Surveying the Sephardic Musical ‘Baroque’ in the Amsterdam Esnoga

• In Event: The Study of Early-Modern Jewish Musics: Mapping the Field (I)

Abstract

My discussion explores the musical practices within the Dutch Sephardic community, particularly focusing on the period spanning from approximately 1620 to 1770. Central to this inquiry is the construction of a complex acoustic community shaped by the convergence of diverse musical traditions around the Portuguese Synagogue of Amsterdam, known as the Esnoga. By examining the musical landscape of this institution, I aim to illuminate the interplay of cultural and religious influences that shaped the sonic identity of the Dutch Sephardic community.
A key question guiding this investigation is how music scholars have approached the repertoire present at the Esnoga over time. By critically evaluating existing scholarly perspectives, I seek to provide fresh insights into our understanding of Sephardic ‘Baroque’ musical practices within the context of the early-modern Netherlands. Drawing on examples from eighteenth-century competitions for the position of Hazzan and cantorial operatic contrafacts, this discussion aims to unravel the layers of complexity inherent in the constructed synagogal soundscape and question its meaning for the wider Sephardic community of Amsterdam. As such, this discussion will address and open potential future directions for research on Dutch Sephardic music, including connections to the Sephardic Atlantic.

Author

• Paul Feller, Northwestern University