Embedded Files
Beatrice Horwitz was the foremost interpreter of Max Janowski’s music during her lifetime. She dedicated her musical life to him, and was his unstinting promoter. Where one finds “heart” in Max’s music, it’s very often attributable to her influence on his work.
She was the daughter of Cantor Anshel Freedman, and she adored him. She spent her formative years in Israel. She was fluent in both Hebrew and Yiddish - languages which Max and Bea shared. Beginning her career as a dramatic soprano (Vissi D’Arte from Puccini’s Tosca was one of her specialties), she became a contralto at Max’s suggestion. She served as Alto Soloist in the choir of KAMII congregation with Max. She performed as a soloist throughout the country almost exclusively with Max.
Her voice had two distinct characteristics – an operatic head voice and an Israeli “heymish” chest voice. She was masterful at being able to combine the two registers.
Their performances together are legendary. Max was a superb accompanist and was amazingly skillful at matching her mood in his playing.
Though this entire recording is exemplary, a few selections stand out:
Leyl Shimurim (A Night of Watchfulness), Exodus 12:42 was written for Bea as part of the Sh’mot (Exodus) oratorio. There is a haunting quality to their performance. Especially effective is her mixing of vocal registers.
Dos Lied Fun Liebe from the 1950’s combines Max’s music with Bea’s lyrics. Note her superb cantorial style later in the song. What a shame it is that women were barred from the cantorate at that time!
Medley highlights both Bea and Max’s playfulness. She served as a Hebrew School teacher, and the songs in this medley were songs she taught. Their unified approach in this performance is an example of their true musical partnership.
Chassidic Phantasy is a testimony to Max’s admiration of Bea’s artistry. It was written specifically for her. He frequently asserted that her talent was so great that she could demonstrate it even without any words.
A Nigun by Lazar Weiner is one of the few instances in which Max performed music not his own. Max and Bea’s rendition uses the original only as a starting point for improvisation. This amazing live performance highlights their spontaneity. Their word painting is exemplary. Note also the cantorial riff.
The collaboration of Beatrice Horwitz and Max Janowski is one of the greatest partnerships in Jewish music. It occurred at a unique point in history. We will never hear their like again.
The Max Janowski Society through its efforts have sought to continue to preserve and perform this sacred Jewish music for the ages.
Notes prepared by Cantor Cory Winter
To see the original liner notes from this recording, click here.
This series is also available for streaming:
Page updated
Report abuse