Musical Discoveries and a Family of Artists between Jerusalem and Berlin

An Interview with Elena Bashkirova

From 7 to 11 May, we will host a chamber music festival in the museum’s Glass Courtyard. Katharina Schmidt-Narischkin and Sylvia Winkler of our press office spoke in advance with the festival’s director Elena Bashkirova.

Press office JMB: As festival director, what themes have you chosen to emphasize this year?

A laughing woman sitting at a piano

Elena Bashkirova, festival director and pianist
© Monika Rittershaus

Elena Bashkirova: Our themes have been determined this year by two anniversaries: on the one hand, the start of the First World War 100 years ago and its impact on music; on the other hand, the 150th birthday of Richard Strauss. Both anniversaries augur a varied program for “intonations”: 1914 saw an astonishing richness of musical styles, which our concerts will reflect. And Strauss composed chamber music nearly his entire life, so I have a wide range of pieces and genres to choose from.

Every year at “intonations,” chamber music classics can be heard together with unknown works. What composers should visitors expect to discover in this third season?

portrait David Coleman

David Robert Coleman, composer and conductor © private

Rudi Stephan was an extraordinary discovery for me. I heard Music for Orchestra and Violin a few years ago here in Berlin. I was impressed and deeply touched by it. As I was putting together the programs for “intonations,” I found his gorgeous chamber music and was delighted to have the chance to present it here with my colleagues. Rudi Stephan died in the war when he was 28. Given his talent, he would otherwise have certainly provided us with more outstanding music.

There will also be another world premiere: the fourth concert, on Saturday 10 May, will open with David Coleman’s “Three pieces for clarinet and piano.” Another significant composer this year will be Karol Szymanowski. He has his own tonal language, writing hauntingly beautiful music that unfortunately is played much too seldom.  continue reading


New Forms of Protest

Last summer, the Korean musician PSY sang out in protest against consumerism in Gangnam, a posh district in Seoul. His video shows him dancing, as if on a horse, in front of wealthy-looking men and scantily-clad women. For reasons only posterity may help us to understand, Gangnam Style became Youtube’s most frequently watched video clip. A series of parodies were produced by groups as far distant from Gangnam – geographically and ideologically – as NASA and Greenpeace.

Gangnam-style protest reached the art world with particular fervour. Chinese activist Ai Weiwei released a Gangnam Style video in protest of censorship in his country. Reacting to this video, Jewish-Indian artist Anish Kapoor – whose works are on display starting 18 May 2013 at the Martin-Gropius-Bau, Berlin – animated art museums in England and the USA to shoot a video in support of Ai Weiwei. Shortly thereafter, the Philadelphia Art Museum posted a video with its staff members dancing to the Gangnam tune, though their object of contention is not immediately apparent:
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“Go down Moses” and an Orange on the Seder Plate

A seder plate with pictures of an orange, grapes and a door

Seder Plate by Harriete Estel Berman, U.S.A., 2003 © photo: Jens Ziehe, Jewish Museum Berlin

Passover is not only a feast day evoking an historic event through a ritualized form of remembrance. It also appeals to reenact the exodus out of Egypt and envision divine mercy, freeing us from bondage and disenfranchisement. Like many Jewish holidays the original biblical Passover story has been and still is seen in relation to other historical events. The Egypt of the Exodus story turned into Ukraine and Belarus in the 17th century, when the Cossack chief Bogdan Chmielnicki allowed many hundreds of thousands of Jews to be murdered over the course of his struggle to liberate Poland. In the 20th century, Germany under the Nazi regime became the country to flee.

Through its culinarily-underscored recitation and discussion of the narrative, the seder provides a framework for each new re-interpretation. This appears primarily at the dinner: even while the symbolic dishes are determined by the Passover Haggadah, the other foods vary according to geography and the cultural conventions of the place where the celebration is taking place. There are especially numerous recipes for the “mortar,” the charoset, which resembles in color and texture the cementing agent used to build houses.

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