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K’doshim

Dabeir el-kol-adat b’nei-yisraeil v’amarta aleihem k’doshim tih’yu

ki kadosh ani Adonai Eloheichem

Drasha by Mathieu Daniël Polak

Parasha: K’doshim

Vayikra 19 & 20

Uilenburger Synagoge Amsterdam

Friday April 27, 2018

The meaning of the Hebrew word Kadosh, set apart, becomes especially clear in Vayikra 20:26: ” because I, the Eternal, am holy and have distinguished you from the other peoples to be my people. ”

The text of K’doshim in my opinion consists of three components namely: Vayikra 19: 1-2, Vayikra 19: 3 – 20:25, Vayikra 20: 26-27.

Component 1: HaShem states that the people of Yisraeil must be holy.” Be holy because I, the Eternal, your God is holy ” is an assignment. At that moment it is not entirely clear what sacred means.

Component 2: HaShem gives content factors that make up that holiness, such as respecting the Shabbat, not stealing, not deceiving, respect for older people and loving strangers like yourself. With these rules the concept of holiness is described.

Component 3: it becomes clear what these rules lead to is the distinction between the people of Yisraeil and the other peoples. The literal meaning of Kadosh, ‘set apart’, has become clear.

The idea of ​​setting apart plays a major role in Judaism. Immediately in the second chapter of the Torah is spoken about the seventh day (Shabbat) that is separate from the other six days. HaShem did not speak to the whole people but took Moshe apart and gave him an assignment to bring the people to the promised land. Even in the sentence in K’doshim ‘Be holy because I am holy’ makes a distinction between you (the people) and I (HaShem).

The Dutch word heilig (holy) seems to mean something completely different from the Hebrew word. Holy refers to healing, making a whole, perfection. Then in my opinion the assignment would be: ” Be in balance, pay attention to everything, take care of yourself and the other person, be complete because I your God is everything and give the example to follow. ”Healing the broken world, the Tikkun Olam, is a Jewish mission. In that sense, the Dutch meaning of Kadosh is also very beautiful. The content factors of component 2 are universal. I assume that the obligations that are mentioned apply to all people around the world. Everyone probably agrees that stealing and cheating is wrong.

Is the emphasis on sacred in the sense of whole or is the emphasis on setting apart? Or could it be that it does not exclude the other? Can you also find ‘kadoshitty’ (setting it apart) within the frame of holiness (thinking from the whole)?

I find the answer in music. All content factors of music must be represented in a composition. By content factors I mean: melody, chords, counter lines (counterpoint), rhythm, play movement, form and tone color.In all the compositions of the great masters you can immediately point out how the melody lines run, what happens rhythmically and what form a piece has. Often one of the content factors stands out. For example, in a piece of music that can be danced, the melody will usually be measured. Of course, you do not want to stand still during the dance to listen to the melody. All content factors are in balance with each other and ensure that the composition as a whole is convincing.

For me as a composer it is very important that a work forms a whole. During composing, I check permanently whether the content factors are represented and related. In any case, it produces a ‘good’ piece that carries a certain form of uniformity because I adhere to rules and laws that apply to all composers. Still, I hope that my music differs from other composers. If all goes well, you will hear who made the piece. Even if you have composed something in the style of someone else, you can still hear that not one, but the other has composed the piece.How is that possible? How can you compose a whole, based on existing rules that is still different from other documents?Or: how is it possible that one baker makes very different tasting sufganot than the other,even if they use the same ingredients? The key word seems to me to be Neshomme (Hebrew Nefesh: living being). It is the inspiration that is needed to come to a unique piece. Everyone is unique because everyone has a unique and irreplaceable soul. In Genesis 2: 7 man becomes a living being because God gave him breath of life). Breath, soul and life seem to be connected to each other. In Kedoshim, however, it is not so much about the individual person, how they set themselves apart from the other person, but about how a group distinguishes itself from another group.

The Mishnah (book in which views on Biblical texts are included, part of the rabbinic literature) tells us that an owner of a vineyard is not allowed to place a bucket under the vine in order to catch the fallen fruit (peret). Vayikra 19:10 teaches us that the fruit that falls is destined for the poor. Placing a bucket under the vine would mean stealing from the poor. This approach to the concept of ownership and how ownership can lead to theft, but above all the responsibility that ownership brings to fellow human beings seems to me even more important than the assignment ‘you will not steal.’ The point I want to make with the above example is that how much the rules of holiness may be universal, its framing, the way the rules are interpreted, makes the distinction between one and the other people. Rabbi Norman Lamm writes in his book Derashot Ledorot: A Commentary for the Ages – ” sefer Torah is not sacred in and of itself, but only because of what we get from it and the attitude we take towards it.’’ I subscribe Lamm’s opinion that the Torah itself is only sacred when you know how to read and apply it in your own life. Everybody gets something different from the Torah. For one the Torah is a law book, for the other a history book and again for the other a music book.

The parasha K’doshim can also be read in many ways and how you read, understand and apply the text makes every person unique.

In addition to reading the Torah, thinking, fantasizing, interpreting and reading explanatory writings is indispensable to get a grip on the concept of holiness. During the writing of my drasha, in a fantasy I saw a laughing sun several times.It was a bit of a childish image of the sun and with some imagination you would be able to see a Magein David with tzitzit attached to it. In itself it is strange that I saw this. Tonight, just before holding this drasha I suddenly understood why I saw this image. To be holy, you as a Jew must fulfill mitzvot (commandments). In k’doshim we read that fulfilling mitzvot leads to holiness. The command ‘Be holy’ means: ‘Fulfill the Mitzvot.’ Yet, the sun shines and warms us already, man has already obtained heat, life, light and holiness from HaShem. You could therefore see the mitzvot as paying with your credit card. You get the product (holiness), the bank (HaShem) pays for it, after some time you will pay back HaShem with mitzvot (good deeds).

Shabbat Shalom!

 

 

 

 

 

 

 

 

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Summer Concerts 2018

June 3, 2018: Aschaffenburg (Germany): Carillon Concert Aschaffenburg

July 6, 2018: Kopenhagen (Denmark): Carillon Concert Kopenhagen

July 15, 2018 Villefranche (France): Concert Villefranche

July 20, 2018 Charlieu (France): Concert Charlieu

July 21, 2018 Annecy (France): Concert Annecy

July 22, 2018 Lyon (France): Carillon Concert Lyon

July 23, 2018 Taninges (France): Carillon Concert Taninges

July 25, 2018 Perpignan (France): Carillon Concert Perpignan

July 29, 2018 Nivelles (Belgium): Carillon Concert Nivelles

August 25, 2018 Geldrop (Netherlands): Carillon Concert Geldrop

Biography Mathieu Daniel Polak

La biographie en francais

Program Notes on et je danse

Toelichting Programma Geldrop

Curriculum Mathieu Polak

Laurenstoren Weesp

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Spreekbeurt Carillon Laurenstoren Weesp 

 

1 Kennismaking met de beiaardier

Het is mij een eer en genoegen vandaag voor u een beiaardconcert te geven en iets te vertellen over het carillon van Weesp. Mijn naam is Mathieu Daniel Polak. Sinds 2008 ben ik de beiaardier van de Erasmus Universiteit Rotterdam. Bovendien ben ik de beiaardier van de Markttoren in Spakenburg en ben als beiaarddocent verbonden aan Beiaard Centrum Nederland te Amersfoort. Een paar keer per jaar vervang ik de vaste beiaardier van Weesp, Bauke Reitsma. Het is inmiddels een traditie geworden dat ik op de Open Monumentendag een beiaardconcert in Weesp verzorg.

2 Het beklimmen van de toren

Voor mij is de beklimming van de toren een van de dingen die het bespelen van de beiaard zo bijzonder maakt. Sowieso kom je als beiaardier op plekken waar een ander nooit komt en iedere toren heeft zijn eigenaardigheden. In Misono (Japan) ging het er sjiek aan toe. Daar kon ik met de lift naar de speelcabine. Aldaar gaf ik een beiaardconcert in het kader van jongeren die de leeftijd van 20 jaar hadden bereikt. Voor hun wordt een feest georganiseerd dat Seijin no hi (meerderjarigheidsdag) genoemd.
Het beklimmen kan soms ook een avontuur zijn. In Goes mocht ik als beginnende beiaardier rond 1993 zelf ’s avonds de toren op om op het carillon te spelen. Ik was als pianist van balletexamens dat weekend in Goes en het leek mij geweldig om met de beiaardier mee te gaan. De beiaardier was zelf die avond verhinderd maar ik kon de sleutels ophalen. In de donkere toren kwam er plotseling een duif op mij afgevlogen waardoor ik de schrik van mijn leven kreeg.
Op de Erasmus Universiteit trek ik wekelijks een vlizotrap naar beneden om de speelcabine te bereiken. Op campus Woudestein bevindt zich een beiaard en een oefenklavier. Ik geef beiaardlessen aan studenten en medewerkers van de universiteit en geef iedere week een bespeling op woensdag van 12.30 tot 13.00 uur.
Het beklimmen van de Sint Laurenstoren in Weesp mag ook een avontuur genoemd worden. De metalen ladders zijn steil. Op Open Monumentendag bespeel ik jaarlijks het carillon van Weesp. Juist door die steile ladders is de toren niet geschikt om door groepen beklommen te worden. Gelukkig biedt een videoverbinding uitkomst. Zo kunnen bezoekers op de Open Monumentendag toch de bespeling van ‘dichtbij’ meemaken.

3 De cabine en klavier

In de speelcabine in de Sint Laurenstoren is ruimte voor de beiaardier en eventueel twee of drie gasten. De kleine vensters kunnen geopend worden. Die vensters maken bij mij een fantasie los dat er uit ieder raam een Middeleeuwse trompet zou steken. Deze instrumenten zouden dan samen met de beiaardier kunnen musiceren. Van de vaste beiaardier van Weesp, Bauke Reitsma, heb ik begrepen dat er in de toekomst een keer een samenspel van beiaard met andere instrumenten zal plaatsvinden.

Bauke bespeelt wekelijks op dinsdag van 11.00 tot 12.00 uur het carillon in Weesp. Onder zijn voorgangers bevinden zich beiaardiers als Gijsbert Kok en Wim Franken. Van Wim Franken zal ik vandaag een compositie op het carillon voor u spelen.
Ieder klavier is anders om te bespelen. Op de Erasmus Universiteit speel ik op een vier- octaafs instrument. De Onze Lieve Vrouwetoren in Amersfoort heeft naast een vijf-octaafs instrument ook een replica van een zeventiende eeuws klavier met pedalen die heel lang zijn en doen denken aan de pedalen van een orgel.

Een klavier bestaat doorgaans uit stokken die met de vuisten aangeslagen worden en pedalen voor de voeten.
De traditie van het spelen met de vuisten zal komen door het feit dat klepels, die bij de grote klokken behoorlijk zwaar kunnen zijn, door de beiaardier in beweging gebracht moeten worden.
In Weesp is er een klavier volgens de Waalrese variant. Dat betekent dat een drie-octaafs carillon de pedaalligging heeft van een vier-octaafs instrument. Omdat er betrekkelijk weinig carillons een Waalrese speeltafel hebben, begin ik mijn concert in Weesp over het algemeen met een eenvoudig stuk. Immers, inspelen zoals bij piano of orgel kan wegens het publieke karakter van het carillon niet.
In de speelcabine in Weesp is de ruimte ondanks de vensters toch tamelijk afgesloten. Om goed te horen wat je speelt, is het belangrijk om het venster in het plafond te openen. De klokken hangen pal boven de speelcabine.

4 De klokken

Het carillon van Weesp is samengesteld uit klokken van Hemony en Eijsbouts. Het laagste anderhalf octaaf wordt in hoofdzaak gevormd door klokken uit het jaar 1671 van Pieter Hemony. Pieter Hemony (1619-1680) en zijn broer Francois Hemony (1609-1667) waren de belangrijkste klokkengieters uit de 17e eeuw. Zij waren de eersten ter wereld die een zuiver gestemd klokkenspel produceerden.

Eijsbouts is de klokkengieter uit Asten die niet zo lang geleden wereldnieuws maakte door luidklokken voor de Notre Dame in Parijs te gieten.
Het carillon van Weesp is transponerend. Met andere woorden, je speelt een B maar hoort een C. Voor mensen zonder absoluut gehoor is dat geen probleem. Stel dat je als beiaardier samen zou willen musiceren met koperblazers dan moet je de partituur van de beiaardier of de partituur van de blazers zo transponeren dat de toonaard overeenkomt.

Ik vind het leuk om te vermelden dat er bij een restauratie in 1962 dertien oude klokken weliswaar buiten gebruik werden gesteld maar tien hiervan als sieraad bij het carillon werden gehangen. Deze sieraad is van buiten te bewonderen. Immers, de klokken van Weesp hangen in een open lantaarn.

Klokken uit de Gouden Eeuw staan in de middentoonstemming. In deze stemming wordt gestreefd naar zo natuurzuiver mogelijke grote tertsen. In deze stemming maakt het, anders dan in onze huidige stemming, een groot verschil in klank en sfeer of je in de ene toonsoort of de andere speelt. Nadeel van de middentoonstemming is dat er ook toonsoorten bijzitten die akelig klinken. Deze toonsoorten ga ik uiteraard tijdens mijn concert vermijden.

Naast de wekelijkse bespeling op dinsdag wordt het carillon ook op de Koningsdag bespeeld. In de zomermaanden worden gastbeiaardiers uitgenodigd om concerten te verzorgen.
Het bekend en hopelijk ook geliefd maken van het carillon kan niet zonder interactie tussen muzikant en luisteraar. Daarom is het fijn dat wij allen samen middels deze dag het nieuwe jaar inluiden.

Mathieu Daniel Polak, zondag 14 januari 2018

Weesp 14 januari 2018

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Music and Social Action

BLOEMEN NA HET CONCERT EN DE LEZING:

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FOTO TIJDENS HET CONCERT ZOALS BEZOEKERS HET ZAGEN OP EEN VIDEOSCHERM IN HET MUSEUM:

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Workshops Carillon elementary schools

To interest children for the carillon Stichting Beiaard Woerden organises workshops for elementary schools. The workshops are given by the principle carillonneur of Woerden Henk Verhoef and me. In quite some songs I let the children join by playing two notes. They also like to listen and guess which melody is played. Some play an instrument and are invited to play a little melody all by themselves. In 2018 at least ten schools will visit.

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Programma Basisscholen op de Beiaardschool

Children’s Songs for Carillon

Recently I am arranging Children’s Songs for carillon. One of them I already performed at the carillon of the Market Tower in Spakenburg. Do you like me to arrange a song you choose? I can prepare an arrangement, dedicate it to you, play it at a Dutch carillon and make a recording of it. Visiting the recital where I will premiere your song is also possible. You can already purchase an arrangement for 95 euro: mathieudpolak@hotmail.com or: danielmathieupolak@gmail.com

Examples of the arrangements:

Onder moeders paraplu

The muffin Man

Op een klein stationnetje

Zie Ginds komt de Stoomboot

 

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Onderzoekend Componeren

LEES HET ARTIKEL ALS PDF HIER: Onderzoekend Componeren eindversie

DE COMPOSITIE BEHORENDE BIJ HET ARTIKEL VINDT U HIER: Bagatelle

Concert Kaunas 

It is a great opportunity to give a concert in Lithuania. When Austeja Staniunaityte invited me to give a carillon concert, we spoke about the interaction between paintings and music. I told her I composed a carillon piece named Golden Clouds which I made for painter Joost de Jonge. He gave me a painting in return. The Golden Clouds composition could be regarded as the key work in the Kaunas program. I am happy that people will paint or draw during my concert and hope to see the new works of art after the carillon concert! If you do not draw or paint I still sincerely hope you will visit the carillon concert. It takes place at September 3 at the carillon of Kaunas. The program contains Dutch original carillon pieces, Lithuanian traditional songs arranged for bells, music from Israel and Greek music. Due to the countries of which music will be played, the title of the concert is Rhythms of the World. It starts at 12.00 o’ clock. Also recommendable are the other carillon concerts which take place at Saturday September 2 and Sunday 3 by carillonneurs from Belgium, Great Britain and Lithuania.

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A Summer of Bells

This summer led me to Spain and Germany where I could play the carillon. Special too was the chance to play the carillon of the Westertoren in Amsterdam. I entered a course by the Yale University to think about the role and function of the carillonneur in modern society. In September I will play a carillon concert in Kaunas – Lithuania. In this blog I selected some photos of this wonderful musical summer

Barcelona (Spain), mobile carillon, June 30, 2017 during the World Carillon Congress:

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Amsterdam – Westertoren (the Netherlands), July 18, 2017 where I played a program built from French chansons and Italian Opera music:

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Yale University – certificate course, July 22, 2017. I wanted to know more about the role and function of the carillon in modern society:

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Svendborg Denmark, August 2, 2017. First Ruth and I went to Kopenhagen, after that I gave a carillon concert in Svendborg at the Vor Frue Kirke:

Svendborg

Wiesbaden (Germany), August 12, 2017. Ruth and I passed by the world’s biggest cuckoo-clock on our way to the Marktkirche Wiesbaden:

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Hannover (Germany), August 13, 2017. It was a pleasure the meet Wilhelm Ritter & Frau Anke Muller who were leading workshops of carillon playing in Hannover:

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Wurzburg (Germany), August 16, 2017. Wurzburg equals cities like Paris and London in beauty. I have a concert at the Neubaukirche der Universitat Wurzburg:

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Hahnenklee (Germany), August 17, 2017, a wonderful village in the mountains of the Harz region:

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Eppingen (Germany), August 27, 2017:

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Kaunas (Lithuania), September 3, 2017, during the World Carillon Congress 2017     I was invited to give a concert in Kaunas in September:

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Concert Kaunas

Many thanks to all Dutch, Spanish, German, Danish and Lithuanian collegeagues who invited me to give concerts at their carillons!

 

Independence Day Peru Concert

 

 

 

 

concierto 28 julio

Contigo Peru

La Concheperla

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Luna Lunera Cascabelera

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Hanacpachap Cussicuinin eindversie

Casarasiri eindversie 3

El Condor Pasa

Mi Burrito Sabanero

Himno Peru

Los Jilgueros

Peruvian Air

Summer Waltz

Vive el Peru

Cancion

Viva el Peru

Music and Social Action

Music and Social Action
Yale University Course by Coursera

In May 2017 I entered the Coursera Yale University course Music and Social Action because of a personal need to find an answer to the question wether the carillonneur has an important role to play in society. The course brought me very good answers which I am glad to share in this article.

The carillon is a tower instrument usually located in the center of a city or at an University campus. Does the carillon also stand in the middle of society? Does the audience appreciate the carillon and do they feel the importance of this instrument to be regularly played?

Carillonneurs could involve their audience by organizing thematic concerts. This could for example lead to a concert with Turkish music. If there is a community of Turkish people in the city, organizing a carillon concert with Turkish music would be a relevant thing to do.
To involve young people, the carillonneur could contact elementary schools and invite them to visit the carillon.
The carillonneur could study about the events going on in the city or at the campus and play appropriate music during these events or festivals.

However, even when things like these are realized, the carillonneur has to ask himself wether the carillon is of fundamental importance or the carillon produces music which is heard by people but is not listened to?

To answer this question we could look at what American philosophers have to say on the subject. In the Yale University course Music and Social Action John Dewey (1859-1952) and Maxine Greene (1917-2014) gave information which could be applied to the question on the fundamental importance of the carillon.

A) Playing Turkish music for the Turkish community.
The carillonneur is not only an artist but a citizen at the same time. During the carillon concert he is literally sitting above the people but should stay among them and be one of them as a human being. It is the society he lives in which inspires him to shape his carillon concerts.
I agree with Maxine Greene who said:” a citizen is somebody who has regard for the integrity of other people and out of that regard, out of the feeling of kinship, a community or civil society may take shape. It is never finished. It depends upon a regard for other people’s significance and potentiality.”

B) inviting Elementary Schools to visit the carillon.
A visit to the carillon includes climbing the tower, seeing the bells, the drum and the hour clock. The carillonneur will play music. The visitor could look at the market beneath him and try to see the house where he is living. Imagine what a great experience this must be for a child! Maxine Greene might say this experience would be ‘an opening to imagination.’
Visiting the carillon would definitely be, as John Dewey would say, ‘art as experience.’ Imagination and creativity are keywords in the life of a child. The carillonneur needs to have imagination and creativity to bring music alive. Children could connect to the musician due to these equal intentions. In one of the videos of the Yale University course pianist Jonathan Biss (b. 1980) states that one of the main goals of a musician is to communicate the beauty of music. Schools visiting the bell tower is a nice opportunity to demonstrate the carillonneur’s love for bells and music.

C) Playing appropriate music at events and festivals in town
The carillon should be part of daily life. While the carillonneur is playing, people on the market below the tower are talking, music comes from open doors of shops and cars are making noise. All together they make one big piece of music which could be called ‘the music of the city.’  John Dewey worried that art would be apart from the society we live in. He wrote:” when an art product once attains classical status, it somehow becomes isolated from the human conditions under which it was brought into being and from the human consequences it engenders in actual life experience.” In my opinion, a carillon concert program should not be a fixed set of classical pieces as if the listener is going to a museum of sounds. The carillon should be a living organism. New works and improvisations are pointing towards the future. In improvisations the artist could imagine how music in the future would sound. This idea matches the remark of Dewey who said “art is the domain of the imagination.” Besides playing unknown music it is important that the audience can relate to the music of the carillon, that they recognize tunes and feel comfortable. By playing appropriate music at festivals, for example chansons at a French music festival in town, this goal would be achieved.

The positive answers to the questions convince me the role of the carillon and carillonneur is important in modern society. Due to the always changing society it will be necessary to keep on thinking about the interaction between the carillon and Social Action in future.

Mathieu Daniel Polak,
July  2017

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