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• Cantors Assembly • December 1981 i Kislev 5742 • Vol XI • No 2 •
JOURNAL OF SYNAGOGUE MUSIC
Articles:
The Kabbalat Shabbat Psalms:
New Translations and Commentary
Genealogies of Two Wandering
Hebrew Melodies
They Were Four
The Old Hazz'n of Krev:
A Legend from Hazzanic Folklore
Elliot B. Gertel 3
Eric Werner 12
Akiva Zimmerman 32
Moshe Kusevitsky 37
Departments:
Music Section
Malchioth, Zichronoth, W'shoforoth
Review of New Music
Traditional Sabbath Songs
for the Home
Record Review
Cantor Charles Bloch
Letter to The Editor
Henrlch Fischer 41
Nell Levin and Velvet Pasternak 60
Abraham Mlzrahl 63
65
journal of synagogue music, Volume XI, Number 2
December 1981 I Kislev 5742
editor : Abraham Lubin
managing editor: Samuel Rosenbaum
editorial board: Ben Belfer, Hans Cohn, Baruch Cohort, Jerome
Kopmar, Saul Meisels, Solomon Mendelson, Philip Moddel, Chaim
Najman, Morton Shames, Moses J. Silverman, Pinchas Spiro.
business board: Andrew Beck, Levi Halperin, Robert Kieval, Martin
Leubitz, Morris Levinson, Yehuda Mandel, Arthur Sachs.
officers of the cantobs assembly: Abraham Shapiro, PrGSlQGnt;
Ivan Perlman, Vice President; Saul Hammerman, Treasurer; Harry
Weinberg, Secretary; Samuel Rosenbaum, Executive Vice President.
journal of synagogue music is a semUannual publication. The sub-
scription fee is $12.50 per year. All articles, communications and
subscriptions should be addressed to Journal of Synagogue Music,
Cantors Assembly, 150 Fifth Avenue, New York 10011,
Copyright © 1981. Cantors Assembly
THE KABBALAT SHABBAT PSALMS-
NEW TRANSLATIONS AND COMMENTARY
Elliot B. Gertel
Elliot B. Gertel, a frequent contributor to this Journal is a graduate of the
Rabbinical School of the Jewish Theological Seminary of America. He has
written extensively on the liturgy of the Siddur.
PSALM N IN ETY -FIVE
Come, before the Lord, rejoice;
To the Saving Rock, lift voice!
Let us greet Him thankfully,
And shout for joy with psalmody.
For He rules supreme over pagan toys;
The earth, within His palm, finds poise;
The deep places are in His hand,
The mountain tops are His creation.
The sea is His, and the dry land-
All objects of His formation.
Before our Maker, let us bend knee.
In God's grazing we take feed;
Today, if but His voice we heed!
Dare not let your hearts turn flint,
As at Meribah: the Massah incident;
When your ancestors provoked Me.
They tested Me, after seeing My power;
Forty years did they cower.
I said: They are an erring hoarde;
My acts were constantly ignored.
Therefore, in My disgust,
I withheld My gift of rest.
PSALM NINETY-SIX
A new song, to the Lord, now sing;
Sing to the Lord, everyone!
Sing to the Lord, praise His Name!
Announce that He is daily saving.
Relate His glory to the nations;
With all peoples His wonders share.
Great is the Lord; much to be praised,
Revered above their abominations.
Heathen gods amount to nothing,
But our God made the heavens.
Splendor and majesty His heralds;
Strength and beauty form His dwelling.
Ascribe, families of the nations-
Ascribe to God; glory and strength.
Render Him all due honor;
Enter His courts with your oblations.
Worship God in proper sanctity.
Tremble before Him, everyone;
Herald the reign of the earth's Support;
He shall judge peoples with equity.
Let the heavens rejoice, the earth exult;
Let the sea roar in full dimension.
Let the plain triumph with its population:
Yes, let woodland trees celebrate
Before Him Who comes, comes to arbitrate.
He will judge with clemency,
And guide people with His faithfulness.
PSALM NINETY-SEVEN
The Lord reigns; everyone be glad;
Let the coast lands show felicity.
In clouds of darkness is He clad.
Enthroned on right and equity,
He is preceded by a flame,
Which consumes His every adversary.
His lightnings flash across the terrain.
The flashes cause the earth to tremble;
The mountains, wax-like, before Him melt;
To proclaim His triumph, the heavens assemble,
And by all nations is His glory felt.
All worshipers of wooden frame,
Who pride themselves in statuacy,
Will soon be put to shame;
Kneel before Him, ye mighty!
Zion heard, and was happy;
The cities of J udah rejoiced
Because of Thy retributions, Lord.
For Thou reignest in supremacy,
Above all earthen pottery.
Ye who love the Lord, hate evil;
He guards the souls of the faithful,
Saving them from the malefactor.
Light is sown for the righteous,
And joy is stored for the sincere;
Rejoice in the Lord, ye virtuous,
To Him all acclaim render.
PSALM NINETY -EIGHT
A new song, to the Lord, now sing,
For He has performed marvels:
His right and holy arm, triumphing,
In the sight of the peoples.
He reaffirms love and faithfulness
Toward the House of Israel;
Everywhere it is manifest:
Our God's mercies never fail.
Shout for joy before the Lord:
Break forth, exult; praises sing,
Accompany hymns with the chord,
With the chord and with the string.
Let the sea roar in full dimension;
The world with all its population.
Let the rivers clap their hands;
All mountains, greet Him jubilantly:
He comes to judge the lands:
He will judge men with clemency,
All peoples with equity.
PSALM NINETY-NINE
God reigns; let nations quake!
Cherubim His throne; let the earth shake!
God triumphs in Zion, supreme over men;
Let them thank Thee, Who art holy.
Thou didst merit, through fairness,
Thy praise as a King Who lovest justice.
In Jacob, Thou didst effect righteousness.
The Lord our God, exalt ye;
Kneel at His footstool; He is holy.
Moses and Aaron, His ministers;
Samuel, among His petitioners-
They called to Him, and heard answers.
He addressed them in a cloudy column;
They kept His testimonies, given doctrine.
Our God, they heard Thine oracle;
Thou didst forgive them, but avenged evil.
The Lord our God, exalt ye!
Worship at His sacred mount;
Hallowed is the Deity.
PSALM TWENTY-NINE:
A Psalm of David:
Render to God, ye mighty-
Render Him honor and potency
Affirm that He merits glory;
Worship God in proper sanctity.
The Lord's voice mutes the showers;
The glorious God thunders-
Even over the mighty waters.
The Lord's voice is powerful;
The Lord's voice is regal.
The Lord's voice pulls cedars down;
It shatters the cedars of Lebanon.
Like a playful calf, they dance;
Ox-like, Lebanon and Sirion prance.
The Lord's voice pulls flames apart,
Causing deserts, like Kadesh, to start.
The Voice strips forests, strips oaks bear,
While all, in the Temple, His glory declare.
During the Flood, the Lord reigned;
His rule will always be maintained!
God bless His folk with endurance;
God grant His people assurance.
PSALM NINETY-TWO:
A Sabbath Song:
To thank Thee, Lord, is fitting,
To serenade Thy Name, Most High:
On the timbrel, first on the ten-string-
On the plaintive-sounding harp,
Thy kindness to hymn each morning;
Each evening, that Thou standest by.
For I rejoice in Thy doings;
I exult in Thy designs.
How great are Thy workings,
How deep are Thy plans;
Idiots are always stumbling;
The fool detects not Thy signs.
Like grass have the wicked grown,
And sinful throngs against Thee gathered,
But only to be trampled down.
Yet Thou wilt ever be exalted!
Thine enemies will be overthrown,
All perversity-mongers scattered.
But Thou hast raised my horn,
I am ox-like in victory.
Despite mine assailants' scorn,
I am in fine oil soaked.
Mine adversaries forlorn,
Their just rewards I hear and see.
The pious shall flourish like the palm-tree,
Tall like cedars of Lebanon.
Sown in God's house, grown in His society,
They shall sprout green and sapful in old age;
Divine righteousness they will make known,
Affirming my Refuge without frailty.
* According to Rabbinic legend, Adam was to be put to death on the
Sabbath for eating of the forbidden fruit. But the Sabbath herself pleaded
before God, crying that He must not so desecrate His holy day of peace. Adam,
thus, delivered, composed this Psalm to express his gratitude for the blessing
of Sabbath.
PSALM NINETY-THREE
The Lord has reigned, in majesty robed;
Girded with power, He fixed the earth,
Whose foundations cannot be moved.
Thy throne over-firm, Thou didst always rule.
Yet the streams lift up, lift up their voice,
As if to challenge Thee to duel.
Mightier than the waters washing,
Stronger than the showers shattering,
Broader than the breakers breaking,
Is the Lord on high.
Thy testimonies completely faithful,
Holiness befits Thy domicile,
Lord, forevermore.
"There is no room for God," said the Baal Shem Tov, "in him
who is full of himself."
No observation could be more vital to the Sabbath, no comment
more a key to the treasury of the Seventh Day. To enter the vault
of Shabbat, the Jew must leave behind everything that would tempt
him to ravage its treasures: his needs, his worries, his anxieties, and
his obsessions. He must enter the house of the God of his fore-
bears; return to family and friends; live a day of holiness. This is
how he helps to redeem the entire world, how he mints the securities
of *Messianic existence with the reserves of God's spiritual treasury.
The Sabbath is a hallowed kingdom whose every citizen is
royalty. It is the day which is the eternal reminder of every Jew's
life in the Covenant, a day when all of life may be renewed and
refashioned, a day when a new world is in the making.
But how does one share royalty in a sovereignless kingdom?
How can the Sabbath Queen rule without the tutelage of her Divine
Master? An ancient passage from the Zohar, the sourcebook of
Jewish mysticism, describes the authorized descent of the Sabbath
Queen:
When the Sabbath arrives, she is isolated, separated from
the evil side of creation. Every kind of disputation is
barred from her; she remains at one with the Holy One.
She is crowned with many crowns in the presence of the
Holy King. All zealous tyrants and stringent overloads
flee from before her and vanish. There is no realm in the
universe beyond her authorized rulership. Her countenance
reflects the Supernal Light. On earth she is crowned by
a holy nation who, each Sabbath, are endowed with new
souls.'
Despite the stir in supernal realms, it is not easy for us to
remember that God is the King of our lives, that the holy kingdom
of Sabbath must be entered in order to worship Him and renew
human insight in a changed setting beneath His throne of glory.
Throughout the ages, making a living has necessitated less thought
about how to live.
Yet the Psalmist helps us to remember what we need to acknowl-
edge in order to partake of the Sabbath treasury. He proclaims God
King, bearing witness to His power and unity over man and nature,
establishing the higher realm of the Sabbath above the anarchy of
human passion, laying a highway to God within the wilderness of
human wandering. The main theme of the introductory Sabbath
psalms is God's Kingship. According to the Midrash, Adam recited
Psalm 93 upon entering Eden, and composed Psalm 92 in repentance
for his sin. Rabbi Abraham ben Nathan ha-Yarki observed that it
is particularly appropriate "to proclaim the Unity of God's Kingship
on the Sabbath," and to hope "that the glory of His Kingship might
once again be made manifest to us by virtue of the Sabbath."*
The Psalmist embraces the Lord in song (95-96), in adulation
of His omnipotence (97), in recognition of His triumph (98), in
human kinship (99), even in the majesty of the storm (29). In
Hebrew, the original meaning of the root for "king" (melech) is
"Counsellor" or "Decision-maker." Little wonder, then, that the
Psalmist speaks of God as J udge and Arbitrator in referring to Him
as King.3
Abraham Heschel describes how prayer is the vehicle through
which we can all share the Psalmist's experience of the Divine
Sovereign :
The true motivation for prayer is not, as it has been
said, the sense of being at home in the universe. Is there
a sensitive heart that could stand indifferent and feel at
home in the sight of so much evil and suffering, in the face
of countless failures to live up to the will of God? On the
contrary, the experience of not being at home in the world
1 Zohar Terumah.
2 Cited by Leon J. Leibreich, "An Interpretation of the Sabbath Eve
Liturgy," Journal of Synagogue Music, April 1972, p. 20.
3 See Martin Buber, Kingship of God (N.Y.: Harper Torchbooks, 1967),
p. 102.
10
is a motivation for prayer. That experience gains intensity
in the amazing awareness that God himself is not at home
in the universe. He is not at home in a universe where
His will is defied and where His kingship is denied. God
is in exile; the world is corrupt. The universe itself is not
at home. To pray means to bring God back into the world,
to establish His kingship for a second at least. To pray
means to expand His presence. ... When we say
"Blessed be He," we extend His glory, we bestow His spirit
upon the world. In other words, what underlies all this is
not a mystic experience of our being close to Him but the
certainty of His being close to us and the necessity of His
becoming closer to us.
Let me warn against the equating of prayer with emo-
tion. Emotion is an important component of prayer, but
the primary presupposition is conviction. If such conviction
is lacking, if the presence of God is a myth, then prayer
to God is a delusion. If God is unable to listen to us, then
we are insane in talking to Him. All this presupposes con-
viction. The source of prayer then is an insight rather than
an emotion. It is the insight into the mystery of reality; it
is, first of all, the sense of the ineffable that enables us to
pray. As long as we refuse to take notice of what is beyond
our sight; beyond our reason, as long as we are blind to the
mystery of being, the way of prayer is closed to us. If the
rising of the sun does not move us there is no reason for us to
praise the Lord for the sun and for the life we live. The
way to prayer leads to acts of wonder and radical amaze-
ment. The illusion of total intelligibility, the indifference
to the mystery that is everywhere, the foolishness of ulti-
mate self-reliance, are serious obstacles in the way. It is
in the amount of our being faced with the mystery of living
and dying, of knowing and not knowing, of loving and the
ability to love that we pray, that we address ourselves to
Him who is beyond mystery.'
He who wishes to visit the kingdom of Sabbath and to feel the
guidance of the Sabbath Bride must crown God king in his heart.
The Psalmist reminds men and women, standing upon the threshold
of Sabbath worship in every generation, that society must laud the
works of God as it applauds the words of men.
4 Heschel, The Insecurity of Freedom (N.Y.: Farrar, Straus and Giroux,
1966), pp. 258-9.
Let the rivers Clap their hands;
mountains, greet him jubilantly:
He comes to judge the lands;
He will judge men with clemency,
All people with equity. (Psalm 98)
12
GENEALOGIES OF TWO WANDERING
HEBREW MELODIES
By Eric Werner
Dedicated to my dear friend
J. Schirman, Jerusalem
I
It is well known that tunes of songs, no less than their texts, often
provide an historical mirror of an exceedingly sharp focus.
A special category of such songs are the so-called "migrating" or
"wandering" tunes. What wanders is, of course, usually the tune,
or a motif of it, not the text itself. Ever since J. G. Herder alluded
to such migrations, the students of folksongs, especially the German
romanticists, have singled out common motifs of content or form,
rarely of melodic resemblances. Thus, the brothers Grimm were
already aware of the wandering literary motifs of the Hebrew
HadGadya, and a little later the first courageous monograph on
wandering songs and melodies appeared : Wilhelm Tappert,
"Wandernde Melodien," in his Musi kali scheStudien (Berlin, 1868).
He was so bold as to attack, indeed, to refute the favorite romantic
dogma that all folksong is the result of an anonymous, quint-
essential and collective creation of the national spirit. It may be
noted in passing that the entire Haskalah uncritically accepted
this postulate and occasionally even embraced ideas of "racial
characteristics" in a tune or a text (e.g. P. Minkowski, S. Rosowsky,
et al.).
While wandering tunes frequently reveal the cultural (or sub-
cultural) interrelationship between two or more countries, it is
often difficult to decide in a given case, who was the lender and
who the borrower, since both versions of the tune continue to
co-exist, and the go-between-group, if there ever was one, can but
rarely be established.
Dr. Eric Werner is Professor Emeritus of J ewish Music at Hebrew Union
College's J ewish Institute of Religion, Cincinnati and New York. He is also a
consulting professor at Tel Aviv University. He has taught, with very few
interruptions, at the College's School of Sacred Music since its establishment.
He is the author of over 100 major publications on the history, development
and meaning of J ewish music.
This article is reprinted from The J ubilee Volume of the American
Academy for J ewish Research Proceedings Vols. XLVI-XLVII, 1979-1980.
13
Judaism, a wandering nation and a "minority-civilization," has
ipso facto left many traces in the folklore of the nations with which
it came into long-lasting contact. On the other hand, Jewish
folksong has absorbed many, today forgotten, tunes and songs of
olden times, from the various host-cultures, be it in raw or in
stylized versions. The tunes were invariably stylized, if they were
incorporated in the liturgical chant: they had to be "actively
assimilated" into the existing style of the Jewish musical tradition.
A classical example of such a wandering tune was provided by
A. Z. Idelsohn in his examination of the Hatikvah-tune. 1 Following
his teachers, the German romanticists, he juxtaposed the Hatikvah-
tune with a great number of other, parallel melodies of most
diverse origins, without endeavoring to establish their age, pro-
venance, primary source or appearance, or their (hypothetical)
connection with the Hatikvah. Aside from this regrettable omission,
his study bears the stamp of a true pioneering effort. The wandering
tune, common to the Spanish, Polish, Czech, Hungarian, German,
Armenian, Basque and Portuguese folksong, has an ancient
history that seems to reach back to the fifteenth century and
perhaps to even earlier times.
Two celebrated tunes of the Ashkenazic liturgical chant will be
studied in this article. However, they will be examined in a different
way from the method used by Idelsohn: that is, not simply pre-
senting parallels, whose history is usually obscure, but by in-
vestigating their genealogies. As in a family's genealogy, one may
differentiate between a main stem and its branches, so in a musical
genealogy, there is the main variant that has changed but little in
the course of time, and its many branches, that often deviate
noticeably from the main stem.
The two tunes under consideration are both "archetypes," in
the sense that they should be considered as models of many
similar and cognate tunes. The archetype is viewed or thought to
be the simplest, (not necessarily the oldest) version of the related
variants. They are :
1 A. Z. Idelsohn, Jewish Music in its Historical Development (New York,
1929), Table XXVIII, pp. 222 ff.
14
(1) The tune of Eli Tziyon, a melody that in the Ashkenazic
tradition is chanted during the so-called "Three Weeks" (between
the 17th of Tammuz and the 9th of Ab, the anniversary of the
Temple's destruction). It is sung to various liturgical texts, such as
"a Vis? ]HK" /"pM *»&" /"mas -wto jrx arnn" ,"ttr»np" /'mi raV"
and others.
(2) The family of tunes, rhythms, or melodic motifs engendered
by, or closely related to, the prototype of Ashkenazic "-pna inV"
[Ps. 144] and its main variants.
Neither the poet of Eli Tziyon is known, nor has the exact age of
the poem been established. There are, however, some signs that
might hint at the time of its origin. It is certainly a post-biblical
qinah, whose structure includes the following pattern in the
scheme of the rhymes:
1st quatrain
2nd
3rd
4th
5th
6th
a
c
d
a
a
a
a
b
a
d
a
e
a
f
a
g
a
h
etc.
a
a
a
a
a
a
The metric scheme is arranged in 4-line stanzas; in fact, the entire
poem is based upon one suffix rhyme on the penultimate -eyha.
In each stanza — usually in the last word of the third line — a new
word appears that does not rhyme with -eyha. Each line contains
3 or 4 words and approximates the old metrical idea of isosyllabism.
The meter is not always consistent, inasmuch as the third line
(through the new non-rhyming word) sometimes has the accent on
the last syllable. The entire poem is an extension of the literary
motif nniwVya [sic] *bv pfc irrun n*?wiaai (Joel 1:8).
Although the piyyut and its tune 'follow the rule laid down by
Abraham Ibn Ezra: ^pwa nrnV n^KT niria d»o on^ ww annnni
(7b mrn) . •.nawmmmn Vd, it does not necessarily indicate that
it is more recent than the rule, for the (foreign) melody was applied
16
to the original text^ but according to the musical rhythm it is
always the last syllable that is stressed; this contradicts the gram-
matical rules and suggests that the person who set or arranged
(not yet in any written form) the Spanish tune to the Hebrew text,
did not care about correct stress of the syllables. The germinating
cell of the tune is clearly established in the following motif:
Music Ex. 1
Cod. Calixtinus, Sontiogo dt Compostela
4-Hb-±- J J j r r"r^r j J
cun - de - - Tur _ et lae - re - tur.
This is found in the ancient Codex Calixtinus in Santiago di
Compostela, in the liturgy of the patron saint of Spain, St. James
(Jacobus maior)J This Codex must interest us also for other
reasons: it contains a hymn consisting of Latin, Hebrew, and
Greek words; its function seems to have been to sound familiar to
the myriads of pilgrims from many European and perhaps African
countries. Moreover, the monastery was a center of the mission
to the Jews, especially during the thirteenth and fourteenth cen-
turies, and was engaged in proselytizing Jews. A few lines of the
hymn may demonstrate its character?
Prosa sancti Jacobi
1 (a). Letabunda et cemeha (nnfctf) gaudeat Yspania.
2. In gloriosi Jacobi almi profulgenti nizaha (prKH).
2a. Qui hole (nVltt) celos haiom (orn) in celesti nichtar (^fipl)
gloria.
2 The Hebrew text might be paraphrased, following Zunz' interpretation,
in this way: "in a poem, the verses of which are set to music, the meter of the
verses must remain equal, verse by verse." Cf. Zunz, Synagogale Poesie,
p. 116, n(h).
3 P. Wagner, Die Gesaenge der Jacobusliturgie zu Santiago de Compostela
(Fribourg, 1931), p. 64 (hereafter called PWCC).
Ubid., pp. 36/7 (fol. 118s Codex Calixtinus.)
16
3. Hie Jacobus Zebedei achiu (vnK) meuorah ((?"pu»)) johannis,
supra jamah (K?T0 Galilee a salvatore nicra (*np3). . . .
The Codex Calixtinus (hereafter called Cod. Cal.) was written
(or compiled) shortly after 1100, and some of its tunes seem to
antedate even the turn of the century, as they can be found in
older French mss., written in the so-called Aquitanian notation.
Many famous clerics belong to the authors of the texts, named in
the Codex, but it is widely assumed that these hymns or narratives
were falsely attributed to them. There is no doubt, however, that
the entire Codex was written and made up in Compostela, the
shrine of St. James, the older brother of Jesus and first bishop
of Jerusalem. Among others one finds contributions by a Patriarch
Guilelmus of Jerusalem (as legal successor of St. James) which
follows immediately upon the "Prosa sancti Jacobi" quoted
above.5 Therein the saint is asked to attend to the many pilgrims
who have come to visit his shrine. Indeed, the multinational
character of the Cod. Cal. is asserted in these words:
Hunc codicem primum ecclesia Romana diligenter suscepit.
Scribitur enim in compluribus locis, in Roma scilicet, in Hirosoli-
mitanis horis, in Gallia, in Italia, in Teutonica in Frisia et praecipue
apud Cluniacum [Cluny].6
The ms. was certainly not written by Pope Calixtus II, who
died in 1124, but in his honor for authenticating Santiago de
Compostela as the central shrine of St. James. St. James' day was
and is celebrated on July 25 which usually falls in the "Three
Weeks." During that period, especially after July 25, thousands
of pilgrims moved about the European streets, and their hymns
were heard by everyone, Christian and Jew alike. Most scholars
assume that a number of texts and tunes of the Cod. Cal. originated
in France or under French influence, probably that of the monks
of Cluny. Thus it appears that Idelsohn's conjecture of the Spanish
origin of the Jewish tune was essentially correct, although he based
5 PWCC, p. 38.
6 Cod. Cal, fol. 185r
11
it solely on a parallel with a Spanish folksong, which, at closer
inspection, turns out to be Basquish, not Spanish.7 The parallel
tunes which Idelsohn presents, including a recent (nineteenth
century) song with a Czech text, confirm his basic conviction that
the source of the tune was a Spanish pilgrimage song. Nowhere
does he investigate its origin, its age, or that of most parallel tunes.
We shall now examine the genealogy of the main stem and its
main branches or variants.
II
The Latin hymn "Jocundetur et laetetur" (PWCC, p. 64) bears
the melodic nucleus of the tune of Eli Tziyon. The first expansion
and stylization of the Latin hymn, which had a fixed meter, seems
to have been made by the knightly monk Heinrich von Louffen-
berg, whose codex (Cod. B 121), destroyed during the siege of
Strasbourg in 1870, was written between 1415-1443.8 Fortunately
the renowned hymnologist Ph. Wackernagel had previously
copied almost the entire codex. It contains the Latin-German
version of a Christmas hymn.
8-syllabic trochees
Puer natus in Bethlehem
Unde gaudeat Jerusalem
or, in the pure German version:
Ein Kind geboren zu Bethlehem ^
Des freudet sich Jerusalem, > 8-syllabic iambs
Alleluia. J
7 Cf. Felipe Pedrell, Cancionero musical popular Espanol, (Barcelona, n.d.),
II, No. 315. In a later publication, Idelsohn has somewhat rectified this, but
never reached a conclusion.
8 Cf. F. M. Boehme. Altdeutsches Liederbuch (Leipzig, 1877), p. 771, No. 33 ;
also W. Danckert, Das europaeische Volkslied, 3rd ed. (Bonn, 1970), pp. 43,
460.
18
Music Ex. 2
Miinchen, 1586
a)fl EU Tziyon.
8T 213
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i± m j i -^-=ff?;
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gu - rQt sak 'alay
booi ne - u - <"«
ha.
^^^gE^^^gp^^^^^^
Pu - er
no - U46
Beth * le - hem, ein
Kint ge * born zu Beth
r 'r r
- le - hem. un - de gou -
4
£=£
^^ ^j_ qiz^b^t JiJ ^
det
Je - ru - so - lem, A! - le - Ju
K.Meisier, Kornol. Kirchenfied Nr.3t
J Q»
ot -
l ^^ ^^^^m^^i
le - - - - lu - io
The Strasbourg ms. contained a number of texts and tunes that
were quite well known at that time. There are at least 10-12
variants of the text and tune of Puer natus in the old hymn-books
of Germany, both Catholic and Protestant, all with two exceptions
connected with Christmas or the New Year. Two variants, so-
called "contrafacts," have the text "Herr, nun heb den Wagen
selb" (Koepple's Gesangbuch [Strasbourg, 1537]) and still later
"Zion, lobe Deinen Herrn" (Cologne, 1638), both versions kept
in 7-syllabic trochees. A Parisian version is attributed to a Jacobus
de Benedictis(!)9
9 Julian, Dictionary Of H]f fflflOl J]f, II, 1217; see also E. de Meril, Poesies
inedites du Moyen Age (Paris, 1854), p. 337.
19
The Latin parallel cited by Idelsohn
Salve mundi salutare
Salve, salve, Jesu care,
Cruci tuae me aptare
Vellem tibi me aequare
Da mihi tuam copiam
8-syllabic trochees
belongs, however, to the Easter cycle, and was obviously copied
from the Vorlage Puer natus. It is contained in the "Sirenes sym-
phoniacae" (1678), a not very popular Catholic hymn-book. 10
In view of the fact that the great majority of the German and
English variants are sung as Christmas or New Year's carols,
the question arises: why do most of these hymns belong to the
Christmas cycle and not to the Post-Pentecostal cycle, when the
patron Saint had his day? The answer is simple: In Santiago de
Compostela two days of St. James are celebrated: VIII Kalendis
Augusti (July 25) and III Kalendis Januarii (translacio et electio
eiusdem colitur). 11 The first date may explain the chanting of the
tune during the "Three Weeks," when the streets resounded from
the hymns of the summer-pilgrims while the second date was
used for Christmas and the New Year.
The oldest English version may be found in the Heresford
Breviary (1 505), but the intonation of our tune is most fragmentary.
All other versions of text and tune in England originated centuries
later. Before plotting the ages and paths of the variants we ought
to give due consideration to the meters: The Hebrew text ap-
parently antedates the original (Spanish) melody, for the Hebrew
stresses the penultimate syllables of each line (the 7th syllable),
whereas the musical rhythm of the tune demands the stress upon
the 8th syllable. Musical ictus and textual accents thus conflict
with each other in almost every verse. If the melody had preceded
the text, the man who adjusted the text would presumably have
fitted it better to the metrical stresses.
10 Karl S. Meister, Das deutsche kathol. Kirchenlied (Freiburg i.B., 1862),
p. 326.
11 PWCC, p. 23.
20
The migration of our tune appears to have taken place in two
phases :
1. As a pilgrimage song, either after July 25 or during the
Christmas-New Year cycle, often zersungen (sung to pieces) with
many variants. 12
2. After the sixteenth century the tune consolidated itself in the
form structure of the folia, beginning about 1630,13 and the tune
reached the level of art-music in Italy, Spain, France and Austria.
As the Folia by Corelli, it has become a celebrated composition
for violin and keyboard.
What is a folia? Although the term is well-known among
musicians, a strict definition or etymology is still wanting, owing
to the fact that the expression has at least three different meanings,
i.e., a ritualistic ceremony (fertility), a musical, and a choreo-
graphic one. Leaving the first and third meaning aside, and
referring to the specifically musical meaning, the folia is defined
as an S-measure structure with fixed bass and/or melody. The
example of the folia-type, as given in the Harvard Dictionary of
M usic, is all but identical with the Jewish version of our tune, and
every other variant shows a distinct resemblance to it.
Music Ex. 3
i y jji g <i- j a- jm Bu nii
3 ]j&~ k*»y«j tr'^fyi"} 1
T=W=$ t
3£
^
m
:zz
In the foregoing we have sketched the development and the
migrations of our tune. Since the folia is closely related to the
Moresca, one senses the Spanish- Arab flavor of our stylized tune.
12 Both of the most recent versions (Basquish and Czech) have secular
texts; the tune survived, even after the pilgrimages ceased.
13 Cf . the article folia in Musik in Geschichte und Gegenwart.
21
Before attempting to set down the path of the melody, we must
ask ourselves if the Hebrew version is represented in its originally
crude form or in a late stylized arrangement. Both the metrical
and the prose-texts used in the liturgy for our tune testify that
indeed stylization must have taken place: the false stress which the
tune sets on the ultimate syllable of the lines of Eli Tziyon, dis-
appeared in later poems sung to the same tune, such as e.g.,
*rnax Iflftp p s 2 D nflY as well as in the prose-texts, Moreover,
some of 'the versions in mss. of the eighteenth century, in the
Birnbaum Collection of Hebrew Music (at Hebrew Union College
in Cincinnati), try, though somewhat timidly, to adjust the proper
musical rhythm to the correct metrical stresses. We shall probably
not err too much, if we date the time and place of stylization in
seventeenth century Germany or Prague, the latter being the
"clearing-house" for the export of stylized hazzanut
A possible list of the tune's migrations may conclude this
first attempt:
A. Likely origin is Cluny, France, the site of the famous abbey
from which came tbe religious reform in Christianity of the
eleventh to twelfth centuries.
B. Then to Santiago de Compostelo in northwestern Spain, since
the ninth century the site of the shrine of St. James.
C. Then to Strasburg, on the border of France and Germany,
which became an important religious center after the tenth
century.
D. From there, it wandered eastward into the Germanies.
E. Simultaneously, the melody became popular iu both Paris,
France, and England.
F. From Paris, it seems to have traveled southward to the Basque
area of northeastern Spain.
G. From Germany it spread to Bohemia.
III. The Bergamasca
The Eli Tziyon and its variants serve the Ashkenazic liturgy as a
"seasonal" leitmotiv preceding the Ninth of Ab exclusively. They
are chanted during a particular time of the Jewish year. The tune is,
22
however, not restricted to its original piyyut, but is applied to
various, not always metrical, texts.
The second melody to be expounded is, however, less an in-
dividual tune than a melodic archetype (actually the ideal father
of an entire family of related strains), set to a variety of texts,
which are chanted on many occasions and seasons. In fact, some
of the variants are used all through the year. We shall first quote
the textual incipits of the main variants:
Day of rendition
17th of Tammuz
Sabbath Mincha
Passover
Friday eve
New Year Yotzer
Eve of Yom Kippur
New Year Yotzer
Poet
Ibn Gabirol
Ps. 144
Anonymous
Moshe ?
R' E. Kalir
Yom Tov of York
R' Simcha b. Isaac b.
Abun
Incipit
(for Passover) nb)V p-m
T \'i
Tim *hn
Of the seven texts quoted here, only one is scriptual, although
biblical quotations permeate all the other poems. The scriptual
text is, of course, L'David Barukh, Ps. 144; musically speaking, it is
closest to the archetype itself. With the exception of the Zemirah
tthTj?fiVs>, all other texts belong either to the category of sef/fiot,
or to piyyutim of the High Holidays. Yet these seven texts which
are chanted to variants of our mode, are by no means the only
verses applied to it. With the exception of L'David Barukh (chanted
during the Mincha service of the Sabbath) all of the other texts,
including the numerous ones not quoted here, originated between
the eleventh and thirteenth centuries, and were composed by
Sephardic as well as by Ashkenazic peitanim. The tunes of these
texts are by no means fully identical, but they contain certain
melodic-rhythmic elements common to all, and characteristic of
the archetype. These constants are :
23
Music Ex. 414
H ^)]JJ i iirmj irmi. ^U i J ^
<:&;
This is the pattern of the Italian Bergamasca, a "rogue's dance,"
that is already mentioned in Shakespeare's comedies (e.g., Mid-
summernight's Dream, II, 1). A number of German and English
songs contain this rhythmic pattern, indicating that the dance was
quite popular outside Italy. The incipit of L' David Barukh consists
of two motifs:
j££L
Music Ex. 5 15
C2) \\3(<)
L±L
^^^^i^g^^^^^p^^^^a
Le - da - vid ba - ruch A - do - nai tsu - ri, ham * la - mcd ya - dai la - krav
Another variant has the same motifs, but in a different order:
Music Ex. 6
Efelfe Mi - * ' ^ — *-
Om-nam ken ye-tser so-khen ye-tser so-khcn ba-nu
These melodic deviations are immediately recognizable as simple
permutations of the original order, while the rhythmic variants
are considerably more differentiated ; 16 thus we encounter :
Music Ex. 7: Rhythmic pattern of Eder vahod
fetegg^iii
14 The first Bergamasca in written form is found in the Vienna ms. of
Bernhard Schmid Organ book of 1517.
15 It is reasonable to assume that the German Jews became familiar with
the tune in the 17th century.
16 Permutation of motifs is frequent in folksongs.
24
Common to all variants is the dance, or marchlike, rhythm.
From where did the Ashkenazic Synagogue pick up this very
merry dance? Although Salomone de' Rossi had written and
published a "Sonata sopra la Bergamasca" (in his quarto Zibro di
varie sonate, 1623), one must not assume that the hazzanim, who
did not pay attention to his work under the best of circumstances,
would have liked this rather "highbrow" music, if they were aware
of it at all; the less so, as his synagogal compositions were all but
ignored in nusah Ashkenaz.
The most likely sources of foreign tunes, which both klezmarim
and hazzanim knew and held in high esteem, were military bands
and vagrant singers and musicians (Fahrende Spielleute). The
klezmarim, who were in close touch with the latter category,
brought their tunes to the hazzanim who paid for them. Yet very
few of them were able to write music or to read it. Hence the
foreign tunes were almost invariably distorted or contaminated. 17
By far the most famous example of the prototype of these dances
and marches was transmitted to us as a Gassenhauer (street song)
by no less a master than J. S. Bach; he ended his celebrated
Goldberg- Variations with a "quodlibet," the dominant tune of
which was the melody of
"Kraut und Rueben
Haben mich vertrieben"
(cabbage and turnips drove me away). 18
Music Ex. 8
°) JS Boch "Kraut und Ruben" (Goldberg variations, no 30)
% — ^_ — -™ ._*
Kraut und Rii - ben
ben hnich ver - trie
17 Cf. my A Voice Still Heard... (New York, 1977), pp. 97-99.
18 Cantus firmus of Quodlibet in J. B. Sach's Goldberg Variations.
25
The same motif appears in reverse order as "London Bridge is
falling down"
Music Ex. 9
Ken a-nah_nu b'yad'kha he-red notser (or) falling down, falling down
The motif T is alien to the Bergamasca and originated in Jewish
tradition; it is the closing refrain of the Pizmon "n&itTS nan *0".
This was the way in which foreign tunes were incorporated: the
huzzanim provided them either at the opening, or, preferably, at the
close, with a traditional motif.
That the break in the shape of a tune remained audible to this
very day in so extremely drastic a manner as, for example, the
elegy for the 17th day of Tammuz, is rare: in the piyyut "nOKJ T\Vtf"
by Solomon Ibn Gabirol, a model of an old German folksong
was used for its opening : 19
Music Ex. 10
a) Etegy fcK me fast-day ot 17m of Tammuz
She-eh ne- e-sor a - sfier nim-sa/" be - yad ba-vel vc -gam se - ir,
b)^ V/enn ich des morgens fru Outste Transmitted by KISOOC,^lJ42t
Wenn ich des mor - gens fro auf - ste t zu
~4^mm^3^^^^
mei - nem lie - ben Bu
ben oe.
Thus far, the identity of the tunes is evident; but where the German
song seems to end, the Hebrew version closes with an elaborate
stylized wailing, mindful of the significance of Tammuz 17th:20
19 Cf. A. Baer, Baal Tefilla (Goeteborg, reprint New York, 1953/4), No. 1321.
20 It was the merit of E. Kirschner, the excellent chief cantor of Munich, to
have first pointed out these and similar connections between German folksong
26
Music Ex. 1 1
E hi rschner,(HebrPoesien)lE 6
Vo- ri - ba- kajT
(and breached was
thus linking it with the cadence traditional for qinot.
In all of these cases one encounters not only borrowings from
German and Italian sources, and frequently acculturation and
adaptation to these types, but also, even more significant, de-
monstrable evidence of (active) assimilation of the borrowed
tunes to basic Jewish tradition. The last mentioned case is con-
spicuous; similarly the old piyyut nirn T7K by R. Simon b. Isaac
b. Abun, the popular paitan of the early eleventh century, is another
fine example of this mutual assimilation.21 Both the rhythms and
the melodic elements occur in it, but in a different order:
Music Ex. 12
E-der va-hod et-ten be-triv-yon she-vah e-e-rokh b'niv ve-higa-yon
Here we find the motif A of L' David Barukh inverted, and both
B 1 ' and the final cadence are so shaped that they lead easily into
the traditional mode of the rtitfn tf *nV nsi\ To alter the motifs in
t t - ;
such a way and to such effect, a considerable ability to shape
variations was necessary for the hazzanim, who had received
nothing but the raw material from the klezmarim and had to
stylize it for use in their synagogues. It had to fit for the proper
season or occasion. This was no easy task and deserves closer
examination. If the hazzanim would have had to live up to A. J.
and Jewish tradition in his fine study, Ueber mittelalterliche hebraische Poesien
undihre Singweisen (Nuremberg, 1914).
21 About R. Simon b. Abun, see I. Elbogen, Der juedische Gortesdienst,
pp. 328 f.
27
Heschel's postulate : "I should like to conceive hazzunut as the
art of siddur exegesis.. .,"22 they surely should have been happy
not to be his contemporaries. They had to please their worshipers,
and, at the very least, not offend their rabbis. They were obliged
to present not only the established musical tradition, the nusah,
but also to offer recent, not generally known, material, which they
received from their klezmarim or their singers. They had to compose
them for their congregations according to well-known models,
carefully observing certain unwritten laws of modes and rhythms;
all this and exegesis, too? Nor is Heschel's follow-up tenable:
"Words die of routine." This is a general statement, almost a
platitude; it may be true of the daily prayers, but it is most certainly
not true, when applied to the piyyutim for our High Holidays.
Their texts, more often recherche rather than simple, to say the
least, were not likely to die "of routine." The musical challenge of
the medieval and pre-Emancipation huzzunim consisted mainly in
the acquisition of new music, and its stylization and assimilation
to the established nusah. Only a few were truly able to fulfill all
these demands, and still guard and preserve the dignity of the
service. Who would teach them musical taste, when hit songs
and vulgar dances inundated the streets outside the ghetto?
A. Z. Idelsohn has described their situation exceedingly well in
his study on "Songs and Singers of the 18th Century."23
Considering that there was no musical school or standard
accessible to these cantors, we shall devote the last part of this
essay to a brief esamination of the method, by which the best
cantors of the eighteenth century varied and stylized the "alien
corn," so that it was not immediately recognizable as such.
IV
The phenomenon of "zersingen" as well as its practice (sing to
pieces by extending either the text, or the melody, or both) is
22 Cf. A. J. Heschel, "The Vocation of the Cantor," The Security of Freedom
(New York, 1966).
23 See A. Z. Idelsohn, "Song and Singers of the Synagogue in the 18th
century," HUCA, Jubilee Vol. (1925), pp. 357 ff.
28
well-known among folklorists. The hazzanim, while unskilled in
music theory, used this technique in order to conceal or at least
to extenuate the break in style, when a foreign tune was to be
embedded in the Jewish tradition. This was the first and usually
crude way toward a "disguising variation." A good example is
the z'mirah 1PM &l$p Vs. Its meter consists of 5 lines, each of
accentuated words, all ending with one rather primitive suffix-
rhyme. The raw material of the tune was taken from an old German
Abendgesang, itself a derivative of an older l/l/e/se. The Bergamasca-
rhythm, familiar to the Jews, which is not compatible with the
German V or I age, was nonetheless added to disguise the foreign
tune, and a bit of recitativzersingen followed, so that the similarity
between original theme and variation almost vanished from ear
and sight; the Bergamasca-rhythm was still maintained:
Music Ex. 13
Kol me - Kadesh Sh vi'i. Mode ot B ruder Veil's Ton
E. Kirschner YTa)
bat Ka-
me-ha- le - to
We observe here that the Hebrew variation, in this as in most
other cases of originally German tunes, emphatically stresses the
march-rhythm, whereas many of the originals are either in triple
time, or in a quietly fluent 4/4 time, as for example, in the piyyut
quoted above, ")0K3 Htttf « 24 A more sophisticated type of variation
is found in the tune of the piyyut n^X^V'TN (by R. E. Kalir, for
the New Year's Day). It sets pairs of rhymed verses, each of
4 accentuated words, against the congregational response /^Vfc'H
24 Even in the so-called hazag-meter, as e.g., in "aViy |il!*", the music in
the older tradition always used 4/4 time. Only after 1820 'there appeared
versions of it in triple time. Tradition insists on march-rhythm, so did the
Hasidim!
29
^fcyri/^IO'n. Nothing could be more contrasting with the
dialectic poem than the simple love- song:
We juxtapose the two tunes, first the German and then the Hebrew:
Music Ex. 14
Adirey ayumah
Confor
8T 1102
^T3gg
E55
^
a - di - rey a - yu
Choir
moh yo o
±zSLL >j-tt=? I JtJ' I j -j ^m
»
di
Corttor
be - kol.
A -do - nai me - lekh!
W [l i LTT7 ' ^ J ' f^Tr^r
Be - ru - ey
- rax
Choir
ye - vq -
re- khu be - kol.
$
Contor
A - do - nai ma - lokh!
Choir --'--^
b E F f r^ 1 n ^TT? J ^ J ^^g
Gj- bo- rey oo - voh, yog - bi - ru be-kol . A-do-nai yim - lokh'
D j All meinGedenken BAL 127
<£kJ I J J ^Tj? r f r l J J J J
tMI rnemGe-den- ken die ich han, die sind bei dir, Ou
flrTT^^ S L jz^ k j
Qus- er- wel -ter ein-qer Trosr bleib sfet bei mir.' Du, du, du
4rn^rrQrj^-rj-t-+rtrr
pp
solt an mlch oe - den - ken, her icn ol - ler wunsch ge- wolt.von
~p "l^TJ J
dir wolt ten nichT wen
ken.
This method of "diminution" and "figuration" was well known
among the composers of the Baroque, and some of the hazzanim
30
must have been excellent musicians to learn this type of variation
"by rote." The German tune is disguished in this way, and the
ornaments cover virtually the entire melodic contour of the
original.25 All these borrowings and variations were both necessary
and possible under two conditions: (a) the idea of an existent
ideal nusah had to be maintained; (b) the hazzanim were not
familiar with musical notation. When the second premise was no
longer valid and the cantors learned to read and write music, they
were no longer dependent upon the klezmarim and could find
new tunes either in printed sheet music or else compose their
own music and fix it in writing, In the second case they were able
to follow the modes and principles of tradition; in the first case
they preferred — in Western and Central Europe — melodies
from the Italian opera, later from the Vienna classics, while in
Poland and Russia the situation was contaminated by the massive
influx of Slavonic folksong, mixed with Tartaric and Oriental
elements.
In the genealogies presented above we encountered in the first tune
a saint's hymn, transformed into a dance-form (folia) or a pilgrim's
song. In the second tune the original songs were again dance tunes,
marching or love songs, all secular in character. The marching
songs, so eagerly taken up by German hazzanim, might be con-
sidered the last remnants of the ancient Heldenlieder, for which
the German Jews had had a considerable flair, as witness the
numerous Judeo-German paraphrases of Gudrun, the Nibelungen,
the Bow-book, and the ancient texts and tunes of German folk-
songs. In sum, what the German Jews used — aside from their old
traditional psalmodies and cantillations — were either songs of
their Christian environment, often originally religious, then
25 It is noteworthy that the German song was first written in the celebrated
Lochamer Liederbuch that bears a Judeo-German dedication by the Jew
WoJflin of Locham to his "Gemaken," Barbara. This tune, therefore, antedates
1450; the Hebrew variation, however, is not as old; it probably dates between
1550 and the end of the 16th century.
31
secularized ones, transformed into a dance-like or march-like
variant; occasionally remnants of the old "Hddenlieder" were
among these songs. These were the styles that breached the walls
of the ghettoes and were preserved in the synagogues.26 To Polish
and Russian Jews this kind of heroic or epic song was foreign;
the somewhat less alien Italian dances, and the marching melodies,
however, were much beloved by ha si dim as well as mitnagdim.27
Yet in the end it was the knowledge of musical notation that
became the watershed between Eastern and Western Ashkenazic
hazzanut, even before the Emancipation. The aforementioned
great Birnbaum Collection of Hebrew musical manuscripts speaks
a most eloquent language concerning this very point. When those
early hazzanim of around the 1800s first discovered the — for
them — "secret" art of musical notation and thereby were exposed
to the mainstream of Viennese classical art-music, they simply
were unable to resist that powerful impact. It took the repeated
warnings and teachings of the young Science of Judaism to stem
and regulate the trend toward passive assimilation. Only the
genius of a Solomon Suizer and his disciples was equal to the task
of rejuvenating, indeed, of refurbishing the liturgical chant; this
time, however, by removing it from German (or Italian) folksong
and dance, and orienting it toward a synthesis of Jewish musical
tradition and classical form structure.
26 Cf. Monumenta Judaica (Cologne, 1963), pp. 694 ff.
27 Most interesting is the sharp cleavage that exists between Polish and Czech
folksongs. On this question, which also touches on the strong Moravian
elements in Ashkenazic chant, see 0. Hostinsky, Mitteilungen ueber das
tschechische Volkslied in Boehmen und Maehren, Vol. Ill (Vienna, 1909), and
Zdenek Nejedly's powerful study, "Magister Zawisch und seine Schueler" (in
Sammelbaende der internationalen Musikgesellschaft VII, 1905/6); most recent
is M. Komma's study, Das boehmische Musikantentum (Kassel, 1960).
32
THEY WERE POUR .
Akiva Zimmerman
(Translated from the Yiddish by Samuel Rosenbaum)
They were four, each one a world of his own, but all four belong
to the world of music and hazzanut; and all four passed away in
1980. One, the eldest of the group, was a Litvak, Meyer Machtenberg.
He was born August 1, 1884 in Vilna. The second, from Galicia,
was Israel Alter, born on Yom Kippur at Neilah-time in Lemberg
in 1901. The third was an American, David J oseph Putter-man. His
career opened a new chapter in the history of hazzanut. Born in
1903 he was the first American-born hazzan. The fourth of the
quartet, the unique member of this havurah, was not only a hazzan,
but a journalist who wrote for the Yiddish newspapers of Holland,
France and Belgium. In addition, he was a Colonel in the Belgian
Army, a recognized painter, and well known in Belgian government
and political circles. He was Hazzan Pinhas Kolenberg, born in 1913.
Meyer Machtenberg began his musical career with Hazzan
Moshe Hayim Feldman of Vilkomer and with his uncle, Avraham
Machtenberg who served as hazzan of the Hevra Kadishu Shut in
Vilna. He progressed and became a member of the choir of the
great shtotshul where the well known Gershon Si rota was chief-
hazzan and Hazzan Abramson was the choir-director.
Machtenberg was known as Meyerl der sopran. As he grew
older and gained some experience he began to tour the small towns
and villages around Vilna davening Shabosim wherever he could,
hoping to become a full-fledged hazzan just as other young members
of the Vilna choir had done. Interestingly, one of Machtenberg's
closest choir friends in those years was Ab Cahan, who was to gain
prominence as an author and as the crusading editor of the great
New York Yiddish newspaper, Der Forverts, (The Jewish Daily
Forward).
As a child of a musical family (his cousin was J ascha Heifetz),
he was drawn to classical music. He liked nothing better than to
Akivah Zimmerman is a free-lance writer for the Israeli Hebrew and
Yiddish press. He has been a life long lover and student of hazzanut and
hazzanim. Our readers may have met him as he attended and participated
in a number of recent conventions of the Cantors Assembly. "They Were
Four . ." appeared recently in the Yiddish journal "Folk un Tziyon,"
published in Tel Aviv.
33
sneak into the opera or symphony concerts. He came to America at
17, and was engaged, almost at once, as the choir-director for Hazzan
Kazemirsky. This position enabled him to study for the opera with
the elder Hammerstein. Whatever his reasons, however, he soon
determined that he would devote his life not to opera but to syna-
gogue music. He became a much sought after choir conductor for
every great hazzanim of the time — Yossele Rosenblatt, Mordecai
Hershman, Leib Glantz, Yaakov Rappaport, Isaiah Meisels and many
others. A short time later he was appointed choir-director of the
prestigious Temple Beth El of Boro Park.
When Gershon Si rota came to the United States for his first
American tour, he sought out Meyer'l der sopran, and was delighted
to find that his former soprano soloist was now a leading synagogue
musician. Machtenberg became Sirota's conductor and accompanied
him at all of his appearances in America, including a gala concert in
the Metropolitan Opera house.
When Moshe Kusevitsky came to America, it was Machtenberg
who prepared his choir and who accompanied him in the majority of
his appearances and on a number of recordings, as well.
Machtenberg also became a popular liturgical composer. He
seemed to know the public pulse and his compositions for hazzan
and choir became immediate successes. His composition, "R'tzey
Asirosom" became widely known as a result of many performances
by Yossele Rosenblatt. Hazzan Yossele Shlisky, a fine hazzan with
a ringing tenor combined with a faultless coloratura did the same for
Machtenberg's "\J\/'y om Hashabos". Both Kusevitskys, Moshe and
David, helped popularize his beloved "Shehecheyonu" all over the
world.
I met Machtenberg when he came to Tel Aviv in 1962. He was
a storehouse of anecdotes and information about hazzanim and
hazzanut.
Machtenberg spent his final years in Florida where he died at
the age of 95. It is my understanding that Machtenberg's entire
musical library is now in the care of the New York choir director,
Abraham Nadel.
In May 1979, several months before his death in New York,
I met Israel Alter. We talked about our mutual love, hazzanut. I
asked him many questions on nusah and I recorded his answers.
Alter talked extensively about his early life, expressing his
opinions on hazzanim and hazzanut. He also sang for me a number
34
of his own hazzanic compositions. I believe that I was among the
last to have recorded his thoughts and to have heard him sing.
Hazzan Alter was born in Lemberg in 1901 into a family of
celebrated rabbis and scholars. He traced his ancestry back to the
author of "Turey Zahav," a highly regarded Talmud commentary.
His father, Avraham Yehudah, was one of the leading figures of the
Lemberg community, and lived to reap much pleasure from the suc-
cess of his children in their chosen fields: One, R. Moshe Elhanan
Alter was the head of the Lemberg Bet Din; another, R. Shmuel,
author of a respected scholarly treatise, "Likutei Betor Likutei,"
became a well known rov in America. Two of R. Yehudah's sons
became hazzanim : one R. Yisroel and the other R. Yehoshua. The
latter served as hazzan in the extremely orthodox, "Turd Zahav"
shul in Lemberg. They say that the tune for "Kol M'kadesh" which
he composed, is still being sung in the court of the Hoshiatiner Rebbe.
R. Yisroel Alter studied in Vienna with two great masters, Haz-
zan Z'vi Hirsh Halpern and Hazzan Yehudah Leib Miller. It was in
Vienna that Alter assumed his first hazzanic post and from there,
shortly thereafter, he was called to become the stot-haz'n in Hanover.
He came to the United States in 1934. After a short stay he journeyed
half way across the world to J ohannesburg, whose community he
served for 25 years as Chief-Cantor. During those years he toured all
the major European cities concert i zing and making great hazzanic ap-
pearances. He became Cantor-Emeritus in 1961 and left for New
York where he devoted himself to composition and to a new career
as an instructor in hazzanut at the Hebrew Union College's School
of Sacred Music.
Alter composed (at the commission of the Cantors Assembly, the
world's largest body of hazzanim) musical settings for almost the
entire liturgical year. (There are now available Alter volumes for
Shabbat, Shalosh R'galim, Selihot and Yamim Noraim. Unfortu-
nately, he became ill and passed away before he could complete a
setting of the three week-day services. S.R.) In addition, he com-
posed a large number of recitatives and choral pieces. His artistic
settings for a large number of Yiddish and Hebrew poems are
deservedly popular.
One of his best known concert pieces is his setting to Mishnah
Aleph, Chapter Three of Pirkei Avot, "Akavya ben Mehalalel Omer".
The composition was spread throughout the world in a recording by
Hazzan Moshe Kusevitsky. The music critic, Menahem Kipnis, says
of the piece that it is "K'dat Moshe veYisrael, Moshe Kusevitsky
and Yisrael Alter."
It is worth noting here what Alter told me about how he came
35
to write "A kavya." Alter was once in Vienna at a world conference
of Agudas Yisroel. The conference hotel was filled with a large
number of the most prominent rabbeim of the generation, the Tshort-
kover Rebbe, the Sadegurer Rebbe, the Boyaner, the Gerer Rebbe
and many, many others.
One of the rabbis recognized Alter and asked him to sing some-
thing. Alter was a little apprehensive; what should he sing for an
audience like this? He decided that it would be from the Mishnah,
A kavya. And so it was. In the midst of his singing he noted that
one of the rabbis was crying. When he finished, the rabbi told Alter
that though he had studied Mishnah for decades, never had he been
so moved to tears of repentance and confession as he had from A Iter's
interpretation.
Immediately he sat down and wrote out, as he could remember
it, his improvisation of Akavya.
Hazzan Alter passed away on the 27th of Heshvan, 5740,
November 17, 1980.
David Putterman came from an entirely different environment,
being the first American-born hazzan.
On the one hand, Putterman's heart was filled with love and
understanding for traditional hazzanut; he was a student of Yossele
Rosenblatt, Zeidel Rovner, Jacob Rappaport and Zavel Zilberts. On
the other hand, as he developed, he began to attract to the field of
synagogue music a great number of contemporary composers to
express their Jewishness in their craft.
Among the latter were such musical giants as Darius Milhaud,
Kurt Weill, Ernest Bloch. Leonard Bernstein early on composed a
setting to Hashkivenu for him. He did not neglect Israeli composers,
inviting men like Paul Ben Haim, Nahum Nardi, Mark Lavry, Haim
Alexander and Josef Tal to compose liturgical works.
Putterman was the founder of the Cantors Assembly in 1947
under the aegis of the Conservative Movement's Jewish Theological
Seminary of America.
He began his career as hazzan of Temple Israel of Washington
Heights in New York where he served for two years. From there he
went on to the prestigious Park Avenue Synagogue whose distin-
guished sh'liah tzibbur he was for 42 years. He was fortunate that
the rabbis with whom he served the Park Avenue Synagogue shared
his passion for enhancing the music of the synagogue. They helped
him as well in his ambition to raise the status of the hazzan in
America.
36
Putterman died at the age of 77, in Tishrei of 5740. Shortly
before his death he was privileged to see his masterful collection of
synagogue choral music, "MizmorT David," a 400 page anthology,
published in his honor by the Cantors Assembly.
Composing a eulogy for Hazzan Pinhas Kolenberg is a very diffi-
cult task. We were friends for many years; we corresponded regularly
about Yiddishkeit, literature, hazzanut, politics and about the
graphic arts, as well.
I received my last letter from him shortly after Pesah 5739. He
told me how well received was his chanting of Tal. He discussed the
articles he had written for the Mizrahi newspaper "Unzer Veg" on
Rabbi J acobovitz of Great Britain and about a series of articles he
was preparing for the Belgian-J ewish press on the singer, J oseph
Schmidt. He asked for a report on the 1980 Cantors Assembly con-
vention in which I had participated.
Upon my return to Israel in J une, I learned the tragic news that
he had died suddenly from a heart attack.
Kolenberg had studied hazzanut with Zavel Kwartin, Yehudah
Leib Miller and Hazzan Eibishutz. He was for 42 years the Ober-
kantor of the J ewish community of Brussels. He served, too, as the
chief J ewish chaplain of the Belgian army and was of great help to
Belgian soldiers of the J ewish faith. The Queen Mother Elizabeth
(the grandmother of the current King) took great interest in his
musical activities and came to hear him officiate a number of times.
In return, he was invited to visit her at her residence where she
herself accompanied him when he sang for her.
The hundreds of articles which he wrote, memoirs and dozens
of his paintings appeared in almost every Belgian newspaper and
magazine. It is my hope that his friends and admirers will collect
this wealth of material and publish it in a commemorative volume.
Kolenberg had completed a recording of hazzanut before his death
and it is to be hoped that this will soon become available.
* * * *
They were four ... and they left us in 5740. I know I will
be forgiven if I quote a line from Kohelet with a minor change:
"Dor holekh vedor eynenu ba" A generation passes and a new gen-
eration of that quality has yet to appear.
THE OLD HAZZ'N OF KREV:
A Legend from Hazzanic Folklore
37
M OSHE K USEVITSKY
The old Krever hazz'n, a learned Jew, used to tell his choir
singers that every soul comes down to earth to accomplish something.
It is incumbent on each human being to find those sacred sparks
which may have unfortunately fallen into unholy places, and to help
them find their way back to their rightful place. They lie hidden
like lost gold, buried in muck and dirt. If one can find the gold, dig
it out, clean it and polish it, it can be restored to its original beauty
and brilliance. That is the way it is with old nigunim, which have
lost their way in the dark byways of the world.
That is what the old hazz'n taught his singers; and always
he would add with vigor: That is why I came to earth, in order to
restore the old nigunim, and to raise them up to their pristine sanc-
tity. My soul comes from the world of the nigun.
The old hazz'n and his choir boys would wander about the fields
and forests and hills which surrounded his shtetl, not far from an
old castle which long ago had housed royalty. Nearby there was a
swiftly flowing brook which wound its way down from the hills and
curved around the grounds of the castle. The jabbering of the frogs
and the songs of the peasants as they harvested combined into a
symphony of nature.
The beautiful singing of the birds of summer, and every once in
a while, the sad song of a homesick shepherd inspired the old hazz'n
to new thoughts:
'True music is not that which consists of a predetermined con-
nected series of selected tones, but rather those tones, lost in the
wilderness, which strayed from the world of music. Every day at
precisely the same hour the heavens release a variety of voices,
sometimes a yearning cry, as when nature cries — the trees, the
grass, even the wind, they groan and moan, dragging everything
down with them in their sad clamor. Then, if you listen carefully,
you are caught up in such a hungering, such a yearning, such a
sadness that it cannot be described in words, but can only be sensed;
it can only be felt as a melancholy tugging at the heart.
Translated by Samuel Rosenbaum from one of a series of articles written
by Moshe Kusevitsky for the once influential Yiddish monthly journal of
hazzanut, " Di Hazzonim Velt" published in Warsaw from 1933 to 1935. This
article appeared in the April 1934 issue,
38
"Other times, tunes come down from music's heaven which are
bright, joyous and so glorious that those who hear them become filled
with joy and are themselves uplifted to the heavens.
"I believe it is my task to gather up all of these tones, the sad
ones and the happy ones, and to create out of them melodies fit for
the sacred task of prayer."
The choir boys would listen, but would understand little of what
the old hazz'n was trying to tell them. Nevertheless, the hazz'n
would take the boys with him on his search for lost tones. He would
bend his ear close to the trees, telling the choir, "Hear! listen! The
trees are singing praises!"
He would lie down on the earth, ears straining for any sound
and exclaim: "Aha, now the earth is singing!"
The boys would stare at him in awe and wonder as the old
hazz'n, searched for lost tones. They wanted to imitate him, wanted
to try to understand what he was driving at, but alas they under-
stood nothing, heard nothing more than an occasional rustle of leaves
i n the wi nd, B ut the trees and grass were pi eased that the ol d hazz'n
understood them and heard their song.
He also taught them how to pray. The main thing about prayer,
he would say, is to become devoutly attached to the words, to become
immersed in them, saturated with them, and this possible only
through the power of song; because song brings with it longing and
a loving yearning. Only this deep immersion can bring this devout
attachment.
And if you want to know what longing means, then get up early
in the morning and go, one by one, into the forests before the
Almighty brings forth the first ray of sun, when all is covered with
the blanket of the darkness of the departing night, and listen to the
song of God's newly awakened creatures; to the call of a crow, or
to the pipe of a shepherd, then you will understand what longing
means and what devotion is.
From time to time, you could find the simple choir boys search-
ing the paths in the forests, eyes glazed as though hypnotized, ears
opened wide trying to capture the tones from music's heaven.
Then the old hazz'n would gather them together around the
shepherd to listen to his playing, and explain to them the inner
meaning of song. The shepherd knew them well and was accustomed
to their early morning visits. He would let his sheep wander where
they would and he would stretch himself out on the grass, sing a
tune, and then play for them on his pipe. The hazz'n remained
nearby listening, drinking in the lovely tones.
39
Then, after a while, he would call out: "Boys, know that the
shepherd's song comes from his heart, directly from the world of
song. But he himself does not understand his own song. It is created
for him by nature. Now, I will raise his song of nature to teffile, to
sacred song.
He then would stand up and sing for them the foil owing, urging
them to join:
Hebprirry
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40
'The mountains skipped like rams,
The hills like young sheep. —
Who turned the rock into a pool
The flint into a fountain of water
from Psalm 114
Do you know, dear children, the origin of this song? the old
hazz'n would ask. This is the song that Israel sang in the desert
when they fled from Egypt.
From then until today the tune remains one of the most beloved
of the J ews of Krev.
41
m-i£itn rn:nsT nr^o
Malchioth Zichronoth
W'Shoforoth
Recitatives
by
Rev. HEINRICH FISCHER, Leeds
Until 1938
Oberkantor der Israelitischen Kultusgemeinde am Seitenstettentempel
VIENNA
Hazzan Heinrich Fischer was the last to serve the great J ewish community
of Vienna as Oberkantor der Israelitischen Kultusgemeinde am Seitenstetten-
tempel before the country was overrun by the German Army in 1939. He
escaped to Leeds in Great Britain where he was finally able to publish this
fine collection of settings to the major portion of the Rosh Hashamah liturgy;
the culminations of plans formulated in earlier years in Vienna.
42
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60
REVIEW OF NEW MUSIC
"Traditional Sabbath Songs for the Home" compiled and edited by
Neil Levin and Velvel Pasternak, Tara Publications, New York,
1981. (12.95)
A new collection of Zemirot, compiled and edited by Neil Levin
has just been released by Tara Publications.
The work which is both scholarly and resourceful will un-
doubtedly become the primary source of Zemirot for anyone inter-
ested in this category; whether they be hazzanim, serious students
of Jewish music, or simply people who enjoy singing Zemirot with
their families at the Shabhat table. At last, we have been treated
to a much needed compendium of traditional Zemirot, many of which
have either been out of print, or simply forgotten; Zemirot which,
despite their pristine beauty, have been discarded in favor of more
popular, camp-like melodies.
Mr. Levin, originally from Chicago, is both a pianist and a
composer-conductor who has to his credit several important record-
ings, a number of choral works, and volumes of Jewish music which
he composed or edited while serving as music consultant for the
Board of Jewish Education in Chicago. For the publication of the
Zemirot Anthology, Mr. Levin collaborated with the noted Jewish
musicologist and publisher, Velvel Pasternak.
Much thought and careful preparation went into this publica-
tion both from an editorial as well as a musical point of view. Special
attention is given to orthography and transliteration, and other tech-
nical matters related to he pronunciation and musical execution of
the Zemirot.
The book contains a comprehensive fifteen page introduction,
with extensive notes on the historical origin, authorship, themes, form
and style of the Zemirot. There is also a good deal of musical analy-
sis with regard to various foreign elements contained in the Zemirot,
as opposed to Western traditions; the Hasidic contribution, and even
the many variations of certain tunes that are due to the process of
change. The rather elaborate introduction even provides a cross-
section list of collective considerations of the compiled Zemirot with
statistical data as to their tonality, range, meter tune text, relation-
ships, and tempi. A very carefully edited copy of the texts, reprinted
Hazzan Najman is the distinguished hazzan of Congregation Shaarey
Zedek in Southfield, Michigan. He previously served as Music Consultant to
Chicago's Bureau of Jewish Education and as hazzan of Beth El Synagogue
in Omaha.
61
from the Art Scroll edition and succinct English translations provide
a very elegant and useful preface to the collection. The large-print
musical manuscript is attractive and eye pleasing with clear trans-
literation, and the wide spacing between the lines makes the material
far more legible then one normally finds in most source books.
Each Zemer is preceded by a paragraph or two on the liturgical
origin and/or musical authorship. For example, upon turning to
Atkinu S'udata. (P. 25), one learns that the Zemer was written by
Isaac Luria, known as the ARI, zal (1534-1572) an important
figure in the Kabbalist movement. There is also an explanation of
the mystical allusions (all Kabbalistic) in the Zemer and of their
relation to the Sabbath meal. In some cases, the liturgical com-
mentary is followed by a note on the musical source and even a brief
but relevant comment on the particular composer and his place in
J ewish music.
Each Zemer has chord markings, but as the editor hastens to
explain, these were intended only as a "classroom device", as Zemirot
were never intended for public performances but for informal singing
at home, hence — a Capella. To be sure, a goodly number of Zemirot
appear (as one might well expect) in several settings. There are no
less than seventeen versions of Tzur Mishelo and fourteen of Yah
Ribon 01 am.
The anthology also contains the complete Birkat Hamazon, some
enlightening and well documented footnotes, as a glossary of im-
portant foreign terms, a general index and an index of musical ex-
amples. A cassette with many of the Zemirot recorded, is available
from the publisher and should be most helpful, particularly to those
who do not read music.
This collection rightfully favors older melodies of the various
European traditions over more recent Israeli and current Hasidic
settings. The former, having become practically extinct, cry out for
preservation in the world of abandoned legacies. A second volume
might well contain current settings that have passed the test of time
in both popular acceptance and musicality, but this volume unques-
ionably fills an immediate need.
If any criticism is to be voiced at all, it would be at the incon-
sistency between the Sephardi pronunciation and incorrect accentua-
tion, the sort that is usually associated with old Ashkenazi Hebrew,
(e.g. Bialik's Hebrew). In defense of the editor, I might say that it
is much easier to change the pronunciation of an Ashkenzai Zemer
to Sephardi, then to change the entire accentuation. Since the music
has been composed to the old prosody, any attempt to change the
phrasing can cripple a Zemer and leave it totally unsingable.
62
Yet, we have managed quite well to edit, even reconstruct gems
of the cantorial repertoire without damaging the true style or char-
acter of the composition. What does one do? If these Zemirot are
intended merely for research, we simply defend them on the grounds
of poetic license, tokens of a by-gone, pre-lsraeli era. On the other
hand, if this collection is, as the publisher puts it, the result of an
effort to "bring functional J ewish music to the public, it would seem
almost indefensible in this day and age, to teach children to sing
Zemirot in Sephardi pronunciation, but with unacceptable accentua-
tion, (e.g. me-nu-ha, ve-sim-ha, or mah y'di-dut) I'm not sure that
I have a solution to this problem other then to rewrite these Zemirot,
entirely.
Neil Levin, in publishing the new Zemirot Anthology, has made
a valuable contribution to the field of J ewish music. A great deal
of labor went into the preparation of a volume such as this. We are
indeed indebted to Mr. Levin for his meticulous editing and for his
painstaking effort in going through so many collections and editions,
and for having notated many unpublished Zemirot, first hand. Both
the editor and publisher may take great pride in the knowledge that
they have filled a great void in J ewish musical literature.
Chaim Najman
63
RECORD REVIEW
CANTOR CHARLES BLOCH RECORDED LIVE, Heritage Series,
New York.
Cantor Charles Bloch is one of a handful 1 of hazzanim capable
of producing an album of this magnitude, encompassing liturgical
music as diverse as Janowski and Glantz, while still retaining the
integrity of each style and sung with a large robust tenor voice that
combines well schooled western vocal technique with Semitic-oriental
flexibility.
As the album jacket, eloquently written by Issachar Miron
states, the sound quality of the recording leaves something to be
desired, since it was made on a "simple home tape recorder" during
actual services. The courage it took to release such a personal state-
ment is well worth the effort. We come away with increased respect
for a well known cantorial artist, and with an enlarged appreciation
for the variety inherent in the synagogue music experience.
In a formal service, as that which I imagine that Cantor Bloch
leads at Ansche Chesed Temple, in New York City, it would be easy
to fall into a pattern of one sort or another. This album presents
only a pattern of traditional classical hazzanut chosen with the
good taste of a hazzan thoroughly immersed in his art.
Stylistically, Cantor Bloch is his own man. He interprets with
the ideas of the chaz'n zoger, the hazzan whose primary goal and
skill are pointed to elucidating the text, even to the neglect of vocal
display. But with the everpresent pipe organ accompaniment (no
cover credit for organist), and with the professional choir in certain
pieces (also no credits given), the pieces do fall into a formal concert
mode which may not be to everyone's liking. I found the pace of
most of the compositions particularly slow, and feel that a greater
tension in tempi throughout would make the many climaxes more
revealing, a bit less obvious. Cantor Bloch' s penchant for legato
slurs or slow portamenti at the end of phrases is a personal preference
which I do not share. Yet, he is effective and leaves no doubt as to
who is singing; it is one of his trademarks. His other trademarks
leave a lasting impression on the listener. These are his clarion top
voice, ringing resonance, and command of embellishment and sotto
voce. The latter making a wonderful contrast to an otherwise very
strong voice.
Abraham Mizrahi is the hazzan of Temple Israel of White Plains, New
York. He is a graduate of the Cantors Institute of the Jewish Theological
Seminary of America: has served congregations in Albany and Cincinnati and
has a fine reputation as a concert artist.
64
Side A begins with Glantz's "Shema Yisrad" in which he is a
bit out of his element. Although showing no signs of forcing through
the extremely difficult passages, we miss the inherent orientalism
of the piece in his very western interpretation. I did find it frustrat-
ing to try to think of another three or four hazzanim who would
even attempt the work.
Zalis' "Shuvi Nafshi" exhibits Bloch's clarity and seemingly
boundless energy in the top voice. The "Hassidic Kaddish" attributed
to D. Kusevitsky-H. Zalis, shows a fine lyricism and ability to handle
a legato line. The first side ends with Secunda's "Sim Sholom."
I would have liked to have heard it sung with more fidelity to the
original. The fact that it was sung at a service allows for some
exaggerated trills and more embellishment than the piece usually
receives. Again, it could have used the momentum a quicker tempo
and faster bridging of phrases.
The second side presents some authentic hazzanic davening in
the form of "Vatiten Lonu" from Raisen's "Ato Yotsarto" edited by
Bloch. This piece lets us hear the duekus side of Cantor Bloch's
chanting; it is most touching and stirring. The interesting "Modim
and Modim D'Rabonon" (combined) of Kaminsky-Zalis, is then sung
from "Shoato Hu." This is a classic, written and performed with all
the elements, hazzan, choir, organ, blending in fine style. Ener-
getically paced, it is the gem of the album. "Birchas Kohanim," by
Raisen-Bloch is a typical example of Eastern European hazzanut and
a fine addition to the standard repertoire. Unfortunately, the score
is not easily available.
The album concludes with Janowski's "Sim Shalom" which is
one of the composer's best works. The interpretation here is straight-
forward and performed beautifully by hazzan and choir.
This is a genuinely worthwhile recording and a tribute to a fine
hazzan. It will inspire both congregant and hazzan while helping
to instruct many of us in the fine art of classical Eastern European
hazzanut.
Abraham Mizrahi
65
TO THE EDITOR:
During the years when I served as High Holy Day kol bo while
a student at the Seminary, I learned to empathize with hazzanim
who must face a sea of silence during most of the long High Holy
Day services. While serving Kehillath Beth Hamidrash in Virginia
Beach, Va., over the past two years, it occurred to me that congre-
gational singing might be inspired by introducing a classical melody
at an appropriate point in the Musaf services. It was only natural
that the place to begin was the medieval piyut, V'ye-e-tayu, which
is a universal i stic song and which scans very badly, metrically speak-
ing, in the Hebrew. I therefore determined to find something to do
with the English, and realized, all at once, how the beautiful transla-
tion of Israel Zangwill can beset perfectly to the music of Beethoven's
"Ode to J oy," which melody was originally set to a universalistic
hymn that parallels V'ye-e-tayu. The Bokser, Silverman, and Green-
berg-Levine mahzorim all feature the Zangwill translation in appro-
priate meter. (The Birnbaum and Harlow mahzorim do not.) I
would respectfully suggest to my colleagues in the cantorate that
they consider this idea as an impetus to congregational participation.
Rabbi Elliot B. Gertel
Springfield, Mass.
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