Neil W. Levin

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Neil W. Levin is a Professor Emeritus of the Jewish Theological Seminary, and since 1993 has served as the Artistic Director of the Milken Archive of Jewish Music. [1] A foremost scholar of Jewish music, Levin has studied the music of the Jewish experience from historical, musical, and ethnological perspectives. His areas of focus include comparative considerations of eastern and western spheres of Ashkenazi Jewry in terms of their sacred work, secular art, theatrical, and folk music, and the musical creativity and life of American Jewry. [2] As a professor of Jewish music on the faculty of the Jewish Theological Seminary of America in New York since 1982, he teaches graduate courses on the history, development, and repertoire of synagogue music, cantorial art, Yiddish and Hebrew folksong, the music of modern Israel, and music of the Jewish-American experience. He has been a lecturer and presenter at university seminars and academic conferences throughout the United States, Europe, and Israel.[ citation needed ]

Contents

Biography

Levin grew up in a musical family in the Chicago area, where his principal emphasis was on piano studies and performance. A pupil of Swiss pianist Rudolph Ganz (1877–1972), he won local and national competitions in his teen years and, at the age of fourteen, played at the Ravinia Festival, which was then the summer home of the Chicago Symphony Orchestra. He went to New York to study piano with Adele Marcus at The Juilliard School while pursuing a liberal arts degree at Columbia University. Influenced first by the cantor at his family’s congregation, and later by exposure to a number of virtuoso cantors who were then still flourishing in New York synagogues, he developed a deep interest in cantorial art and history in the wider context of both synagogue and secular Jewish music studies.[ citation needed ]

At Columbia, Levin studied with Howard Shanet, Jack Beeson, Mario Davidovsky, and Otto Luening—who became his mentor. During that time frame, he also began his exposure to traditional Yeshiva learning.[ citation needed ]

After earning his B.A. degree, he spent a year in Israel, where he took several Jewish studies, and studied the Hebrew language and Jewish musical investigations in preparation for his graduate academic work. He also began to engage in field research and oral history collection—which he continued thereafter in the United States, Canada, and England. Returning to New York, he earned an M.A. degree at Columbia and, at the same time, studied both general Judaica and Jewish music at the Jewish Theological Seminary. It was there that he earned his doctorate in Jewish music and music history, with Hugo Weisgall (Chairman of the Faculty) playing a central role as his teacher, mentor, dissertation advisor, and later as a senior colleague when Levin joined the Seminary’s faculty in 1982 after teaching for several years in the music department of Columbia. Levin was also profoundly influenced by private studies with Eric Werner and Albert Weisser, two distinguished Jewish music historians and musicologists.[ citation needed ]

In addition to his academic work, Levin is also a highly regarded choral conductor.[ by whom? ] He studied choral conducting in Robert Page’s master classes and workshops at the Aspen Music School and Festival of Colorado in the 1970s, and from 1973 to 1978 he directed the Chicago Zimriya Youth Chorus. He is the founder and director of two professional Jewish choruses: the mixed-voice Coro Hebraeica and the male-voice Schola Hebraeica, which has toured the U.S. and Canada numerous times, recorded, and performed in the U.K. on several occasions. His London conducting debut was in 1988, and in 1990 he made his debut at the Royal Festival Hall in London, conducting the English Players and Schola Hebraeica in Voice of Jewish Russia, which he produced. He is also the creator of Vanished Voices, a Holocaust commemoration incorporating his research into the music traditions of German-speaking Jewry, performed under his direction in 1996 at London’s Barbican Centre as well as in Los Angeles and New York. His Lincoln Center conducting debut was in 1997, and in 1999 he directed more than a dozen concerts with Schola Hebraeica and other ensembles at the biannual Sacred Voices Music Village international festival.[ citation needed ]

From 1990 to 1998 Levin was the Editor of Musica Judaica, the academic Journal of the American Society for Jewish Music. He has published numerous articles on Jewish music, several archival-historical recordings (apart from the Milken Archive), and books. In 1982 the University of Vienna commissioned him to edit the complete works of Salomon Sulzer for the prestigious series, Denkmäler der Tonkunst in Österreich (Monuments of Music). His historical study of music and cantorial education within the Conservative movement[ clarification needed ] was published in 1997 in the book Tradition Renewed (edited by Jack Wertheimer). He has also contributed chapters to scholarly books on Jewish music, often published in Germany. In addition, he has devised and directed five international academic conferences and conference-festivals on Jewish musical themes: Varied Voices (1987), co-sponsored by the Jewish Theological Seminary and the American Society for Jewish Music; A Voice for Our Time (1991), devoted to the music of Salomon Sulzer and other Austrian Jewish composers, and co-sponsored by the Seminary and Hebrew Union College; Counter-Harmonies (1989), a conference on the music of modern Israel, which was co-sponsored by the National Foundation for Jewish Culture, the 92nd Street Y, the Keshet Foundation, and the National Endowment for the Arts; Voice of Ashkenaz (1997), a deliberation on the musical legacy of German Jewry, co-sponsored by JTS and the Leo Baeck Institute; and Only in America (2003), which addressed the music of American Jewish experience and which was sponsored jointly by the Seminary and the Milken Archive.[ citation needed ] From February to May 2017, Levin served as YIVO’s first Anne E. Leibowitz Visiting Professor-in-Residence in Music. [3]

Awards

In 2004, in recognition of his program notes about the Russian Jewish composer, Joseph Achron, in the accompanying booklet to the Milken Archive CD devoted to Achron’s music, Levin was presented with the coveted Deems Taylor Award—the annual award given by the American Society of Composers and Publishers (A.S.C.A.P.) for the most original and informative liner notes to a commercially distributed recording.[ citation needed ]

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References

  1. "Neil Levin" . Retrieved 2019-06-07.
  2. Kozinn, Allan (November 7, 2003). "Tradition, Tradition, Tradition? Not in American Jewish Music". New York Times. nytimes.com. Retrieved 2019-06-08.
  3. "YIVO Appoints First Anne E. Leibowitz Visiting Professor-in-Residence in Music". YIVO Institute for Jewish Research. yivo.org. December 5, 2016. Retrieved 2017-05-18.