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A shtetl (Yiddish: שטעטל, diminutive form of Yiddish shtot שטאָט, "town", pronounced very similarly to the South German diminutive "Städtle", "little town"; cf. Middle High German: stetelîn, stetlîn, stetel) was typically a small town with a large Jewish population in Central and Eastern Europe until The Holocaust. Shtetls (Yiddish plural: שטעטלעך, shtetlekh) were mainly found in the areas which constituted the 19th century Pale of Settlement in the Russian Empire, the Congress Kingdom of Poland, Galicia and Romania. A larger city, like Lemberg (Lviv) or Czernowitz, was called a shtot (Yiddish: שטאָט); a smaller village was called a dorf (דאָרף‎).^[1]

The concept of shtetl culture is used as a metaphor for the traditional way of life of 19th-century Eastern European Jews. Shtetls are portrayed as pious communities following Orthodox Judaism, socially stable and unchanging despite outside influence or attacks. The Holocaust resulted in the disappearance of the vast majority of shtetls, through both extermination under Nazi occupation and exodus to the United States and Palestine - as well as to the main cities of Russia, opened to Jewish habitation with the fall of the Czarist regime.

Lakhva in 1926 (then Łachwa, Poland), ulica Lubaczyńska (Lubaczynska Street)

History, culture and traditions[link]

The history of the oldest Eastern European shtetls began about a millennium ago and saw long periods of relative tolerance and prosperity as well as times of extreme poverty, hardships until pogrom in nineteenth century, inspired by Russian Tsars.

The attitudes and thought habits characteristic of the learning tradition are as evident in the street and market place as the yeshiva. The popular picture of the Jew in Eastern Europe, held by Jew and Gentile alike, is true to the Talmudic tradition. The picture includes the tendency to examine, analyze and re-analyze, to seek meanings behind meanings and for implications and secondary consequences. It includes also a dependence on deductive logic as a basis for practical conclusions and actions. In life, as in the Torah, it is assumed that everything has deeper and secondary meanings, which must be probed. All subjects have implications and ramifications. Moreover, the person who makes a statement must have a reason, and this too must be probed. Often a comment will evoke an answer to the assumed reason behind it or to the meaning believed to lie beneath it, or to the remote consequences to which it leads. The process that produces such a response—often with lightning speed—is a modest reproduction of the pilpul process.^[2]

Not only did the Jews of the shtetl speak a unique language (Yiddish), but they also had a unique rhetorical style, rooted in traditions of Talmudic learning:

In keeping with his own conception of contradictory reality, the man of the shtetl is noted both for volubility and for laconic, allusive speech. Both pictures are true, and both are characteristic of the yeshiva as well as the market places. When the scholar converses with his intellectual peers, incomplete sentences, a hint, a gesture, may replace a whole paragraph. The listener is expected to understand the full meaning on the basis of a word or even a sound... Such a conversation, prolonged and animated, may be as incomprehensible to the uninitiated as if the excited discussants were talking in tongues. The same verbal economy may be found in domestic or business circles.^[2]

The shtetl operates on a communal spirit where giving to the needy is not only admired, but expected and essential:

The problems of those who need help are accepted as a responsibility both of the community and of the individual. They will be met either by the community acting as a group, or by the community acting through an individual who identifies the collective responsibility as his own... The rewards for benefaction are manifold and are to be reaped both in this life and in the life to come. On earth, the prestige value of good deeds is second only to that of learning. It is chiefly through the benefactions it makes possible that money can "buy" status and esteem.^[2]

This approach to good deeds finds its roots in Jewish religious views, summarized in Pirkei Avot by Shimon Hatzaddik's "three pillars":

On three things the world stands. On Torah, On service [of God], And on acts of human kindness.^[3]

Tzedaka (charity) is a key element of Jewish culture, both secular and religious, to this day. It exists not only as a material tradition (e.g. tzedaka boxes), but also immaterially, as an ethos of compassion and activism for those in need.

Material things were neither disdained nor extremely praised in the shtetl. Learning and education were the ultimate measures of worth in the eyes of the community, while money was secondary to status. Menial labor was generally looked down upon as prost, or prole. Even the poorer classes in the shtetl tended to work in jobs that required the use of skills, such as shoe-making or tailoring of clothes. The shtetl had a consistent work ethic which valued hard work and frowned upon laziness. Studying, of course, was considered the most valuable and hardest work of all. Learned yeshiva men who did not provide bread and relied on their wives for money were not frowned upon but praised as ideal Jews.

The May Laws introduced by Tsar Alexander III of Russia in 1882 banned Jews from rural areas and towns of fewer than ten thousand people. In the 20th century revolutions, civil wars, industrialization and the Holocaust destroyed traditional shtetl existence. However, Hasidic Jews have founded new communities in the United States, such as Kiryas Joel and New Square.

There is a belief found in historical and literary writings that the shtetl disintegrated before it was destroyed during World War II; however, this alleged cultural break-up is never clearly defined.^[who?][4]

The shtetl in fiction and folklore[link]

Chełm figures prominently in the Jewish humor as the legendary town of fools. Kasrilevke, the setting of many of Sholom Aleichem's stories, and Anatevka, the setting of the musical Fiddler on the Roof (based on other stories of Sholom Aleichem) are other notable fictional shtetls.

The 2002 novel Everything Is Illuminated, by Jonathan Safran Foer, tells a fictional story set in the Ukrainian shtetl Trachimbrod. (Trochenbrod)

The 1992 children's book Something from Nothing, written and illustrated by Phoebe Gilman, is an adaptation of a traditional Jewish folktale set in a fictional shtetl.

In 1996 the Frontline programme Shtetl broadcast; it was about Polish Christian and Jewish relations.^[5]

Map of partitioned Lithuania & Poland.

Map of the Pale of Settlement

See also[link]

• History of the Jews in Bessarabia
• History of the Jews in Carpathian Ruthenia
• History of the Jews in Poland
• History of the Jews in Russia and the Soviet Union
• Jewish diaspora
• List of Hasidic dynasties
• List of shtetls and shtots
• List of villages and towns depopulated of Jews during the Holocaust

Modern Jewish communes[link]

• Moisés Ville (Argentina)
• New Square, New York
• Sharon, MA
• Kiryas Joel, New York
• Kiryas Tosh, Quebec
• Crown Heights, Brooklyn

References[link]

1. ^ http://www.jewish-guide.pl/shtetl/history-of-shtetl Jewish guide and genealogy in Poland. HISTORY OF SHTETL.
2. ^ ^{a b c} Life is With People: The Culture of the Shtetl by Mark Zborowski and Elizabeth Herzog. 1962 edition.
3. ^ Excerpt from Pirke Avot from aish.com.
4. ^ Joshua Rothenberg (March 1981 : 25-31). "Demythologizing the Shtetl in Midstream". Study Questions. http://www.history.umd.edu/Faculty/BCooperman/NewCity/Shtetl.html. Retrieved 15 September 2010. 
5. ^ "Reactions to Shtetl." PBS. Retrieved on 15 December 2009.

• Joshua Rothenberg, "Demythologizing the Shtetl"
• Life is With People: The Culture of the Shtetl by Mark Zborowski and Elizabeth Herzog. 1962 edition.
• Jewish guide and genealogy in Poland. HISTORY OF SHTETL.

External links[link]

• Boris Feldblyum Collection
• JewishGen
  • The JewishGen Communities Database
  • The JewishGen Gazetteer (formerly: JewishGen ShtetlSeeker)
  • JewishGen KehilaLinks (formerly: ShtetLinks)
• Galicia, Diaspora - Jewish Encyclopedia
• Cities of Poland - Simon Wiesenthal Center Multimedia Learning Center Online
• Virtual Shtetl
• Jewish history of Radziłów
• Remembering Luboml: images of a Jewish Community
• The Art of Dora Shampanier
• Towns in the Encyclopedia of Jewish Life
• Pre-1939 Kresy (now Ukraine) photo album --- Broken Link
• Jewish Web Index - Polish Shtetls
• The Lost Jewish Communities of Poland
• History of the Jews in Poland
• History of Berdychiv
• Antopol Yizkor Book
• The Journey to Trochenbrod and Lozisht aug 2006
• Shtetl gallery. 80 paintings by fr:Ilex Beller. In German and Russian languages
• Museum of the History of Polish Jews, Virtual Shtetl
• Jewish guide and genealogy in Poland. HISTORY OF SHTETL.

Roman Vishniac (Роман Вишняк)
Roman Vishniac, 1977. Photo by Andrew A. Skolnick
Born	(1897-08-19)August 19, 1897 Pavlovsk
Died	January 22, 1990(1990-01-22) (aged 92) New York City
Nationality	Russian, American
Occupation	Photographer, Biologist
Spouse	Luta (Leah) Bagg (m. 1918–1946) «start: (1918)–end+1: (1947)»"Marriage: Luta (Leah) Bagg to Roman Vishniac" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Roman_Vishniac) Edith Ernst (m. 1947–1990) «start: (1947)–end+1: (1991)»"Marriage: Edith Ernst to Roman Vishniac" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Roman_Vishniac)
Children	Wolf V. Vishniac, Mara Vishniac

Roman Vishniac ( /ˈvɪʃni.æk/; Russian: Роман Вишняк; August 19, 1897 – January 22, 1990) was a Russian-American photographer, best known for capturing on film the culture of Jews in Central and Eastern Europe before the Holocaust. A complete archive of his work now rests at the International Center of Photography.^[1][2]

Vishniac was a versatile photographer, an accomplished biologist, an art collector and teacher of art history. He also made significant scientific contributions to photomicroscopy and time-lapse photography. Vishniac was very interested in history, especially that of his ancestors, and strongly attached to his Jewish roots; he was a Zionist later in life.^[3]

Roman Vishniac won international acclaim for his photos of shtetlach and Jewish ghettos, celebrity portraits, and microscopic biology. His book A Vanished World, published in 1983, made him famous and is one of the most detailed pictorial documentations of Jewish culture in Eastern Europe in the 1930s.^[2] Vishniac was also remembered for his humanism and respect for life, sentiments that can be seen in all aspects of his work.

Biography[link]

Early life[link]

Roman was born in his grandparents' dacha outside Saint Petersburg, in the town of Pavlovsk, and grew up in Moscow.^[4] To live in this city was a right granted to few Jews but the Vishniac family lived there because Solomon Vishniac, Roman's father, was a wealthy manufacturer of umbrellas, and his mother, Manya, was the daughter of affluent diamond dealers. Roman also had a sister, Katja.^[5] During the summer months the Vishniac family left Moscow, as it became uncomfortably hot, and they retreated to a dacha a few miles outside the city.

As a child, Roman Vishniac was fascinated by biology and photography, and his room was filled with "plants, insects, fish and small animals".^[6] On his seventh birthday, he got a microscope from his grandmother, to which he promptly hooked up a camera, and by which he photographed the muscles in a cockroach's leg at 150 times magnification. Young Vishniac used this microscope extensively, viewing and photographing everything he could find, from dead insects to animal scales, to pollen and protozoa.^[3]

Until the age of ten, Vishniac was homeschooled; from ten to seventeen, he attended a private school at which he earned a gold medal for scholarship.^[7] Beginning in 1914, he spent six years at Shanyavsky Institute (now University) in Moscow. While enrolled there, he served in the Tsarist, Kerensky and Soviet armies. At the Institute, he earned a doctorate in zoology and became an assistant professor of biology.^[6] As a graduate student, he worked with prestigious biologist Nikolai Koltzoff, experimenting with inducing metamorphosis in axolotl, a species of aquatic salamander. While his experiments were a success, Vishniac was not able to publish a paper detailing his findings due to the chaos in Russia and his results were eventually independently duplicated. In spite of this, he went on to take a three-year course in medicine.^[3]

Berlin[link]

In 1918, Roman Vishniac's immediate family moved to Berlin because of anti-Semitism spurred by the Third Russian Revolution. Roman followed them and, shortly after arriving, married Luta (Leah) Bagg, who gave birth to two children, Mara and Wolf.^[8] Roman Vishniac supported his own budding family (and sometimes his parents as well) by working at various jobs. In his free time, he studied Far Eastern Art at the University of Berlin. Vishniac researched endocrinology and optics, and did some photography (see right). In Berlin, he also initiated his public speaking career by joining the Salamander Club, at which he often gave lectures on naturalism.^[3]

In 1935, as anti-Semitism was growing in Germany, Vishniac was commissioned by the American Jewish Joint Distribution Committee(JDC) in Central Europe to photograph Jewish communities in Eastern Europe as part of a fund-raising drive to help support these poor communities. Vishniac developed and printed these pictures in his dark room in his Berlin apartment. Further trips to Eastern Europe were undertaken between 1935 and 1938, again at the behest of the JDC.^[2] Vishniac used both a Leica and a Rolleiflex camera in his photography. In 1939, his wife and children moved to Sweden to stay with Luta's parents, away from hostile Germany. He met his parents in Nice that summer.^[3]

Vishniac returned to Paris in late summer 1940, and was arrested by Marshal Pétain's police and interned at Camp du Ruchard, a deportation camp in Indre-et-Loire. This occurred because Latvia, of which he was a citizen, had been subsumed into the Soviet Union and Vishniac was considered a "stateless person". After three months, as a result of his wife's efforts and aid from the American Jewish Joint Distribution Committee, he obtained a visa that allowed him to escape via Lisbon to the U.S. with his family. His father stayed behind and spent the war hidden in France; his mother died from cancer in 1941 while still in Nice.^[3][5][9]

New York[link]

The Vishniac family fled from Lisbon to New York City in 1940,^[4] arriving on New Year's Eve. Vishniac tried for days to get a job but failed: "For me, it was a time of distraction and fear."^[3] He was multilingual, speaking at least German, Russian and Yiddish, but he could not yet speak any English and thus had a difficult time.^[10] He managed to do some portraiture work with mostly foreign clients; but business was poor. It was during this time, in 1942, that he took one of his most celebrated portraits, that of Albert Einstein. He arrived at Einstein's home in Princeton, New Jersey, getting into the scientist's study with the ruse of bringing regards from mutual friends in Europe, and photographed him while the scientist was not paying attention to him, occupied in thought. Einstein later called this portrait his favourite one of him.

In 1946, Roman Vishniac divorced Luta, and the next year he married Edith Ernst, an old family friend. A few years later, he gave up portraiture and went on to do freelance work in the field of photomicroscopy.^[3]

Once in the United States, Roman Vishniac tried desperately to earn sympathy for impoverished Jews in Eastern Europe. When his work was exhibited at Teachers College, Columbia University in 1943,^[11] he wrote to Eleanor Roosevelt (First Lady at the time), asking her to visit the exhibit, but she did not. He also sent some of his photographs to the President, for which he was politely thanked.^[12][13]

Of the 16,000 taken in Eastern Europe by Roman Vishniac, only 2,000 photographs reached America.^[13][14] Most of these negatives were carefully hidden by Roman and his family; others were smuggled in by Vishniac's good friend Walter Bierer through Cuba.^[12] In the photographer's own words,

Later life[link]

Roman and Edith Vishniac, 1977
photo by Andrew A. Skolnick

Even when he grew older, Roman Vishniac was very active. In 1957, he was appointed research associate at the Albert Einstein College of Medicine and in 1961 was promoted to "professor of biological education".^[15] In his seventies and eighties, Vishniac became "Chevron Professor of Creativity" at Pratt Institute (where he taught courses on topics such as the philosophy of photography^[10]). During this time he lived on the West Side of Manhattan with his wife Edith, teaching, photographing, reading and collecting artifacts.^[16] Some items that were in his collection include a 14th-century Buddha, Chinese tapestries, Japanese swords, various antique microscopes, valued old maps and venerable books.^[17] He taught Oriental and Russian art, general philosophy and religion in science, specifically Jewish topics, ecology, numismatics, photography and general science at City University of New York, Case Western Reserve University^[15] and at various other institutions.^[3]

Vishniac, c. 1981

During his life, Vishniac was the subject and creator of many films and documentaries; the most celebrated of which was the Living Biology series. This consisted of seven films on cell biology; organs and systems; embryology; evolution; genetics; ecology; botany; the animal world; and the microbial world. It was funded by a grant from the National Science Foundation.^[7]

Roman Vishniac received Honorary Doctoral degrees from the Rhode Island School of Design, Columbia College of Art and the California College of Art,^[18] before his death from colon cancer on January 22, 1990.^[19]

Photography[link]

In Central and Eastern Europe[link]

1935–1939[link]

Vishniac is best known for his dramatic photographs of poor and pious Jews in cities and shtetlach of Eastern Europe.^[2] He was commissioned to take these pictures by the American Jewish Joint Distribution Committee (JDC) as part of a fundraising initiative, but Vishniac had a personal interest in this subject matter. He traveled back and forth from Berlin to the ghettos of Russia, Poland, Romania, Czechoslovakia and Lithuania between 1935 and 1938 as well as working for the Committee.^[4][20]

While touring Europe, Vishniac posed as a traveling fabric salesman, seeking aid where he could and bribing anyone who got in his way.^[21] During his touring of Eastern Europe (1935–1939), he was often arrested by police for taking these pictures, sometimes because he was thought to be spying^[14] Later, when published, these photographs made him popular enough for his work to be showcased as one-man shows at Columbia University, the Jewish Museum (New York), International Center of Photography and other such institutions.

Vishniac claimed that he had taken 16,000 photos in this period, every one a candid shot,^[10] but the veracity of these claims has been challenged by research by Maya Benton at the International Center of Photography.^[2][22] In order to photograph small villages in these mountains, Vishniac claimed he carried heavy equipment (Leica, Rolleiflex, movie camera, tripods), 115 pounds (52 kilograms) by his estimate, on his back, up steep roads, trekking many miles.^{[12][16] [3]} Vishniac captured thousands of impoverished Jews on film, "[...] to preserve — in pictures, at least — a world that might soon cease to exist".^[23]

When using a Leica for indoor shots, Vishniac sometimes brought a kerosene lamp (visible in some of his work) if there was insufficient light, keeping his back to a wall for support, and holding his breath.^[10] The Rolleiflex was used mostly for outdoor scenes.

Roman Vishniac did not just want to preserve the memories of the Jews; he actively fought to increase awareness in the West of the worsening situation in Eastern Europe. "Through his photographs, he sought to alert the rest of the world to the horrors [of the Nazi persecution]", Mitgang.^[16] In late 1938, for example, he sneaked into Zbaszyn, an internment camp in Germany near the border, where Jews awaited deportment to Poland. After photographing the "filthy barracks", as he described it, for two days,^[24] he escaped by jumping from the second floor at night and creeping away, avoiding broken glass and barbed wire. These photos were sent to the League of Nations in Geneva to prove the existence such camps.^[16]

After Vishniac's death, many photos came to light depicting life in Berlin taken between 1920 and 1939. Some of these negatives were found at the end of rolls of film devoted to scientific work. An exhibition of Vishniac's Berlin photos was mounted at the Jewish Museum, Berlin in 2005,^[25] and a book of the photos was published.

Style[link]

Vishniac's photographs from the 1930s are all of a very distinct style; they are all focused on achieving the same end: capturing the unique culture of Jewish ghettos in Eastern Europe, especially the religious and impoverished.^[2] His published pictures largely center on these people, usually in small groups, going about their daily lives: very often studying (generally religious texts), walking (many times through harsh weather), and sometimes just sitting; staring. The scenes are dramatic: "There is barely a hint of a smile on any of the faces. The eyes peer at us suspiciously from behind ancient casement windows and over a peddler's tray, from crowded schoolrooms and desolate street corners."^[26] Gene Thornton, writer for The New York Times, called them "[...] somber with poverty and with the gray light of European Winter".^[27]

These pictures, all in black and white, were done with available light or sometimes a lantern,^[10] yet they are "amazingly crisp with surprising depth of field".^[28] Indeed, "There is a grainy realism to Vishniac's photographic style. We can almost finger the coarse textures of coats and shawls; the layers of fabric worn by the people seem more related to tree bark than to the well-pressed wool suit worn by an occasional elegant passerby."^[26] Vishniac is known to have exaggerated in composing the captions of his photographs, and in some cases he may have fabricated the stories behind them.^[2]

Impact[link]

Vishniac's photographs from this period are widely commended and on permanent display in many museums. Edward Steichen places his pre-Holocaust photographs, "among photography's finest documents of a time and place."'^[21] However, there has been criticism of Vishniac's work, focusing on the lack of diversity of his subjects in his work from Eastern Europe and quality of his composition. It has been argued that he should have also photographed wealthier Jews, in addition to the poor Jews in ghettos. Thornton criticized his photographs for their unprofessional qualities, citing "errors of focus and accidents of design, as when an unexplained third leg and foot protrudes from the long coat of a hurrying scholar."^[27]

Vishniac's photographs have had a profound effect on Holocaust literature and have illustrated many books about the Jewish ghettos and Holocaust. In the case of The Only Flowers of her Youth, the drama of the photograph inspired Miriam Nerlove to write a novel based on the story of the girl in the picture.^[29]

For this work, Roman Vishniac has received the Memorial Award of the American Society of Magazine Photographers in 1956. He was also the winner of the visual arts category of awards of the Jewish Book Council in 1984; The Only Flowers of her Youth was deemed "most impressive" at the International Photographic Exhibition in Lucerne in 1952; and the Grand Prize for Art in Photography, New York Coliseum.^[3][6]

When photographic curator Maya Benton began to catalog Vishniac's negatives for the archive of the International Center of Photography, she noticed that, in his book A Vanished World, Vishniac juxtaposed photos to tell stories, and wrote captions that were not supported by the material. In the final spread of the book, there is a photo of a man peering through a metal door; on the opposite page a small boy points with his finger to his eye. Vishiniac's caption reads: "The father is hiding from the Endecy (members of the National Democratic Party). His son signals him that they are approaching. Warsaw, 1938." At the front of the book, additional commentary reads: "The pogromshchiki" (pogrom lynch mob) "are coming. But the iron door was no protection." Benton's research found that the photos were from different rolls of film, taken in different towns, so the scene described in the book "almost certainly did not happen".^[2] In addition, Michael di Capua, who edited Vishniac's text for A Vanished World, has said that he felt disquiet while compiling the text, since so much information was unsubstantiated.^[2] Benton also suggested that the terms of Vishniac's commission from the JDC—to photograph "not the fullness of Eastern European Jewish life but its most needy, vulnerable corners for a fund-raising project"—had led to his over-emphasizing poor, religious communities in A Vanished World.^[2]

Photomicroscopy and biology[link]

In addition to the candid photography for which he is best known, Vishniac worked heavily in the field of photomicroscopy, (specifically interference microscopy and cinemicroscopy). He specialized in photographing living insects and had a knack for arranging the moving specimens in "just the right poses", according to Philippe Halsman, former president of the American Society of Magazine Photographers. On the subject of Vishniac's skill in photomicroscopy, Halsman said he was, "a special kind of genius".^[3] He worked with all sorts of specimens, from protozoa, to fireflies to amino acids. Vishniac's work in photomicroscopy is and was highly regarded in the field. For three consecutive years, beginning in 1952, he won the Best-of-the-Show Award of the Biological Photographic Association in New York.^[3]

One of Roman Vishniac's most famous endeavors in the field of photomicroscopy was his revolutionary photographs from the inside of a firefly's eye, behind 4,600 tiny ommatidia, complexly arranged. In addition, there were the images taken at the medical school of Boston University of the circulating blood inside a hamster's cheek pouch. Vishniac invented new methods for light-interruption photography and color photomicroscopy.^[15] His method of colorization, (developed in the 1960s and early 1970s) uses polarized light to penetrate certain formations of cell structure and may greatly improve the detail of an image.^[3]

In the field of biology, Vishniac specialized in marine microbiology, the physiology of ciliates, circulatory systems in unicellular plants and endocrinology (from his work in Berlin) and metamorphosis.^[15] Despite his aptitude and accomplishments in the field, most of his work in biology was secondary to his photography: Vishniac studied the anatomy of an organism primarily to better photograph it. Besides experimenting with the metamorphosis of axolotl, he also researched the morphology of chromosomes in 1920: both in Berlin. As a biologist and philosopher in 1950, he hypothesized polyphyletic origin, a theory that life arose from multiple, independent biochemical reactions, spawning multicellular life. As a philosopher, he "developed principles of rationalistic philosophy" in the '50s.^[3]

Other photography[link]

Vishniac is notable for his photographs of insects mating, sea bass feasting and other living creatures in full animation. Skillfully and patiently, he would stalk insects or other such creatures for hours in the suburbs around New York City. Before beginning the hunt, he would lie for over an hour in the grass, rubbing himself with proximate flora to make himself smell less artificial. He would then gracefully swoop close to his prey and patiently frame the scene with an SLR equipped with an extension tube. He had even trained himself to hold his breath for up to two minutes, so that he could take his time and not disturb slowly exposing images.^[3]

Vishniac's subjects varied throughout his life. At times, he would focus on documenting everyday life, as in Berlin, and later portraiture, doing famous portraits of Albert Einstein and Marc Chagall. He was also a pioneer in time-lapse photography, on which he worked from 1915 to 1918,^[3][7] and again later in life.

Religion and philosophy[link]

Roman Vishniac always had strong ties with his ancestry, especially the Jewish aspect of it, "From earliest childhood, my main interest was my ancestors". He was a Zionist^[10][16] and a strong sympathizer with Jews who had suffered because of anti-Semitism, "Oh yes, I could be a professor of anti-Semitism", also stating then that he had one hundred and one relatives who died during the Holocaust. A famous photo of his (pictured right) of a store in Berlin selling devices for separating Jews and non-Jews by skull shape was used by him to criticize the pseudoscience of German anti-Semites.^[16]

Vishniac associated much of his work with religion, though not specifically Judaism. "Nature, God, or whatever you want to call the creator of the Universe comes through the microscope clearly and strongly," he remarked in his laboratory one day.

Living with the memory of hardship, Vishniac was, "an absolute optimist filled with tragedy. His humanism is not just for Jews, but for every living thing."^[21] He probably believed in God or some similar concept, but he was non-denominational and did not adhere strictly to the principles of any religion. He even clashed with Orthodox Jews in one well-known instance: The religious Jews he met on his trek around Europe would not let themselves be photographed, quoting the Bible and its prohibition of making of graven images. Vishniac's famous response was, "the Torah existed for thousands of years before the camera had been invented."^[16]

Roman Vishniac was known for having great respect for all living creatures. Whenever possible, he returned a specimen to its precise home before it was captured^[3] and one time "[lent] his bathtub to tadpoles for weeks until he could return them to their pond". In accordance with this philosophy, he photographed almost exclusively living subjects.^[30]

Publications[link]

For a more complete list of publications by and about Roman Vishniac, see pages 94 and 95 of Roman Vishniac published by ICP^[3] and the Library of Congress archive.

Major exhibitions[link]

See also[link]

Later model of the Rolleiflex camera such as was used by Vishniac in Eastern Europe

Organizations[link]

• International Center of Photography — Owner of the copyrights of Roman's works.
• American Jewish Joint Distribution Committee — Originally commissioned Vishniac's trips to Eastern Europe.

Photography[link]

• Time-lapse — Technique pioneered by Vishniac.
• Documentary photography

People[link]

• Wolf V. Vishniac — Son of Roman, eminent microbiologist, died in 1973 during an Antarctic expedition.
• Ethan T. Vishniac — Grandson of Roman, son of Wolf, editor of the Astrophysical Journal.
• Cornell Capa — Founder of ICP.
• Alter Kacyzne — A well-known contemporary of Roman Vishniac's; photographed similar subjects, but died in a Ukrainian pogrom in 1941.

References[link]

Further reading[link]

• Fisher, Craig. "Roman's Legions"
• Kinkead, Eugene. "The Tiny Landscape". The New Yorker July 2 and July 9, 1955.
• "Dr. Vishniac and the Beauty of the Real". Kodak International Review - No. 9
• ICP Library of Photographers. Roman Vishniac. Grossman Publishers, New York. 1974.
• "Roman Vishniac remembered". UJA Federation of Hamilton. http://www.jewishhamilton.org/page.aspx?id=161873. Retrieved 2010-04-18. 

External links[link]

Wikiquote has a collection of quotations related to: Roman Vishniac

Wikimedia Commons has media related to: Roman Vishniac

• Roman Vishniac Archive at International Center of Photography
• Interview with Roman's grandson
• The Howard Greenberg Gallery Includes gallery of 31 of Roman Vishniac's photographs.
• Every Vishniac Webpage of Ephraim Vishniac, Roman's grandson, detailing the family tree of the Vishniacs'.
• University of South Carolina Newsfilm Library Collection of Roman Vishniac's Scientific Imaging: 100 images

John Zorn
Zorn performing in 2006
Background information
Also known as	Dekoboko Hajime, Rav Tzizit
Born	(1953-09-02) September 2, 1953 (age 58)
Origin	New York City, United States
Genres	Avant-garde, experimental[1]
Occupations	Composer, producer
Instruments	Saxophone, clarinet, flute, guitar, keyboards, double bass, drums, percussion
Years active	1973–present
Labels	Tzadik, Avant, DIW, Elektra Nonesuch, Earache, Hat Hut, Shimmy-Disc, Eva, Toy's Factory, Nato, Lumina, Black Saint, Subharmonic, Parachute, Yukon, Rift
Associated acts	Naked City, Masada, Painkiller, Hemophiliac, Weird Little Boy, Lou Reed, Laurie Anderson
Website	www.tzadik.com
Notable instruments
Clarinet, Piano, Theremin, Wind machine

John Zorn (born September 2, 1953 in New York City) is an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist. Zorn is a prolific artist: he has hundreds of album credits as performer, composer, or producer. He has had experience with a variety of genres including jazz, rock, hardcore punk, classical, extreme metal, klezmer, film, cartoon, popular, and improvised music.^[2] Zorn brings these styles to his work,^[2] which he refers to with the label avant-garde/experimental.^[1]

Zorn has stated: "All the various styles are organically connected to one another. I'm an additive person - the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can't see the connections, but they are there."^[3]

Zorn has led the punk jazz band Naked City and the klezmer-influenced quartet Masada, composed Masada Songbooks (written concert music for classical ensembles), and has produced music for film and documentary.

Zorn established himself within the New York City downtown music movement in the mid 1970s and has since composed and performed with a wide range of musicians working in diverse musical areas. By the early 1990s Zorn was working extensively in Japan, attracted by that culture's openness about borrowing and remixing ingredients from elsewhere, before returning to New York as a permanent base in the mid-1990s.^[4][5][6] Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with varying ensembles to display his diverse output.^[7][8]

After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and attracted wide acclaim in 1985 when he released The Big Gundown, a cover of music composed by Ennio Morricone.^[9] He attracted further attention when worldwide by following this with the release of Spillane in 1987, and Naked City by Naked City in 1989.^{[1][10][11][12]} Zorn then recorded on the Japanese DIW label and curated the Avant subsidiary label before forming Tzadik in 1995, where he was prolific in issuing several new recordings each year as well as releasing the work of many other musicians.

Biography[link]

Early life[link]

John Zorn was born in New York City and learned piano, guitar and flute as a child.^[13] He grew up in a household full of a broad spectrum of sound: his mother listened to classical and world music, his father to jazz, French chansons, and country music, and his older brother to doo-wop, and 1950s rock and roll.^[14] Zorn recalled an episode of his life, after buying a record by Mauricio Kagel in 1968 at the age of fifteen, that influenced his subsequent taste for experimental and avant-garde music:^[15][16]

Here we are: Kagel, "Improvisation Ajoutée." I bought this when I was about 15. Still marked: got it at Sam Goody in September, for 98 cents. And it's a really crazy piece, with the guys screaming and hooting, something that attracted me. I was over at my friend's house, and he really liked the Rolling Stones. And I just got this record, and I put it on and he looked at me like...who the hell are you? Are you out of your mind? And his mother was there, and she was like [puts palm on cheek] my God, take this off... and right then and there, I decided: this was the music.

Zorn spent time in his teenage years listening to classical music, film music, and, "listening to The Doors and playing bass in a surf band."^[14] He taught himself about orchestration and counterpoint, by transcribing scores and using in his own compositions, a procedure of "plagiarizing, stealing, quoting, or whatever you can call it", of collage and transposition into his own world, that he has been using throughout his career.^[17] He also studied music under Leonardo Balada.^{[citation needed]}

Zorn picked up the saxophone after discovering Anthony Braxton's album For Alto (1969) while studying composition at Webster College (now Webster University) in St. Louis, Missouri, where he attended classes taught by Oliver Lake.^[18][19] While still at Webster, Zorn incorporated elements of free jazz, avant-garde and experimental music, film scores, performance art and the cartoon scores of Carl Stalling into his first recordings which were later released as First Recordings 1973 (1995).^[20]

Zorn dropped out of college. Following a stint on the West Coast, Zorn moved to Manhattan. There he gave concerts in his apartment and other small NY venues, playing saxophone and a variety of reeds, duck calls, tapes, and other instruments.^[21] He founded a performance art project called Theatre of Musical Optics, in 1975 and became a major participant in the fertile, avant-garde, downtown music scene as a composer, performer and producer of music that challenged the confines of any single musical genre.^[22] Zorn later used the term "Theatre of Musical Optics" for the publishing company of his compositions.

Early composition[link]

Zorn's early major compositions included several "game pieces" or "game theories", which he's described as "complex systems harnessing improvisers in flexible compositional formats,"^[23] and which "involved strict rules, role playing, prompters with flashcards, all in the name of melding structure and improvisation in a seamless fashion."^[1] Game pieces were often named after sports, and include Baseball (1976), Lacrosse (1976), Dominoes (1977), Curling (1977), Golf (1977), Hockey (1978), Cricket (1978), Fencing (1978), Pool (1979), and Archery (1979) which was recorded at Martin Bisi's studio. His most enduring "game piece" is Cobra (1984) which he first released on album in 1987 and in subsequent versions in 1992, 1994 and 2002, and has revisited in performance many times.^[24][25][26] Zorn addresses both his own history and the musical philosophy behind his early works in the book Talking Music by William Duckworth.^[27]

In 1981, Zorn was "blowing duck calls in buckets of water at fringe venues," which included 8BC, Roulette, Chandelier, and Zorn's own clubhouse, the Saint.^[1] Zorn's first solo saxophone (and duck call) recordings were originally released in two volumes as The Classic Guide to Strategy in 1983 and 1986 on the Lumina label. Zorn's early small group improvisations are documented on Locus Solus (1983) which featured Zorn with various combinations of other improvisers including Christian Marclay, Arto Lindsay, Wayne Horvitz, Ikue Mori, and Anton Fier. Ganryu Island featured a series of duets by Zorn with Satoh Michihiro on shamisen, which received limited release on the Yukon label in 1984. Zorn has subsequently released these recordings as CDs on Tzadik making them more widely available than the original vinyl pressings.

Breakthrough recordings[link]

Zorn's breakthrough recording was 1985's The Big Gundown: John Zorn Plays the Music of Ennio Morricone, where Zorn offered radical arrangements of the Roman composer's themes from movies including The Big Gundown (1966), Once Upon a Time in the West (1968), A Fistful of Dynamite (1971), and Once Upon a Time in America (1984). The Big Gundown was endorsed by Morricone, who is quoted as saying: "This is a record that has fresh, good and intelligent ideas. It is realization on a high level, a work done by a maestro with great science-fantasy and creativity... Many people have done versions of my pieces, but no one has done them like this".^[28] Zorn's versions of Morricone's compositions incorporated elements of traditional Japanese music, soul jazz, and other diverse musical genres. Zorn's fifteenth-anniversary re-release of the album featured additional explorations of Morricone's work.

He first released the composition "Godard", a tribute to French film-maker Jean-Luc Godard whose jump-cut technique inspired Zorn's compositional approach, on the French tribute album The Godard Fans: Godard Ca Vous Chante? in 1986.^[29] Zorn followed this with his second major-label release Spillane in 1987 composed of three different tribute compositions. The title track featured text by Arto Lindsay set to an array of sonic film noir references, "Two-Lane Highway", a blues-based form to highlight the guitar of Albert Collins and "Forbidden Fruit", Zorn's tribute to a Japanese film star, performed by the Kronos Quartet.^[29] Further exploration of film noir themes were recorded for radio plays and released by Zorn as The Bribe: variations and extensions on Spillane (1998).^[30] "Godard" and "Spillane" were re-released as a single CD, Godard/Spillane, on Tzadik in 1999.^[31]

These pieces are described by Zorn as "file-card compositions", a method of combining composition and improvisation in which Zorn would write down a description of what he wanted on file-cards and arrange them to form the piece.^[32] Zorn described the process in 2003: "I write in moments, in disparate sound blocks, so I find it convenient to store these events on filing cards so they can be sorted and ordered with minimum effort. Pacing is essential. If you move too fast, people tend to stop hearing the individual moments as complete in themselves and more as elements of a sort of cloud effect... I worked 10 to 12 hours a day for a week, just orchestrating these file cards. It was an intense process - one I don't want to go through again."^[3]

Zorn's "file-card" method of organizing sound blocks into an overall structure largely depended on the musicians he chose, the way they interpreted what was written on the file cards, and their relationship with Zorn. "I'm not going to sit in some ivory tower and pass my scores down to the players." said Zorn, "I have to be there with them, and that's why I started playing saxophone, so that I could meet musicians. I still feel that I have to earn a player's trust before they can play my music. At the end of the day, I want players to say: this was fun - it was a lot of fucking work, and it's one of the hardest things I've ever done, but it was worth the effort."^[3]

Jazz interpreter[link]

Beginning in 1986 Zorn participated in several projects focused on modern jazz composers which highlighted his saxophone style. These included Voodoo (1986) by The Sonny Clark Memorial Quartet, with Wayne Horvitz, Ray Drummond and Bobby Previte and Spy vs Spy (1989) featuring hardcore punk-informed interpretations of Ornette Coleman's music performed by Zorn and Tim Berne on saxophones, Mark Dresser on bass and Joey Baron and Michael Vatcher on drums.^[33] News for Lulu (1988) and More News for Lulu (1992) featured Zorn, Bill Frisell and George Lewis performing compositions by Kenny Dorham, Sonny Clark, Freddie Redd, and Hank Mobley. He performed on two recordings by organist Big John Patton - Blue Planet Man (1993) and Minor Swing (1995) and contributed to the Sax Legends series (later re-released as The Colossal Saxophone Sessions) in 1993 with a version of Wayne Shorter's composition "Devil's Island" alongside Lee Konitz, who Zorn has described as "one of my all-time heroes".^[34]

While Zorn is often considered a jazz musician his schema is considerably broader. He stated: "The term 'jazz', per se, is meaningless to me in a certain way. Musicians don’t think in terms of boxes. I know what jazz music is. I studied it. I love it. But when I sit down and make music, a lot of things come together. And sometimes it falls a little bit toward the classical side, sometimes it falls a little bit towards the jazz, sometimes it falls toward rock, sometimes it doesn’t fall anywhere, it's just floating in limbo. But no matter which way it falls, it's always a little bit of a freak. It doesn’t really belong anywhere. It's something unique, it's something different, it's something out of my heart. It's not connected with those traditions."^[1] "But the music is not jazz music, it’s not classical music, it’s not rock music. It’s a new kind of music... So I feel like that created a deep misunderstanding in what this music is. People started judging this new music with the standards of jazz, with the definitions of what jazz is and isn’t, because stories about it appeared in jazz magazines. And now I’ll do a gig at the Marciac Jazz Festival and I’ll get offstage and Wynton Marsalis will say, 'That’s not jazz.' And I’ll say, 'You’re right! But this is the only gig I’ve got, man. Give me another festival and I’ll play there.'"^[35]

Film music[link]

Zorn has written music for documentaries, underground films, television advertisements and cartoons which are documented in the Filmworks albums on the Tzadik label. Some of these film scores are jazz-influenced, others classical, and most feature ensembles consisting of rotating combinations of downtown musicians. Zorn has often used his cinematic and television commissions to experiment with line-ups and forms that would become more established parts of his musical canon.

Zorn stated that "After my record The Big Gundown came out I was convinced that a lot of soundtrack work was going to be coming my way".^[36] While Hollywood acclaim was not forthcoming he attracted the attention of many independent filmmakers. The first director to commission him was Rob Schwebber for the 1986 short White and Lazy followed by his work for Sheila McLaughlin's film, She Must Be Seeing Things (1986). In 1990, he composed the soundtrack for the Raul Ruiz film The Golden Boat. All these soundtracks appeared on Filmworks 1986-1990 along with a sixty-four second interpretation of the theme from The Good, the Bad and the Ugly which featured future members of Naked City.

Zorn's second Filmworks release documented his Music for an Untitled Film by Walter Hill (1996) which was composed for the film Trespass (1992) but replaced by a score by Ry Cooder.^[37] Filmworks III: 1990-1995 (1997) featured the first recordings by the Masada lineup for Joe Chappelle's Thieves Quartet (1993) along with early drafts for the Cynical Hysterie Hour project, duets with Marc Ribot which featured in Mei-Juin Chen's Hollywood Hotel (1994), and a series of commercial soundtracks for the advertising firm Weiden and Kennedy, including one directed by Jean-Luc Godard - a long-term Zorn inspiration.^[38] Filmworks IV: S&M + More (1997) and Filmworks V: Tears of Ecstasy (1996) both included music written for films dealing with BDSM.^[39] Filmworks VI: 1996 contains the soundtracks to three underground films produced in 1996; Dina Waxman's Anton, Mailman, Henry Hills' Mechanics of the Brain, and Maria Beatty's The Black Glove.

Filmworks VII: Cynical Hysterie Hour re-released the themes that Zorn produced for a Japanese cartoon which had only been previously available in limited release in Japan. Zorn regained the rights to these recordings by trading a booking at The Knitting Factory to Sony executives.^[40] Filmworks VIII: 1997 features music for the documentary Port Of Last Resort (1998), which detailed the experiences of Jewish refugees who fled to Shanghai during the years preceding World War II, and the soundtrack to the underground film Latin Boys Go to Hell (1997).^[41][42]

Zorn's next soundtrack work did not appear until 2000 with Filmworks IX: Trembling Before G-d featuring music for an award winning documentary about gay and lesbian Orthodox Jews trying to reconcile their sexuality with their faith directed by Sandi Simcha DuBowski.^[43] The following year Filmworks X: In the Mirror of Maya Deren (2001) featured music for a documentary by Martina Kudlacek on the life and work of underground filmaker Maya Deren.^[44]

The year 2002 was a very productive one for Zorn's cinematic scores. Filmworks XI: Secret Lives (2002) featured the Masada String Trio performing music for Aviva Slesin's documentary film on Jewish children hidden from the Nazis.^[45] Filmworks XII (2002) features music for three documentaries; Homecoming: Celebrating Twenty Years of Dance at PS 122, Shaolin Ulysses, a film about Shaolin Monks in America, and variations on the theme for Family Found, a documentary on outsider artist Morton Bartlett.^[46][47][48] Zorn released his third soundtrack collection of 2002 with Filmworks XIII: Invitation to a Suicide, written for a black comedy about a man selling tickets to his own suicide to save his father's life.^[49]

Zorns next two Filmworks releases featured in documentaries examining Jewish identity and antisemitism. Filmworks XIV: Hiding and Seeking (2003) provided the soundtrack a documentary about an Orthodox Jewish father attempting to alert his sons of the dangers of creating barriers between themselves and those outside their faith.^[50] Filmworks XV: Protocols of Zion (2005) featured music for a documentary about a resurgence of antisemitism in the United States in the wake of the September 11 attacks.^[51]

Filmworks XVI: Workingman's Death (2005) presented themes for a documentary portraying hazardous employment undertaken in the Ukraine, Indonesia, Nigeria, Pakistan, and China.^[52]

Filmworks XVII (2006) featured music for Martina Kudlacek's documentary Notes on Marie Menken intertwined with Zorn's percussive score for Beth Cataldo's portrait Ray Bandar: A Life with Skulls.^[53][54] Filmworks XVIII: The Treatment (2006) featured music for Oren Rudavsky's romantic comedy based on the tango music of Astor Piazolla.^[55]

Filmworks XIX: The Rain Horse (2008) was written for an animated children's short film by Russian director Dimitri Gellar. Also released in 2008 were Filmworks XX: Sholem Aleichem containing music for a documentary on the Jewish writer Sholem Aleichem, Filmworks XXI: Belle de Nature/The New Rijksmuseum featuring soundtracks for another of Maria Beatty's films and a documentary on the restoration of the Rijksmuseum Amsterdam, and Filmworks XXII: The Last Supper.

Hardcore[link]

Zorn established Naked City in 1988 as a "compositional workshop" to test the limitations of a rock band format.^[56] Featuring Zorn on saxophone, Bill Frisell (guitars), Fred Frith (bass), Wayne Horvitz (keyboards), Joey Baron (drums), and occasional vocals from Yamatsuka Eye, Bob Dorough, and later Mike Patton, Naked City incorporated Zorn's appreciation of hardcore bands like Agnostic Front and grindcore bands like Napalm Death with his other influences and experimented with compositional form and cover versions.^[57]

Named after a 1945 book of graphic black and white photographs by Weegee the band performed an aggressive mix of "soundtrack themes, bluesy hard bop, speedy hardcore rock, squealing free jazz [and] metallic funk".^[58] Zorn has stated that "Naked City started with rhythm and blues/Spillane type things then went into this hard-core thing... because I was living in Japan and experiencing a lot of alienation and rejection... My interest in hard-core also spurred the urge to write shorter and shorter pieces."^[59]

Naked City followed the release of their self-titled album with Torture Garden a collection of 42 "hardcore miniatures", intense brief compositions often lasting less than a minute, in 1989. Some of these tracks had featured on Naked City and others would resurface on the band's next full-length release, Grand Guignol (1992), which also included performances of works by Claude Debussy, Alexander Scriabin, Orlande de Lassus, Charles Ives, and Olivier Messiaen. The band's third album, Heretic (1992), featured more of these short improvisations produced for the soundtrack of an underground S/M film Jeux des Dames Cruelles. The band released a second EP, Leng Tch'e, in 1992 featuring a single composition which lasted just over half an hour. Radio, released in 1993, was the first Naked City album composed solely by Zorn, and featured tracks drawing on a wide range of musical influences including Charles Mingus, Little Feat, Ruins, Booker T. and the M.G.'s, Colin Wilson, Albert King, Chuck Brown, Orchestra Baobab, the Accüsed, the Meters, Tony Williams' Lifetime, Anton Webern, Sammy Cahn, Frank Sinatra, Morton Feldman, Igor Stravinsky, the Melvins, Beatmasters, Septic Death, Abe Schwartz, Ivo Papasov, Naftule Brandwein, Repulsion, Led Zeppelin, Bernard Herrmann, Santana, Extreme Noise Terror, Conway Twitty, Siege, Ornette Coleman, Corrosion of Conformity, Massacre, Quincy Jones, Sam Fuller, Funkadelic, Carcass, Liberace, Jan Hammer, Eddie Blackwell, Charlie Haden, Mick Harris, Carole King, Red Garland, Boredoms, Jerry Reed, SPK and Roger Williams in addition to Zorn's previously identified touchstones.^[60] The final recording from the band Absinthe (1993) featured a blend of ambient noise styled compositions with tracks titled after the works of Paul Verlaine, Charles Baudelaire and other figures in the fin de siècle Decadent movement, and a dedication to Olivier Messiaen. Zorn disbanded Naked City after this release but briefly reformed the band for a European tour in 2003.

Zorn also formed Painkiller with Bill Laswell on bass and Mick Harris on drums in 1991. Painkiller's first two releases, Guts of a Virgin (1991) and Buried Secrets (1992), also featured short grindcore and free jazz-inspired compositions. They released their first live album, Rituals: Live in Japan, on the Japanese Toys Factory label in 1993, followed by the double CD Execution Ground (1994), which featured longer dub and ambient-styled pieces. A second live album, Talisman: Live in Nagoya, was released in 2002 and the band was featured on Zorn's 50th Birthday Celebration Volume 12 (2005) with Hamid Drake replacing Harris on drums and guest vocalist Mike Patton.^[61]

Both bands attracted worldwide interest, particularly in Japan, where Zorn had relocated following a three-month residency in Tokyo.^[62] Zorn collaborated with, and produced, numerous Japanese 'noise' artists including Merzbow, Otomo Yoshihide, Melt Banana and frequent collaborator Yamatsuka Eye. Many of these artists have now released albums on Tzadik and some regularly travel to New York to perform.

Releases from both bands were criticized for their graphic album covers. The cover of the eponymous album by Naked City used the Weegee photograph "Corpse with Revolver C.A. 1940", which shows a gangland killing as did their later live album.^[63] Zorn left Electra Nonesuch after the company's response to the artwork for Naked City's Grand Guignol, releasing the remaining Naked City albums on a Japanese-based label, Avant.^[64] The Committee Against Anti-Asian Violence protested against Zorn because they believed that the images used in the graphic design of Naked City's Torture Garden and Leng Tch'e portrayed degrading images of Asian people. To avoid problems, Zorn removed the original albums from retail sale and later replaced the artwork with new packaging titled Black Box.^[65] Painkiller's Guts of a Virgin EP was banned in the UK after customs seized and destroyed the first shipment for violating the Obscene Publications Act.^[66] Execution Ground was also released with the original cover photograph of a lynching removed. Zorn later re-released the Naked City and Painkiller albums as box sets with restored artwork after forming his own record label.^[67]

Zorn recorded Hemophiliac in 2002 with Mike Patton and Ikue Mori which continued his interest in hardcore improvisations. The first release from this trio was a double CD set that was signed by the performers. Limited to 2,500 copies, this album soon became a highly sought-after collectors item.^[68] The trio also released a live recording as part of Zorn's 50th Birthday Celebration Series.

In 2006 Zorn formed the hardcore voice/bass/drums trio of Mike Patton, Trevor Dunn, and Joey Baron which became known as the Moonchild Trio.^[69] That year two albums of Zorn's compositions performed by the trio were released: Moonchild: Songs Without Words and Astronome. A third album with the trio, but also featuring Zorn, Ikue Mori, Jamie Saft and chorus, Six Litanies for Heliogabalus, was released in 2007.^[70] Their fourth release The Crucible appeared in 2008.^[71]

Concert music[link]

John Zorn has established a diverse repertoire of music written for chamber musicians and orchestras. As Zorn's interest in Naked City waned he "started hearing classical music in [his] head again."^[72] Zorn began composing the suites Elegy (1992) (dedicated to Jean Genet) and Kristallnacht (1993) both of which drew on chamber music arrangements of strings, percussion and electronic instruments.

Zorn was quoted in 1998 as saying "Sometimes I get the feeling that people just don't see me as a composer, but it's what I've always been since I was eight years old... I've always thought of myself as a composer, but the world has had a hard time looking at me as a composer because a lot of what I compose is controversial."^[73] The establishment of Tzadik allowed Zorn to release many compositions which he had written, over the previous two decades, for classical ensembles. Zorn's earliest released "classical" composition (for five flutes), "Christabel", was written in 1972 and first appeared on Angelus Novus in 1998. Redbird (containing new compositions for bass drums and a harp/viola/cello/percussion quartet inspired by Agnes Martin) and The Book of Heads (35 etudes for solo guitar written in 1978 for Eugene Chadbourne and realised by Marc Ribot) were released in 1995 as part of Tzadik's Composer Series. Zorn credits the composition of his 1988 piece for string quartet "Cat O' Nine Tails", commissioned and originally released by the Kronos Quartet, to awakening him to the possibilities of writing for classical musicians. This composition was featured on The String Quartets (1999) and Cartoon S/M (2000) along with variations on "Kol Nidre", inspired by the Jewish prayer of atonement which was written at the same time as (but not part of) the first Masada Book.^[74] Duras: Duchamp (1997) consists of two 'tribute' compositions, the first dedicated to Marguerite Duras has four movements lasting roughly thirty-four minutes influenced by the composition of Oliver Messiaen, the second "69 Paroxyms for Marcel Duchamp" lasts just over thirteen minutes. Aporias: Requia for Piano and Orchestra (1998) was Zorn's first full-scale orchestral release featuring pianist Stephen Drury, the Hungarian Radio Children's Choir and the American Composers Orchestra conducted by Dennis Russell Davies.

Songs from the Hermetic Theatre (2001) featured four experimental compositions; "American Magus", was Zorn's first piece of electronic music dedicated to Harry Smith; "BeuysBlock", a meditation on the work of Joseph Beuys; "In the Very Eye of Night", a tribute to Maya Deren; and "The Nerve Key", Zorn's first piece of computer music. Madness, Love and Mysticism (2001) featured "Le Mômo", inspired by Antonin Artaud, performed by Stephen Drury (piano) and Jennifer Choi (violin); "Untitled", dedicated to Joseph Cornell, a cello solo for Erik Friedlander; and "Amour Fou" featuring the trio. Chimeras (2001) was inspired by Arnold Schoenberg's atonal composition "Pierrot Lunaire".

Several of Zorn's later concert works drew inspiration from mysticism and the works of Aleister Crowley in particular. Magick (2004) featured the Crowley Quartet on "Necronomicon: for string quartet" and "Sortilège" written for two bass clarinets. A 2009 performance of "Necronomicon" was described as "...frenetic vortexes of violent, abrasive motion, separated by eerily becalmed, suspenseful sections with moody, even prayerful melodies. The music is sensational and evocative, but never arbitrary; you always sense a guiding hand behind the mayhem".^[75] Mysterium released in 2005 featured "Orphée" performed by a sextet of flute, viola, harp, harpsichord and electronics; "Frammenti Del Sappho" for female chorus; and "Wulpurgisnacht" for string trio. Rituals (2005) featured Zorn's five movement opera for mezzo soprano and ten instruments composed for the Bayreuth Opera Festival in 1998. From Silence to Sorcery (2007) features three compositions; "Goetia" consists of eight variations for solo violin performed by Jennifer Choi; "Gris-Gris" is composition for thirteen tuned drums performed by William Winant; and "Shibboleth" is a tribute to Paul Celan scored for clavichord, strings and percussion.

Zorn's concert works have been performed all over the world and he has received commissions from the New York Philharmonic and Brooklyn Philharmonic.^[76] When the piece for the Brooklyn Philharmonic was played at New Music America festival, he wrote in the pamphlet with the music:^[77][78]

Less than an actual music festival, New Music America is a one-sided overview that's more about politics, marketing, and sales than about the music it pretends to support...it's no more than a convention for the people in the music business who try to "out-hip" each other in the manipulation of artists. This postmodern yuppie tendency of business people dictating creative policy to artists is a very real danger that I intend to avoid at all costs.

Masada Books[link]

Masada: Joey Baron (dr), Greg Cohen (b), Dave Douglas (tr), John Zorn (as)

John Zorn recorded Kristallnacht in November 1992, his premiere work of radical Jewish culture, featuring a suite of seven compositions reflecting the infamous Night of Broken Glass in late 1938 where Jews were targets of violence and destruction in Germany and Austria.^[79] The experience prompted Zorn to further explore his Jewish heritage and composing using Jewish musical styles.^[80][81] Zorn then set himself the task of writing 100 compositions within a year incorporating klezmer styles with his already broad musical palette.^[82] Within three years, the number of compositions had grown to 200 and became known as the first Masada Book. Zorn explained:

The project for Masada was to create something positive in the Jewish tradition something that maybe takes the idea of Jewish music into the 21st century the way jazz developed from the teens and 1920s into the '40s, the '50s, the '60s and on...

... My initial plan was to write 100 tunes in a year that touched upon the Jewish tradition and that was an interesting challenge. It was really fun as a composer to come home and write a something that could be finished sometimes in 10 minutes, sometimes in an hour or sometimes an evening...

... The Masada songbook was really something that was like the Irving Berlin songbook or the Burt Bacharach songbook or the Thelonious Monk songbook. Here's another lifetime for me. So when I look at what's been accomplished in the world of Masada, it's kind of unbelievable. Of course I had no idea at the times I started. My initial idea was to write a hundred tunes. And then I ended up writing over 200 for the first book and then performed it countless time for years.^[83]

The initial releases featuring this compositional approach were ten albums by Masada appearing on the Japanese DIW label from 1994. Masada (later referred to as "acoustic" Masada) was an Ornette Coleman-inspired quartet with Zorn (alto saxophone), Joey Baron (drums), Dave Douglas (trumpet), and Greg Cohen (bass) that performed jazz-styled compositions based on Sephardic scales and rhythms.^[84] The original Masada albums were titled after the first ten letters of the Hebrew Alphabet – Alef, Beit, Gimel, Dalet, Hei, Vav, Zayin, Het, Tet and Yod – and contained compositions with Hebrew titles. Further releases by Masada consisted of live performances of the band recorded in Jerusalem, Taipei, Middleheim, Seville and in New York at the Knitting Factory and at Tonic and as a DVD, and a double CD of unreleased studio recordings, Sanhedrin 1994-1997 (2005).

The Masada quartet performed at the Lincoln Center for the Performing Arts in March 2007 for what were billed as their final concerts.^[85] Zorn reformed the band as a sextet with Uri Caine and Cyro Baptista in 2009 saying:

I felt like we kind of hit a plateau a little bit with it in 2007 and I said, “Well, maybe the quartet is really done. Maybe we’ve accomplished what we can accomplish. Maybe it’s time to put this to bed.” And then I was asked by the Marciac Jazz Festival to put together a slightly larger group. They asked me what if I added a couple of people to Masada and I said, “I can’t add anybody to the quartet. The quartet is the quartet, that’s what we do.” But then I thought, “Well, if I was going to add someone I would probably ask Uri and Cyro.” So we tried it at Marciac and it was unbelievable. We didn’t even have any rehearsal time. I just passed the charts out and said, “OK, just watch me because I’ll be conducting. Let’s just do it.” And it was one of those magical clicks on the bandstand that sometimes happens. So yeah, this band is taking off again. After 15 years of doing this music, we can still find new things.^[35]

The Masada Book has been performed by many different ensembles and musicians. The Masada String Trio composed of Greg Cohen (bass), Mark Feldman (violin), and Erik Friedlander (cello) regularly performs and records Zorn's Masada pieces. This group, with the addition of Marc Ribot (guitar), Cyro Baptista (percussion), and Joey Baron (drums) also perform as the Bar Kohkba Sextet. Electric Masada, the most recent regular Masada ensemble usually features Zorn, Baptista, Baron, and Ribot, along with Trevor Dunn (bass), Ikue Mori (electronics), Jamie Saft (keyboards) and Kenny Wollesen (drums).^[86] A Tenth Anniversary Series of Masada recordings was released by Zorn beginning in 2003. The series featured five albums of Masada themes including Masada Guitars by Marc Ribot/Bill Frisell/Tim Sparks, Masada Recital by Mark Feldman & Sylvie Courvoisier, Masada Rock by Rashanim and two albums featuring various artists - Voices in the Wilderness and The Unknown Masada.

In 2004, Zorn began composing the second Masada Book, The Book of Angels, resulting in an additional 300 compositions.^[87][88] Zorn explained:

After 10 years of performing the first book, I thought 'Maybe it'd be nice to write some more tunes.' And I wrote 300 more tunes. When I started writing those it was 'Let's see if I can write a hundred songs in a month this time.' I've been working on these scales and playing these tunes all this time. In the back of my head somewhere are lodged all kinds of new ideas. Let's see if I can come up with 100 tunes in a month instead of in a yr. So in the first month, I popped out a hundred tunes; the second month, another hundred; in the third month, a third 100 tunes. I had no idea that was going to happen.^[83]

He has released several albums of Masada Book Two compositions performed by other artists. Recordings by the Jamie Saft Trio, Masada String Trio, Mark Feldman & Sylvie Courvoisier, Koby Israelite, The Cracow Klezmer Band, Uri Caine, Marc Ribot, Erik Friedlander, Secret Chiefs 3, Bar Kokhba Sextet, Medeski, Martin and Wood, and the Masada Quintet have been released in this series. The titles of many Masada Book Two compositions are derived from demonology and Judeo-Christian mythology.

Tzadik record label[link]

In 1992 John Zorn collaborated with the Japanese Disc Union label to curate the Avant imprint, a subsidiary of the DIW jazz label which released the first Masada albums. Several Naked City recordings were released through the Avant label as well as many others on which Zorn featured downtown musicians including Derek Bailey, Buckethead, Eugene Chadbourne, Dave Douglas, Erik Friedlander, Wayne Horvitz, Ikue Mori, Bobby Previte, Zeena Parkins and Marc Ribot.

In 1995, in co-operation with jazz producer Kazunori Sugiyama, Zorn established the Tzadik label to ensure availability of his catalogue and promote experimental musicians. Zorn said that the label is a way to shield from the power of the music industry, with "giant corporations acting like slave masters, like the return of the pharaohs," merging together to get even more powerful like in the Polygram-Universal acquisition; and to shield from distribution companies like Tower, HMV, and Virgin Megastores, that are destroying "the small mom and pop stores—people that love the music and that’s why they have their store," and from the insidious pollution of the tastes of the masses, "with brainwashing and brain-control. These marketing guys who are at the head of all these companies, they’re really the ones that are spoon-feeding everybody shit."^[1]

Zorn is inspired by other artists and different musical styles, particularly those working in improvised music. He has a special attraction to underground artists and musical styles that are extremely loud, wild, or creative. Tzadik has established a diverse catalogue reflecting Zorn's range of musical influences and influence. The Tzadik website describes the label as "...dedicated to releasing the best in avant garde and experimental music, presenting a worldwide community of musician-composers who find it difficult or impossible to release their music through conventional channels".^[89]

The label's releases are divided into series:

• The Archival Series features Zorn's recordings exclusively, including re-releases of several albums that appeared on other labels, Zorn's film work, and recordings from 1973 onwards;
• The 50th Birthday Celebration Series is 11 live albums recorded in September 2003 at Tonic as part of the month-long concert retrospective of Zorn's work;
• The Composer Series features Zorn's music for "classical" ensembles along with work by many other contemporary composers;
• The Radical Jewish Culture Series features contemporary Jewish musicians;
• The New Japan Series covers Japanese underground music;
• The Film Music Series features soundtracks by other musicians (Zorn's Filmworks recordings are feartured in the Archival Series);
• The Oracle Series promotes women in experimental music;
• The Key Series presents notable avant-garde musicians and projects;
• The Lunatic Fringe Series releases music and musicians operating outside of the broad categories offered by other series;^[89] and
• The Spotlight Series promotes new bands and musical projects of young musicians.

Tzadik also releases special edition CDs, DVDs, books and T-shirts. Since 1998 the designs of Tzadik releases have been created by graphic artist Heung-Heung "Chippy" Chin.^[90]

Music romance[link]

Zorn released Music for Children in 1998.^[91] The album, identified as "Music Romance Volume One" portrayed the broad spectrum of Zorn's compositions. Music for Children opened with a polyrhythmic etude for percussion and celeste, featured three short Naked City compositions, written at the time of Torture Garden, performed by Zorn with the Boston-based band Prelapse, a composition for wind machines and feedback dedicated to Edgard Varèse, a classical chamber piece for violin, percussion and piano, and ended with a music box-styled lullaby. The second "Music Romance" album, Taboo & Exile, was released in 1999 and featured a similar spectrum of broad styles.^[92] One of Zorn's most popular albums was the third in the series, The Gift (2001), which surprised many with its relaxed blend of surf, exotica and world music.^[93] Zorn released The Dreamers in 2008 which is considered to be a sequel to The Gift although not identified as a volume of "Music Romance". The year 2009 also saw the release of the album O'o, featuring the same style of music and set of players as the 2008 album.

50th birthday celebration[link]

In September 2003 Zorn celebrated his 50th birthday with a month-long series of performances at Tonic in New York, repeating an event he had begun a decade earlier at the Knitting Factory.^[94][95][96] He conceptualized the month into several different aspects of his musical output. Zorn's bands performed on the weekends, classical ensembles were featured on Sundays, Zorn performed improvisations with other musicians on Mondays, featured his extended compositions on Tuesdays and a retrospective of game pieces on Wednesdays.^[97] Twelve live albums were released on his 50th Birthday Celebration Series which featured performances by the Masada String Trio, Milford Graves & John Zorn, Locus Solus, Electric Masada, Fred Frith & John Zorn, Hemophiliac, Masada, Susie Ibrarra, Wadada Leo Smith & John Zorn, John Zorn solo, Yamataka Eye & John Zorn, Bar Kokhba Sextet and Painkiller.^[98]

Recent projects[link]

Zorn was the principal force in establishing The Stone in 2005, an avant-garde performance space in New York's Alphabet City which supports itself solely on donations and the sale of limited edition CDs, giving all door revenues directly to the performers.^[99] Zorn holds the title of artistic director and regularly performs 'Improvisation Nights'.^[100] On Friday April 13, 2007, Zorn played the final night at Tonic, the Lower East Side venue where he played regularly for the previous decade, which closed due to financial pressures.^{[101][102][103]} On January 10, 2008, Zorn performed with Lou Reed and Laurie Anderson at a special benefit night at The Stone which was also released on The Stone: Issue Three on CD.^[104]

On February 4, 2008, Zorn premiered his work for three cellists "777" performed by Fred Sherry, Erik Friedlander, and Michael Nicolas at the Guggenheim Museum. Zorn premiered The Dreamers with members of Electric Masada on February 29, 2008 at St Anne's Warehouse in Brooklyn.^[105] On March 27, 2008, Miller Theater at Columbia University in New York City, which has been the venue for several premieres of Zorn's concert works, hosted the first performance of a new composition by John Zorn, "The Prophetic Mysteries of Angels, Witches & Demons".^[106][107] Zorn curated the music for the Aleph-Bet Sound Project, a sound installation featuring new music by Lou Reed, Laurie Anderson, Erik Friedlander, David Greenberger, Chris Brown, Z’EV, Terry Riley, Alvin Curran, Christina Kubisch, Marina Rosenfeld, Raz Mesinai, and Jewlia, at the Contemporary Jewish Museum from June 4, 2008 to January 8, 2009.^[108] Zorn's "Shir Ha-Shirim" premiered in February 2008.^[109] The piece is inspired by the Song of Songs from the old testament and is performed by an amplified quintet of female singers with female and male narrators performing the "Song of Solomon". Lou Reed and Laurie Anderson read the texts in English for the February performances. The group returned to New York for performances at the Guggenheim on November 23 and 24, at which Ayelet Rose Gottlieb and Jeremy Fogel recited in Hebrew. These performances at the Guggenheim Museum in November 2008 featured choreography for paired dancers from the Khmer Arts Ensemble by Sophiline Cheam Shapiro.^[110] The ensemble includes Marc Ribot on guitar, Carol Emanuel on harp, Trevor Dunn bass and the five extraordinary female vocalists. The Daughters of Jerusalem, as they are known for this project are, Lisa Bielawa, Martha Cluver, Abby Fischer, Kathryn Mulvihill and Kirsten Sollek. Photos of February rehearsals. Shir Ha-Shirim was also performed in Milano, Italy on September 24, 2008 and in Paris, France for the Jazz à la Villette event, on Saturday September 5, 2009.

In 2009, American playwright and avant-garde theatre pioneer Richard Foreman directed Astronome: A Night at The Opera based on Zorn's Astronome (2006).^[111]

Publications[link]

In 2000 Zorn edited the book Arcana: Musicians on Music featuring interviews, essays, and commentaries by musicians including Anthony Coleman, Peter Garland, David Mahler, Bill Frisell, Gerry Hemingway, George Lewis, Fred Frith, Eyvind Kang, Mike Patton and Elliott Sharp, on the compositional process.^[112] Zorn released the second volume of Arcana: Musicians on Music in the summer of 2007. According to the preface by Zorn, "This second installment of what will be a continuing series of books presenting radical, cutting-edge ideas about music is made, like the initial volume, out of necessity."^[113] The second volume contains essays by more than 30 musicians including Annie Gosfield, Trey Spruance, Zeena Parkins, Steve Coleman, Marina Rosenfeld, Carla Kihlstedt, David Douglas, Bill Laswell, Trevor Dunn, and Jewlia Eisenberg. In October 2008, a third volume of the Arcana series was released containing essays by Wadada Leo Smith, Frank London, Greg Cohen, Sean Lennon and Jamie Saft.^[114] Volume IV was released in September 2009, including essays by Derek Bailey, Nels Cline, Chris Cutler, Paul Dresher, Kenneth Gaburo, Shelley Hirsch, Wayne Horvitz, Vijay Iyer, Gordon Mumma, Matana Roberts, Katherine Supove and Carolyn Yarnell. Volume V has been released on July 2010, subtitled Musicians on Music, Magic & Mysticism.

Awards and critical reception[link]

In 2001 John Zorn received the Jewish Cultural Award in Performing Arts from the National Foundation for Jewish Culture.^[115] In 2006 Zorn was named a MacArthur Fellow.^[116][117] In 2007, he was the recipient of Columbia University's School of the Arts William Schuman Award, an honor given "to recognize the lifetime achievement of an American composer whose works have been widely performed and generally acknowledged to be of lasting significance."^[2] In 2011 Zorn was awarded the Magister Artium Gandensis, an honorary degree from the University of Ghent.^[118]