I think that the question about Jewish violinists is indeed a very valid
one, because the evidence is SO overwhelming. Something about that culture
or its history must be central to the extraordinary phenomenon. I have a
few suggestions.
- As a little kid, I once went to Meadowmount and (as powhite trash from
North Carolina) was very surprised at how prevalent Jewish students were.
Because I knew maybe two Jewish kids in my whole home town, it struck me
enough to pay special attention to this new culture. I feel like I got
an interesting taste of the perhaps dying Golden Years of Jewish fiddling.
There was a definite, very supportive kinship among Jewish students
about their art. Part of it was simply a cultural phenomenon; music was
thoroughly intertwined in the culture. I think another part was also the
more self-conscious idea that Jews could shine in great music, even if
they were subject to racism in the rest of the world. Great performance
was a shining star to a culture that has been put on the rocks for a few
millenia, and there was a definite "rallying around" the violin. Two
landmarks in this "rallying around"- the Huberman Festival of a few years
back, featuring all Jewish violinists, and (perhaps even more striking)
the very public celebration of the 50th anniversary of the Israel Phil.,
in which all of the soloists were (Jewish) violinists!
-The portability thing in eastern Europe, I think, has definite merit.
Along with the clarinet, the violin has that particular way of singing
the Jewish song that is so distinctive.
-Perhaps the most compelling thesis, I think, about why the violin was
not just prevalent but a huge success in the Jewish world comes from
Josef Gingold. His belief was that there was a very practical advantage
to excelling in the violin in eastern Europe/Russia. Jews were put in
pogroms for years, and the only way they were allowed to go to the great
cities or to attend universities was through music conservatories. Because
violinists were in great demand (lots of 'em in orchestras, and great
demand for concert violinists), the violin was THE vehicle to escape what
were essentially concentration camps in ghettos and pogroms. That would
explain the particular cultivation of a culture of excellence on a very
tough instrument as opposed to, say, why there were lots of guitars in the
Wild West. Sure they were portable, but there was no outside impetus for
virtuosity in playing "home on the range!" Menuhin actually was citing
Gingold when I first heard this explanation, and they are reputable
authorities, both having come from eastern Europe.
Robert Ward Shaw
Wake Forest University
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