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Jewish IdentitiesNationalism, Racism, and Utopianism in Twentieth-Century Music$
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Klara Moricz

Print publication date: 2008

Print ISBN-13: 9780520250888

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520250888.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 04 August 2021

Denied and Accepted Stereotypes

Denied and Accepted Stereotypes

From Jézabel to Schelomo

(p.116) Chapter 4 Denied and Accepted Stereotypes
Jewish Identities

Kálra Móricz

University of California Press

The story of Jezebel's violent death belongs among the cold accounts of bloody wars, battles, and massacres in the Old Testament. Bloch, who was attracted to the savagery of some Old Testament stories, chose Jezebel as the heroine of his projected Jewish opera. Like Saminsky before him, he chose Orientalism as a sign of foreignness. For Bloch, however, Orientalizing music did not symbolize the Diaspora but a physical sensuousness that endangered spiritual ideals. Bloch first articulated what he conceived as a purified Jewish identity in the sketches for his projected opera Jézabel (1911–18). Several years later, he transformed his Jewish style into a more conventional, Orientally colored Jewish idiom in Schelomo (1916), the last piece of his so-called Jewish Cycle.

Keywords:   Jezebel, Old Testament, Judaism, Bloch, Jewish opera, Orientalizing music, Jewish Cycle, Schelomo

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