JUDAICA - Wisdom In Torah

Bibliography: Wehr-Halle, in: ZDMG, 91 (1937), 175–84,
obituary and bibliography; NDB, 1 (1952), 639.
[Hans Jacob Polotsky]
BAUER, JACOB (Jehiel ben Gershom; 1852–1926), ḥazzan
of the Turkish-Israelite Temple in Vienna and adaptor of its
liturgical music. Bauer was born in Szenice, Hungary, and
went as a youth to Vienna. During his school days in that city,
he was a soprano singer with the ḥazzan Pesaḥ Feinsinger. After
regular training of his adult voice, Bauer was employed as
ḥazzan at Ottakring, a suburb of Vienna, Szigetvar (Hungary,
1875), and Graz (1878). In 1880, the governors of the Vienna
Sephardi congregation decided to adapt the musical part of
their service “to the needs of modern times.” They commissioned
Bauer and the choir-director Isidor Loewit to arrange
their melodies and to organize a temple choir. At first this
modernized service was, more or less, in the common Ashkenazi
style. In the course of time, Bauer and Loewit worked on
arrangements of the original Turco-Sephardi melodies which
were published as Schir-Hakawod in 1889.
Bauer founded and edited the Oesterreichisch-Ungarische
Kantoren-Zeitung from 1881 to 1898 and was co-founder and
temporarily chairman of the Oesterreichisch-Ungarischer
Kantoren-Verband from 1883.
Bibliography: Friedmann, Lebensbilder; E. Zaludkowski,
Kultur-Treger fun der Yidisher Liturgye… (1930), 196.
[Hanoch Avenary]
BAUER, MARION EUGÉNIE (1882–1955), U.S. composer,
teacher, and music critic. Bauer was the daughter of French
Jewish immigrants to the U.S. Part of the “forgotten vanguard”
of modernism, her work bridged the lush harmonies of French
impressionism and the dissonant modernism of the late 1920s.
She studied composition with Henry Holden Huss and Eugene
Heffley and was Nadia Boulanger’s first American pupil.
Bauer taught composition and theory at New York University
(1926–51) and the Juilliard School of Music (1940–55). Through
teaching and mentoring, she maintained numerous ties to a
younger generation of modernists including Milton *Babbitt
and Ruth Crawford.
Bauer wrote reviews and criticism for the Musical Leader
and Musical Quarterly and published four books on music,
including the popular appreciation text Twentieth Century
Music (1933). A fervent advocate of modern music, she helped
found the American Music Guild, served as secretary for the
Society for the Publications of American Music, and was on
the executive boards of the League of Composers, the American
Composers Alliance (ACA), and the Society of American
Women Composers.
Aside from brief experiments in 12-tone writing in the
1940s and 1950s, Bauer’s music never completely broke with
tradition. Her impressive and frequently performed compositions
include Symphonic Suite (1940), American Youth for
piano and orchestra (1943), and First Symphony (1950). Her
bauer, otto
most successful work, Sun Splendor (1947), was premiered by
the New York Philharmonic under Leopold Stowkowski.
Bibliography: J.M. Edwards, “Marion Eugénie Bauer,” in:
S. Sadie (ed.), The New Grove Dictionary of Music and Musicians
(20012); E.M. Hisama. Gendering Musical Modernism: The Music of
Ruth Crawford, Marion Bauer, and Miriam Gideon (2001).
[Melissa de Graaf (2nd ed.)]
BAUER, OTTO (1881–1938), Austrian socialist leader; first
foreign minister of the Austrian Republic (1918–19). Bauer,
the son of a Jewish industrialist, became one of the most important
Austro-Marxist theoreticians soon after joining the
socialist movement along with many other young Jewish intellectuals
of his time. In 1907, together with Karl Renner and
Adolf *Braun, he founded the monthly Der Kampf, which
became a forum for socialist discussion. In his famous study
Die Nationalitaetenfrage und die Sozialdemokratie (1907), he
contended that no socialist could disregard the problem of
nationalities, and provided an original definition of the nation:
“the totality of men united through a community of fate
into a community of character.” Bauer favored the granting
of cultural autonomy to every national group in the Austro-
Hungarian Empire. He praised the Jewish role in history, but
argued that the Jews could not be regarded as a nationality,
especially in Western Europe. He advocated assimilation and
was sharply criticized by Zionists as a consequence. In November
1918, with the collapse of the Austro-Hungarian Empire
at the end of World War I, Bauer became foreign minister
of the new Austrian Republic. He resigned in 1919 when
his main objectives, a merger with Germany and retention
by Austria of the German-speaking parts of the Tyrol, failed
to materialize. When the Dollfuss regime came to power in
1934, Bauer took a leading part in the uprising of the workers
in Vienna and subsequently took refuge in Czechoslovakia
after its suppression. In May 1938, he fled to Paris and
died there a few weeks later – on the day the London News
Chronicle published his appeal to world conscience to save
the 300,000 Jews of Austria. Bauer was an outstanding figure
within the Socialist International, where, although an opponent
of Communism, he represented the Marxist left wing.
He was a prolific writer on socialist problems, including the
books Bolschewismus oder Sozialdemokratie? (1920), in which
he contrasted the economic conditions of Soviet Russia and
Western Europe, and Kapitalismus und Sozialismus nach dem
Weltkrieg (1931), which was intended to be his magnum opus.
After his death, his Die illegale Partei was published in Paris
by Friedrich *Adler (1939).
Bibliography: V. Reimann, Zu gross fuer Oesterreich (1958);
J. Braunthal, Eine Auswahl aus seinem Lebenswerk, mit einem Lebensbild
Otto Bauers (1961). Add. Bibliography: A. Barkai, “The
Austrian Social Democrats and the Jews,” in: Wiener Library Bulletin,
24 (1970); J. Bunzl, “Arbeiterbewegung, ‘Judenfrage’ und Antisemitismus:
am Beispiel des Wiener Bezirks Leopoldstadt,” in: Bewegung
und Klasse: Studien zur österreichischen Arbeitergeschichte (1979); H.
Gruber, Red Vienna: Experiment in Working Class Culture 1919–1934
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