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Updated: May 24, 2025
Such interesting compilations as Bloch's work on war, for example, must be read in French; in English only a brief summary of his results is to be obtained, under a sensational heading. Schopenhauer again is only to be got quite stupidly Bowdlerized, explained, and "selected" in English.
These ponderous forms, these sudden movements, these imperious, barbaric, ritual trumpet blasts, bring to mind all one knows of Semitic art, recall the crowned winged bulls of the Assyrians as well as Flaubert's Carthage, with its pyramided temples and cisterns and neighing horses in the acropolis. Bloch's themes oftentimes have the subtle, far-flung, monotonous line of the synagogic chants.
He and his beloved wife lived in the greatest happiness and peace, and rose to great honour in the town. And to this day, when the citizens wish to describe a wealthy man, they say: 'As rich as Peter Bloch's son-in-law! The Cottager And His Cat
Miss Hattie Stitch hated Emma McChesney with all the hate that a flat- chested, thin-haired woman has for one who can wear a large thirty-six without one inch of alteration, and a hat that turns sharply away from the face. For forty-six weeks in the year Miss Stitch existed in Kiser & Bloch's store at River Falls.
But she's getting careless. Now a decent, hard-working, straight girl like Miss Hattie Stitch, of Kiser & Bloch's, River Falls, won't buy of her. You'll find you don't sell that firm. And they buy big, too.
The setting of the 114th Psalm is the very voice of the rejoicing over the passage of the Red Sea, the very lusty blowing on ox horns, the very hieratic dance. The voice of Jehovah, has it spoken to those who throughout the ages have called for it much differently than it speaks at the close of Bloch's 22nd Psalm?
A song of Moussorgsky's or Ravel's, a few measures of "Pelléas" or "Le Sacre du printemps," a single fine moment in a sonata of Scriabine's, or a quartet or suite of Bloch's, give us a joy, an illumination, a satisfaction that little of the older music can equal. For our own moment of action is finally at hand.
Its flavor is indeed new to European music. Certainly, in the province of the string quartet, nothing quite like the salty and acrid, the fruity, drugging savor of Bloch's work, has ever before appeared. And it was not until the Jewish note appeared in his work that Bloch spoke his proper language.
Many of his melodic bits, although pure inventions, are indubitably hereditary. The mode of a race is, after all, but the intensified inflection of its speech. And Bloch's melodic line, with its strange intervals, its occasional quarter notes, approximates curiously to the inflections of the Hebrew tongue.
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