Avshalomov/Bernstein 3: Avshalomov’s early years

Posted on January 28, 2019

Avshalomov’s path, in contrast, was much more circuitous, as illustrated by the title and preface of his perfectly-named intergenerational autobiography, Avshalomovs’ Winding Way:

“This is a tale essentially about my Father, Aaron, and myself—in and out of China, in and out of music.  It shows what we had to do to survive while pursuing creative aims and clinging to our ideals.  Although we were... Read More ›

Avshalomov/Bernstein 4: Avshalomov’s early years part 2

Posted on January 28, 2019

original oil portrait of Jacob Avshalomov at Reed, artist unknown; courtesy Doris Avshalomov

With the Japanese invasion of China in 1937, however, Jacob and his mother decided to return to the US for good.  Jacob’s father would have decades of trouble getting a visa because he was a native Russian, not an American citizen, as Jacob’s mother was, and she lodged testimony against him... Read More ›

Avshalomov/Bernstein 5: Crossings

Posted on January 28, 2019

The paths of these two sons of Russian Jewish emigres born a year apart, who came to the US from opposite sides of the earth, crossed at three significant points. 

The first, of which most outside PYP are unaware: the celebrated score-copying marathon of the Jeremiah Symphony in late December 1942. No other source besides Winding Way mentions that Jacob participated in... Read More ›

Avshalomov/Bernstein 6: The Jeremiah Symphony

Posted on January 28, 2019

Since so much has been written and documented about Bernstein’s work, this blog will focus more on Avshalomov; the discussion of the piece at leonardbernstein.com is the best single source on the Jeremiah and its context.

I’ll add only that although the third movement, “Lamentation”, which was originally written as a standalone piece, receives most of the attention, the second movement “Profanation”, also stands out.... Read More ›

Avshalomov/Bernstein 7: The Taking of T’ung Kuan 1

Posted on January 28, 2019

Avshalomov wrote The Taking of T’ung Kuan as his master’s thesis at Eastman, age 24.  He described its genesis:

“Here I was then, at the famous Eastman School of Music, one of the schools which father had suggested years back.  He had so many ideas for me that I was bound to take up one or another of them sooner or later.  His... Read More ›

Avshalomov/Bernstein 8: The Taking of T’ung Kuan 2

Posted on January 28, 2019

The Taking of T’ung Kuan is rather simple in construction: A-B-A, roughly, built on a 5-note heroic-fanfare motif announced at the start. That structure, however, contains nonstop “thrilling and effective” drama, as William Bergsma characterized it.  Bergsma continued: 

The five-note theme, in various rhythmic changes, is a constant thing….This brings out Avshalomov’s dramatic side.  So constant a preoccupation with a small thematic morsel leads... Read More ›