In this issue

Jonathan Tobin: Defending the Right to a Jewish State

Heather Hale: Compliment your kids without giving them big heads

Megan Shauri: 10 ways you are ruining your own happiness

Carolyn Bigda: 8 Best Dividend Stocks for 2015

Kiplinger's Personal Finance editors: 7 Things You Didn't Know About Paying Off Student Loans

Samantha Olson: The Crucial Mistake 55% Of Parents Are Making At Their Baby's Bedtime

Densie Well, Ph.D., R.D. Open your eyes to yellow vegetables

The Kosher Gourmet by Megan Gordon With its colorful cache of purples and oranges and reds, COLLARD GREEN SLAW is a marvelous mood booster --- not to mention just downright delish
April 18, 2014

Rabbi Yonason Goldson: Clarifying one of the greatest philosophical conundrums in theology

Caroline B. Glick: The disappearance of US will

Megan Wallgren: 10 things I've learned from my teenagers

Lizette Borreli: Green Tea Boosts Brain Power, May Help Treat Dementia

John Ericson: Trying hard to be 'positive' but never succeeding? Blame Your Brain

The Kosher Gourmet by Julie Rothman Almondy, flourless torta del re (Italian king's cake), has royal roots, is simple to make, . . . but devour it because it's simply delicious

April 14, 2014

Rabbi Dr Naftali Brawer: Passover frees us from the tyranny of time

Greg Crosby: Passing Over Religion

Eric Schulzke: First degree: How America really recovered from a murder epidemic

Georgia Lee: When love is not enough: Teaching your kids about the realities of adult relationships

Cameron Huddleston: Freebies for Your Lawn and Garden

Gordon Pape: How you can tell if your financial adviser is setting you up for potential ruin

Dana Dovey: Up to 500,000 people die each year from hepatitis C-related liver disease. New Treatment Has Over 90% Success Rate

Justin Caba: Eating Watermelon Can Help Control High Blood Pressure

The Kosher Gourmet by Joshua E. London and Lou Marmon Don't dare pass over these Pesach picks for Manischewitz!

April 11, 2014

Rabbi Hillel Goldberg: Silence is much more than golden

Caroline B. Glick: Forgetting freedom at Passover

Susan Swann: How to value a child for who he is, not just what he does

Cameron Huddleston: 7 Financial Tasks You Should Tackle Right Now

Sandra Block and Lisa Gerstner: How to Profit From Your Passion

Susan Scutti: A Simple Blood Test Might Soon Diagnose Cancer

Chris Weller: Have A Slow Metabolism? Let Science Speed It Up For You

The Kosher Gourmet by Diane Rossen Worthington Whitefish Terrine: A French take on gefilte fish

April 9, 2014

Jonathan Tobin: Why Did Kerry Lie About Israeli Blame?

Samuel G. Freedman: A resolution 70 years later for a father's unsettling legacy of ashes from Dachau

Jessica Ivins: A resolution 70 years later for a father's unsettling legacy of ashes from Dachau

Kim Giles: Asking for help is not weakness

Kathy Kristof and Barbara Hoch Marcus: 7 Great Growth Israeli Stocks

Matthew Mientka: How Beans, Peas, And Chickpeas Cleanse Bad Cholesterol and Lowers Risk of Heart Disease

Sabrina Bachai: 5 At-Home Treatments For Headaches

The Kosher Gourmet by Daniel Neman Have yourself a matzo ball: The secrets bubby never told you and recipes she could have never imagined

April 8, 2014

Lori Nawyn: At Your Wit's End and Back: Finding Peace

Susan B. Garland and Rachel L. Sheedy: Strategies Married Couples Can Use to Boost Benefits

David Muhlbaum: Smart Tax Deductions Non-Itemizers Can Claim

Jill Weisenberger, M.S., R.D.N., C.D.E : Before You Lose Your Mental Edge

Dana Dovey: Coffee Drinkers Rejoice! Your Cup Of Joe Can Prevent Death From Liver Disease

Chris Weller: Electric 'Thinking Cap' Puts Your Brain Power Into High Gear

The Kosher Gourmet by Marlene Parrish A gift of hazelnuts keeps giving --- for a variety of nutty recipes: Entree, side, soup, dessert

April 4, 2014

Rabbi David Gutterman: The Word for Nothing Means Everything

Charles Krauthammer: Kerry's folly, Chapter 3

Amy Peterson: A life of love: How to build lasting relationships with your children

John Ericson: Older Women: Save Your Heart, Prevent Stroke Don't Drink Diet

John Ericson: Why 50 million Americans will still have spring allergies after taking meds

Cameron Huddleston: Best and Worst Buys of April 2014

Stacy Rapacon: Great Mutual Funds for Young Investors

Sarah Boesveld: Teacher keeps promise to mail thousands of former students letters written by their past selves

The Kosher Gourmet by Sharon Thompson Anyone can make a salad, you say. But can they make a great salad? (SECRETS, TESTED TECHNIQUES + 4 RECIPES, INCLUDING DRESSINGS)

April 2, 2014

Paul Greenberg: Death and joy in the spring

Dan Barry: Should South Carolina Jews be forced to maintain this chimney built by Germans serving the Nazis?

Mayra Bitsko: Save me! An alien took over my child's personality

Frank Clayton: Get happy: 20 scientifically proven happiness activities

Susan Scutti: It's Genetic! Obesity and the 'Carb Breakdown' Gene

Lecia Bushak: Why Hand Sanitizer May Actually Harm Your Health

Stacy Rapacon: Great Funds You Can Own for $500 or Less

Cameron Huddleston: 7 Ways to Save on Home Decor

The Kosher Gourmet by Steve Petusevsky Exploring ingredients as edible-stuffed containers (TWO RECIPES + TIPS & TECHINQUES)

Jewish World Review March 28, 2014 / 26 Adar II, 5774

Program notes

By Paul Greenberg

JewishWorldReview.com | The appetizer can be the best part of a festive meal, as violinist Meredith Maddox Hicks and pianist Tatiana Roitman demonstrated Thursday evening at the Clinton Library in Little Rock.

They were opening another concert of chamber music, this evening with Beethoven's Sonata for Violin and Piano No. 5 in F Major, informally titled Spring, and spring arrived with their first notes, even before the first purple martins this year.

Ms. Hicks performed as usual -- superbly -- with sensitivity and restraint alternating, never, never getting in the way of the music but letting it lift and enlighten and soothe and exhilarate by turns. An exercise in clarity in its various facets. Like someone turning a rare jewel around and around in the light.

And what's this? Pianist Tatiana Roitman, the Arkansas Symphony's own T-Rex, has been transformed into a playful puppy dog -- exploring and inquisitive but measured. Emphatic when the spirit moved her but wary, even delicate, where the music dictated. Admirable, even adorable, tender with strength.

Whatever can account for the change since we heard her last? Had someone tuned the old piano at the Clinton Library just right so we could hear it anew in this airy, glass-walled hall? Was it the moisture in the air this evening in the early Arkansas spring? The less crowded room this time? Or is it all my pretentious imagination? It would take a sound engineer to explain it scientifically, but even then the art might remain inexplicable. But it was clear enough to the ear.

The day's busy irrelevancies and layers of trivia are wafted away by the artists' precision, the way a game of chess concentrates the mind's focus by shifting it completely away, substituting geometric form and force for random dither and detritus. Music hath charms that soothe not just the savage breast but the Average Joe who's spent the day plowing a furrow -- or through the profit-and-loss statements on his cluttered desk.

Imagine, if you can, Beethoven without bombast. For those few of us who always preferred his chamber music to his grandly Romantic symphonies, it is a moment to savor, a taste of his early work, the first blossoms of a born genius and master when he was still a young man on the make in old Vienna. Maybe even before he had changed that Flemish "van" in his name to the German title of nobility, "von," the way every third Russian claims some connection to the Romanovs.

In those few precious years in Vienna, the young composer was showing his stuff, all right, but not showing it off. He was still firmly rooted in the classical even if he was not just following the New Wave of his time but creating it.

A vision of the old Vienna he would enchant floats through the air tonight a couple of centuries and continents removed from Beethoven's time there, arriving well before Napoleon and his deafening cannons.

We listen to the brilliant young composer's early, untouched music on a night when another army is on the march, again shattering illusions of peace and harmony. The sonata is titled Spring but it could just as well be called Crimea Before the Cossacks. The scherzo has to be one of the shortest yet most penetrating ever composed, a preview of Beethoven's greatness to come, or maybe a review of Vienna's greatness already passed, and about to be shattered on the jagged shards of modernity. But greatness in any case, like the spirit of a proud people that may be chained but never subdued. No matter how many divisions, or how many empty speeches, a Bonaparte or Putin may bring to bear.

How describe this sonata? Think of the sweetest yet most appropriate wedding music you've ever heard, full of tremulous anticipation and sweet dread. There is no goose-stepping here, only grace and strength in succession. The piano's chords echo, then anticipate, the violin's, not overwhelm them. One mind-picture follows another: All is order, yet change, like a finely wrought constitution of a new republic that would surprisingly endure. These are the kind of revolutionaries who take care not to walk on the grass.

The old chivalry still reigned in Vienna when Beethoven got there, freeing rather than oppressing. Edmund Burke made mention of that chivalry, that "generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom." He called it "the unbought grace of life, the cheap defence of nations, the nurse of manly sentiment and heroic enterprise," and mourned its passing: "It is gone, that sensibility of principle, that chastity of honor, which felt a stain like a wound, which inspired courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil, by losing all its grossness."

By the time Beethoven reached Vienna, the lengthening shadow of tyranny approached. It would come, as it regularly does, in the name of liberty, equality and fraternity. What an enticing vision it was, too, this Enlightenment with bayonets, as entrancing as Aphrodite, goddess of love and beauty, before she rips off her mask and reveals herself as mesmerizing Medusa, hissing and stinging, poisonous and paralyzing.

The rest of the evening may come as anti-climax after the Beethoven, but after a brief intermission the glory will return with the redoubtable music of Amy Beach. In the meantime, in between time, ennui. That is, a piece by Fauré. It is French. Like one of those unnoticeable pastel prints that fade into the wall even as it's put up, and becomes just a slightly different shade of blankness. What a waste of the time and talent of a fine violinist like Geoff Robson, who gives the piece a lot more than it deserves. What else is there to be said while suppressing a yawn? Fauré's sonata is neither fast nor slow but hovering in some indistinct place between them, like a young girl who would like to be a tease but can't quite summon the energy or personality, if she has one.

After the intermission comes the formidable Amy Beach, entering slowly, deliberately, impressive but never ponderous, bringing with her something of the iron New England soul into this early spring in Arkansas. Her music proceeds like a hymn.

Both predecessor to the moderns and a summation of the old masters, Mrs. Beach advances like an armada with vessels great and small, some light and swift, others with the heft of winter afternoons and cathedral tunes. It is hard to sit there, listening to her ringing the changes from top to bottom, and not think of Emily Dickinson. It is a reviving thought, like remembering that America once had a backbone, and will again.

Mrs. Beach goes on, oblivious to our petty contemporary concerns. Is her "Sonata for Violin and Piano in A minor" a grand dawn or a lingering dusk? It is both. In this sonata, Past and Future salute each other. The muses of music and history, Euterpe and Clio, curtsy and bow, whisper and thunder, as they perform their elaborate pas de deux.

The evening would not be complete, unfortunately, without one of those overlong introductions that are the bane of such concerts. Musicians really should leave Music Appreciation 101 to the professors and their young graduate assistants, who make quite enough of a botch of it, thank you. How many generations of entering freshmen have been turned off great music by such ministrations?

This evening we hear Amy Beach described as a great female composer, as one would speak of Faulkner as a great regional writer. In our era we don't so much recognize greatness as patronize it. ("Oh, she was pretty sharp for a woman/Southerner/bourgeois...." Pick your stereotype.) But all that is only a minor irritant, brushed away by Mrs. Beach's music, like a piece of lint on a lady's jacket.

Then we walk into the unquiet night, fortified by Amy Beach's largo con dolore -- stately but sorrowfully. Thanks to Julia Cheek on piano and Andrew Irvin on violin, Amy Beach was here.

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Paul Greenberg is the Pulitzer prize-winning editorial page editor of the Arkansas Democrat-Gazette.

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