/de\/musiques-juives-baroques\/\" target=\"_blank\" rel=\"noopener\">H\u00f6ren Sie sich die Radiosendung an: J\u00fcdische Barockmusik, pr\u00e4sentiert von Herv\u00e9 Roten<\/a><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/les-faces-cachees-de-la-musique-juive-musiques-juives-baroques\/\"><img decoding=\"async\" class=\"wp-image-6881 aligncenter\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2014\/04\/emission_de_radio_55_.jpg\" alt=\"emission_de_radio_55_.jpg\" width=\"50\" height=\"44\" align=\"left\" \/><\/a><a href=\"https:\/\/www.iemj.org\/de\/les-faces-cachees-de-la-musique-juive-musiques-juives-baroques\/\" target=\"_blank\" rel=\"noopener\">H\u00f6ren Sie sich die Radiosendung an: Die verborgenen Seiten der j\u00fcdischen Musik &#8211; J\u00fcdische Barockmusik, pr\u00e4sentiert von H\u00e9l\u00e8ne Engel<\/a><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/la-musique-juive-baroque-1\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2939 aligncenter\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2014\/11\/playlist_30_.jpg\" alt=\"playlist_30_.jpg\" width=\"20\" height=\"43\" align=\"left\" \/><\/a><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/de\/la-musique-juive-baroque-1\/\" target=\"_blank\" rel=\"noopener\">H\u00f6ren Sie sich die Playlist an: j\u00fcdische Barockmusik (Teil 1)<\/a><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/la-musique-juive-baroque-1\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2939 aligncenter\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2014\/11\/playlist_30_.jpg\" alt=\"playlist_30_.jpg\" width=\"20\" height=\"43\" align=\"left\" \/><\/a><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/de\/la-musique-juive-baroque-2eme-partie\/\" target=\"_blank\" rel=\"noopener\">H\u00f6ren Sie sich die Playlist an: j\u00fcdische Barockmusik (Teil 2)<\/a><\/p>\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Entgegen der weitverbreiteten Annahme, verf\u00fcgten die italienischen, die provenzalischen und die Amsterdamer Juden \u00fcber eine gute Kenntnis, der Kunstmusik der christlichen Welt.\u00a0 Im 15. Jahrhundert besuchten die italienischen Juden auch<\/p>\n","protected":false},"author":1052,"featured_media":43202,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1406,1410,1414],"tags":[2090],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1893,1891],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-43201","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-hintergrundartikel-de","category-liturgische-musik-de","category-weltiche-musik-de","tag-italien-de","genre-barockmusik-de","genre-liturgie-de"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Die j\u00fcdische Barockmusik - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.iemj.org\/de\/la-musique-juive-baroque\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Die j\u00fcdische Barockmusik - Institut Europ\u00e9en des Musiques Juives\" \/>\n<meta property=\"og:description\" content=\"Entgegen der weitverbreiteten Annahme, verf\u00fcgten die italienischen, die provenzalischen und die Amsterdamer Juden \u00fcber eine gute Kenntnis, der Kunstmusik der christlichen Welt.\u00a0 Im 15. 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