ABOUT US and about
JEWISH ITALIAN MUSIC
Ensemble Nuria
"Ensemble Nuria -International Ensemble Specializing In Early Italian Jewish Music"
Our Story
Formerly known as Ensemble Bet Hagat, Ensemble Nuria is an international ensemble based in Ein Karem, Jerusalem.
Founded by Ayela Seidelman, it is a modular ensemble focussing on the symbiosis of early Jewish music with the neighboring cultures surrounding and permeating it, and is devoted to celebrating and communicating respect and tolerance between diverse backgrounds, faiths and cultures.
Inspired by the critically important work of the ethnomusicologist Leo Levi, it is proud to pioneer the revived performance of the nearly lost musical heritage of Italian Jewry and to revitalize traditional piyyutim with a pluralistic, contemporary voice.
Get to Know Us
Our Amazing Team
Meet the talented individuals who make up ensemble nuria. Each member brings their unique skills and passion for music, creating a harmonious blend that captivates audiences.
About Italian-Jewish music:
‘Illumination II: Italian-Jewish Music of Solace and Hope’ presents Ensemble Nuria’s (formerly Ensemble Bet Hagat) second collection of traditional Italian-Jewish music, nearly lost to the world after the devastation of Italian Jewry during the Holocaust. As in our previous album, ‘Illumination: Early Italian-Jewish Spiritual Music’, many of the traditional Italian-Jewish ‘piyyutim’ recorded here are widely unfamiliar to the general public.
The Italian-Israeli ethnomusicologist Leo Levi dedicated the decades following WWII to the task of recording the last remnants of Italian-Jewish synagogue music in 20 different Italian-Jewish communities. Thanks to his singularly prescient undertaking, Levi succeeded almost single handedly at preserving the treasure which is Italian-Jewish traditional music. Had he not sacrificed years of his life to attain these rare field recordings at the precise moment in history in which he did so, the community elders who had maintained these centuries-old musical traditions would certainly have been no longer, and thus nearly all traces of this extraordinary musical and cultural legacy would have vanished.
The Jewish and Christian Italian cultures of the Renaissance and Baroque period were at once separate and also intricately connected, and synagogue music itself has always adapted and reflected contemporary- ostensibly unrelated- melodies and styles. It was thus a natural step to present works from the early spiritual music of Jewish Italy (all whose texts were in use as early as 1600 and even before) seen through the prism of the prevalent musical styles of the same period in while Salamone Rossi and Benedetto Marcello’s own important synagogue-based works were created: the Renaissance and Baroque periods. As specialists in early Italian music, this involved interpreting which contemporary styles of music predominant outside of the ghetto in Italy at that time were likely reflected in the Jewish works (which would themselves have been performed- during synagogue services- vocally only). The task of reviving these pieces and presenting them in the fuller context of the Italian culture that they inhabited was fascinating, as the works revealed themselves in their unique beauty and spirit.
The Italian Jewish community of the late Renaissance and Baroque was subdivided into four distinct groups, each of which maintained their own synagogue and identities within the general Jewish community. The Italyani and Bnei Romy were the original and most ancient of the Italian Jewish communities, descended in part from the exiles brought to Rome from the land of Israel after the destruction of Jerusalem in 70 CE. It is thought that given the antiquity of these communities' origins it is possible that the rites contained in their prayerbook are a direct remnant of the Jewish community of the land of Israel, prior to the exile to Rome. The Sephardim were descended from the communities of Spanish and Portugese Jews exiled during the Inquisition. The Ashkenazim were descended from German Jewish communities, exiled in the 15th century, who settled in Northern Italy. The fourth community, ‘APAM’ (for the Hebrew letters signifying Asti, Fossano and Moncalvo), settled in Northwestern Italy after being expelled from France in the late 14th Century.
Musical Sources we explore :
Recorded archival source material used in transcriptions:
Leo Levi collection and Jewish Music Research Center (Hebrew University of Jerusalem) collections via: ‘An Invitation to Piyut’ website of the Jewish National Library
‘Italian Jewish Musical Traditions’ from the Leo Levi Collection (CD; Edited by Francesco Spagnolo) Rome/Jerusalem (Jewish Music Research Center-2001)
National Sound Archive, Israel National Library
The Online Thesaurus of Italian-Jewish Liturgical Music