Cantors Assembly Journal of Synagogue Music

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Cantors Assembly • June 1983 • Tammuz 5743 • Vol XIII •

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JOURNAL OF SYNAGOGUE MUSIC

Articles:

A Look Back

A Festival of Jewish Music in Los Angeles

Yalkut Zimrotai: Appraisal and Applause

Edward Stark: American Cantor-Composer
At the Turn of the Century

Samuel Rosenbaom 3

Robert Strassburg 7

Pinchas Spiro 9

Jeffrey S. Zucker 14

Departments:

Music Review

Family Shabbat Services and Melodies,
Featuring A braham Lubin

Record Review

Shiron Hadash, Gershon Ephros
A cross the Generations

A ryeh Finkelstein 29

Max Wohlberg 30
David Lefkowitz 31

Music Section:

Choral Classics
Nowakowsky Fragments

journal of synagogue music, volume XII, Number 1

June 1983 / Tammuz 5743

editor: Abraham Lubin

managing editor: Samuel Rosenbaum

editorial board: Lawrence Avery, Ben Belfer, Jack Chomsky,
Baruch Cohon, Charles Davidson, Solomon Epstein, Saul Meisels,
Solomon Mendelson, Chaim Najman, Moses J. Silverman, Hyman
Sky, Pinchas Spiro, David Tilman.

business board: Israel Barzak, Robert Kieval, Martin Leubitz,
Sheldon Levin, Yehuda Mandel, Bruce Wetzler.

officers of the cantors assembly: Abraham Shapiro, President;
Ivan Perlman, vice President; Saul Hammerman, Treasurer; Harry
Weinberg, Secretary; Samuel Rosenbaum, Executive Vice President.

journal of synagogue music is a semi-annual publication. The
subscription 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 © 1983, Cantors Assembly

A LOOK BACK

Samuel ROSENBAUM

From time to time it is worthwhile to look back and judge the
distance one has come. I did that just the other day when I came
across an article by the well known teacher-composer, Rabbi Israel
Goldfarb, which appeared in the J anuary 1925 issue of the "United
Synagogue Recorder", a quarterly publication which went out of
existence a very few years later.

I read it with great interest and with the same sense of dqa vu
as overtook the unknown poet who wrote:

"As the moon sinks on the mountain edge,

the fisherman's lights flicker out

on the dark wide sea.

When we think that we alone

are steering our ships at midnight,

we hear the splash of oars far beyond us."

Today's cantorial conventions are a far cry from the one held
in December 1924, yet the program has a familiar ring about it,
and a certain sadness, for us and for our colleagues who were
there. For them, the sadness that they did not live to see how far
we have come. For us, the sadness that we have not come further.

THE CANTORS CONFERENCE

By Rabbi Israel Goldfarb

For the first time in the history of American Jewry, Cantors
representing orthodox, conservative and reform congregations met
in an all-day conference for the purpose of devising ways and means
of how to improve the music of the synagogue, and how to secure
for our divine service a more dignified and impressive rendition.

The conference, which was held on December 10, at the Patrician,
353 Riverside Drive, New York, was called at the instance of the
United Synagogue of America, and was presided over by the writer
of these lines. Eighty Cantors, representing congregations from all
over the United States and Canada, as well as representatives of the
two National Cantors Associations, attended the conference. The
United Synagogue was represented by its president, Dr. Elias L.
Solomon, and its executive director, Rabbi Samuel M. Cohen.

The conference was called to order by the chairman, who wel-
comed the Cantors and expressed the hope that the proceedings

would be marked by the spirit of peace and co-operation, resulting
in a constructive program that shall be a real and lasting contribution
to the synagogue and to J ewish life. He then presented three prob-
lems which confronted the conference and which were to be discussed
at the different sessions, to wit:

I . To secure a uniform rendition of the service.

1 1 . To encourage and foster congregational singing.

III. To recommend the establishment of a Cantors Seminary
under the direction of the J ewish Theological Seminary
of America.

Dr. Elias L. Solomon then greeted the Cantors in the name of
the United Synagogue, and said that one of the aims of the confer-
ence was to bring about a greater harmony between the Rabbi and
the Cantor. 'We must simplify and beautify the service," he said.
"We must strive after greater dignity and decorum in our services."
He also pointed out that at the last convention of the United
Synagogue that body adopted a resolution calling on the Seminary
to "establish a Cantors course leading to the degree of Chazan."

After the appointment of several committees the conference
proceeded with its agenda.

The Rev. Isidore Weinstock, Cantor of the Central and Free
Synagogues, presented a paper on "A Uniform Rendition of the
Service." Rev. Marcel Katz, Cantor of Temple Ansche Chesed,
New York, read a paper on "Congregational Singing," while the
Rev. J acob Schwartz, Cantor of B'nai J eshurun, New York, discussed
the question of a Cantors Seminary. Rev. Gann, of Newark, N. J .,
also rendered a report on behalf of the Cantors Association on what
steps that body already took to establish a seminary for Chazanim.

A lively and spirited discussion followed the reading of the
papers.

At noon a luncheon was served to all the delegates. Dr. Solomon
said Grace and all the Cantors responded, thus demonstrating how
beautiful and inspiring mass singing really could be.

The following resolutions were adopted as a result of the
deliberations

1. The Cantors Conference recommends that the Executive
Council of the United Synagogue of America be asked to appoint
a committee of not fewer than seven Cantors for the purpose of
selecting passages from the liturgy suitable for congregational sing-
ing, and arranging the proper music for the same. Also that a com-

mittee on music be appointed to gather melodies for uniform use,
for such passages as "Borchu," "Sh'ma," "Mi Chomocho" and
"Va'anachnu," and to standardize the different versions of the tra-
ditional melodies called "scarbova" or "M'inyona."

"This program shall be submitted to the next Cantors Con-
ference, and, if adopted, shall then be submitted to the convention
of the United Synagogue, and if accepted by them, shall be final."

"Cantors shall have the right to vote by registered mail on the
question above referred to, and on all matters appertaining to
synagogue music."

"Cantors shall have complete freedom of self-expression in the
part of the service usually rendered by themselves."

2. Resolution on a Cantors Seminary:

"Whereas, It has been felt and expressed at this conference of
Cantors that the office of Chazan and Chazanus should be brought
to a higher level of dignity in conformity with the status of a
"Sh'liach Tsibur," and, Whereas, It is the consensus of opinion
that the time has come for a more thorough systematization and
standardization of Hazanuth, so that the Hazan may be better
equipped to meet the requirements of his sacred calling, Be It There-
fore Resolved, That this conference seek ways and means to organize
an institution where the education and duties of Hazan can be
disseminated in its fullest form, traditionally, educationally, religi-
ously and musically; and be it further resolved, that the Jewish
Theological Seminary of America, an institution with facilities for
the study of Hebrew learning, also directing the work of the Teach-
ers Institute, an institution doing educational work, with the object
of graduating Hebrew Teachers, should undertake the establishment
of such a Cantors Seminary, under its jurisdiction, and that the
plan of teaching and curriculum be worked out together with a repre-
sentative committee of Cantors; and that Cantors already functioning
for ten years should be awarded the degree of Hazan-Minister by
the directors of the Cantors Seminary after one year's special course
without examination. And, be it further resolved that the Cantors
wing be established in the Jewish Theological Seminary under its
auspices, and that it be supervised by a Board of Directors drawn
from the Cantors Association and the Jewish Theological Seminary."

A motion for the appointment of a committee of Cantors, to
take the matter up with Dr. Cyrus Adler, of the Jewish Theological
Seminary, was then passed.

The committee appointed by the chairman consisted of: Cantors
Beimel, Gann, Schwartz, Schechter, Frank, Weinstock, Katz and
Morgenstern.

Other committees were as follows:

Committee on Uniform Rendition of Service: Cantor I. Wein-
stock, chairman; Rev. Rickel, Cleveland; Rev. J . Schlossberg, Provi-
dence; Rev. J. Mickelson, Camden; Rev. W. S. Siegel, Montreal;
Rev. L. Cohen, Kansas City; Rev. J . Beimel, Philadelphia.

Committee on Congregational Singing: Rev. Marcel Katz, chair-
man; Rev. Davinsky, Syracuse; Rev. Paul Discount, Hartford; Rev.
B. Schachtel, Buffalo; Rev. J . Weisgal, Baltimore; Rev. S. Casper,
Paterson; Rev. Saltzman, New York City; Rev. Don Fuchs, New
York City; Rev. Kaplan, New York City; Rev. Novak, New York
City.

Committee on Cantors Seminary: Rev. Jacob Schwartz, chair-
man; Rev. Chas. Bender, Rochester; Rev. Joseph Wolfe, Wilkes-
Barre; Rev. M. F. Goldberg, Youngstown; Rev. W. Horn, Scranton;
Rev. J . Adelsman, Roxbury; Rev. J . Sirovitz, Elizabeth; Rev. Koti-
lonsky, New York City; Rev. Frank, New York City.

At the evening session Cantor Ancis gave a demonstration of
traditional J ewish music with special reference to congregational
singing, and Cantor Don Fuchs, of Vienna, delivered a brief address
in which he congratulated the conference upon its splendid work
and upon the fine spirit which prevailed during all of the sessions.

It was almost midnight when the conference closed amidst the
singing of Hatikvah and the Star Spangled Banner. It was the
opinion of all present that the good work begun by this conference
should be continued, and that the United Synagogue deserved the
thanks of the community for its initiative in this direction.

FESTIVAL OF CONTEMPORARY JEWISH MUSIC
IN LOS ANGELES

Robert Strassburg

One of the most heartening events to take place this year on
behalf of contemporary Jewish music was sponsored by the Jewish
Federation Council of Los Angeles on Sunday June 5, 1983.

The program, consisting of four world premieres by Los Angeles
composers; Udi Harpaz, formerly of Israel, and Aminadov Aloni,
likewise born in Israel; Dr. Michael Isaacson, composer and modera-
tor of the afternoon, and Walter Scharf, Hollywood composer of
over 200 film and TV scores, was enthusiastically received by the
large audience that filled the Federation lecture hall to capacity.

Dr. Isaacson, whose liturgical works in recent years have been
heard in many synagogues throughout the country, organized the
event and in an effort to bring the music closer to the audience, set
aside five minutes following the performance of each work — for
discussion.

The first work, a sensitive chamber composition "T'munot"
"Portrait of Israel" by Harpaz, for oboe and string quartet, was
conceived of just days before the 1973 Yom Kippur war. The music
portrays — in three movements — Shuk — A Market Place filled
with restless musical imagery; Kinneret an andante cantabile tone
poem describing the Sea of Galilee, and concludes with a spirited
allegro capturing the Nefesh — "Spirit of Country."

Aloni's four "Shir Hashi rim" settings for soprano, baritone and
string quartet, oboe, harp and piano, in translation by poet Marcia
Falk, proclaims him to be a composer with a rich melodic gift,
reminiscent of the Mediterranean style of Marc Lavry and Paul
Ben-Haim. Each of his settings had its own profile and was ex-
pressively performed by mezzo-soprano Rickie Weiner and baritone
Hale Porter. The rythmic vitality of 'The King Has a Vineyard"
for baritone, provided an effective conclusion to Aloni's song cycle.

The third work of the program, orchestrated with great sensi-
tivity, "Dream Chant" for viola, oboe, string quartet, harp and piano,
captured composer Isaacson's love for the first three aliyot from the
Torah portion that he chanted for his Bar Mitzvah. The first third
of the work which opens with a gentle viola solo based on the first
aliya instantly arouses the listener's attention. The work builds in
intensity with an interpretation of the second aliya, as the composer

Dr. Strassburg is a well known composer who serves as Professor of Music
at California State University in Los Angeles. .

introduces additional elements based on Indian ragas and minimalist
influences, all adding interest to the contrapuntal textures of this
intensely expressive composition. The ensemble responded to his
conducting in a most effective manner.

The three movement chamber work by Walter Scharf 'Three
Phases of Phases", is an elegantly tailored chamber suite reflecting
the broad palette of this composer's art. Conservative in nature,
it is an honest reflection of Scharf's introspective convictions focussing
first on an Odyssey of the Spirit, followed by the darker shadows of
our psyche Emotion, with the closing movement attempting to plumb
the very essence of our being, The Nerve Center. In all, an ambitious
musical confrontation of Self, open to wide interpretation by the
listener, as to the effectiveness of each state.

The afternoon concluded on a lively and enthusiastic perform-
ance, directed by Isaacson, of Cantor Samuel Fordis' effective ar-
rangement for the full ensemble, of a medley of Israeli folk melodies.

An enthusiastic audience responded to Isaacson's call for com-
ments, with perceptive questions which were replied to by each of
the composers. At the end of the afternoon all present acknowledged
the efforts of the curator of Federation's museum concert hall,
Pauline Hirsch, who played an important role in making the program
a reality. One looks forward to further events of similar significance,
and hopes that other communities across the United States will go
and do likewise.

YALKUT 2MROTAI:
APPRAISAL AND APPLAUSE

PINCHAS Spiro

Max Wohlberg is an acknowledged scholar and master composer
of liturgical music. Therefore, when I received his "YALKUT
Z' MIROTAI and sat down with pleasurable anticipation to study
it, I was reminded of a piano recital that I attended many years
ago, given by the great master, Arthur Rubinstein. I still remember
my anticipation of that recital, and then how my enjoyment of it
was heightened by my awareness that I was privileged to listen to
one of the greatest pianists of our generation.

When I finished studying Max Wohlberg's 40 new works, I knew
that my confidence in him was indeed justified. Even a first reading
revealed to me a delightful flair for melodic inventiveness, a perfect
matching of word and sound and an impeccable taste for this popular
genre.

The tradition of chanting religious songs during the Sabbath
meal is an ancient one. But, of the many hundreds of Z'mirot texts
that have been written over the centuries, only a few have survived
to this day. A most interesting discourse of the origin, history and
traditional place of he Shabbat Z'mirot in Jewish life written by
Dr. Max Wohlberg, is included as an introduction to his 'YALKUT
Z'M I ROTAI ." It is a scholarly article, replete with information,
quotes and sources.

In the Encyclopaedia J udaica there is a list of three groupings
of Z'mirot texts that "have achieved prominence and were printed
in most prayer books." The three groupings are:

(I) FRIDAY EVENING MEAL: - Kol Mekaddesh Shevi'i;
Menuhah ve-Simhah; Mah Yedidut; Mah Yafit; Yom Shabbat
Kodesh; Yah Ribon Olam; Zur mi-Shello Akhalnu; Yom Zeh le-
Yisrael.

(I I ) SABBATH NOON MEAL: — Barukh Adonai Yom Yom;
Barukh El Elyon; Yom Zeh Mekhubbad; Yom Shabbaton; Ki
Eshmerah Shabbat; Shimru Shabbetotai; Dror Yikra; Shabbat ha-
Yom la-Adonai.

Pinchas Spiro is the Hazzan of Tifereth Israel Synagogue of Des Moines,
Iowa. He is the author of a number of volumes of original and creative texts
on the study of nusah and cantillation; he also serves as Chairman of the
Publications Committee of the Cantors Assembly and is a member of its
Executive Council.

(Ill) THE END OF SABBATH: - HadMavdil; Eliyahu ha-
Navi; Be-Moza'ei Yom Menuhah; Hadesh Sesoni; Agil ve-Esmah;
Elohim Yisadenu; Eli Hish Go'ali; Adir Ayom ve-Norah.

All of the above "standard" Z'mirot texts are given excellent
musical settings in 'YALKUT Z'MZROTAZ." In addition to these,
Wohlberg provides delightful melodies to Shalom Aleikhem; Eshet
Hayil; Tzamah Nafshi; Shir Hama'alot (Psalm 126); Bar Yohai;
Anokhi Ladonai; Asadeir Lisudata; Hai Adonai Uvarukh Tzuri,
Atkinu S'udata; B'nei Heikhalah; Mizmor L'David (Psalm 23);
Y'did Nefesh; El Mistater; Hinei El Y'shuati; Amar Adonai
LYa'akov.

While the texts of the Z'mirot have survived for many centuries,
the fate of the melodies used throughout the same span of years has
not been as fortunate. It is the accepted notion that the average
life-span of a Z'mirah melody is roughly two generations. It is also
the commonly accepted opinion that most of the traditional melodies
used for Z'mirot have had their origin in non-Jewish sources. (Dr.
Eric Werner, in particular, seems to relish his attempts to prove this
point.) Nevertheless, most musicologists agree that the process of
integrating any foreign melody intoj ewish usage results in a unique
metamorphosis which renders that melody typically and unmis-
takably J ewish.

Of the 40 melodies in 'YALKUT Z'MZROTAZ," 38 are brand
new ones that constitute a welcome addition to this area of popular
Jewish musical culture. Since Z'mirot are usually chanted at the
table by musically untrained laymen, it is pertinent to joint out that
Max Wohlberg has been for many years a proven expert at composing
community chants. Many of his melodies are so popular that they
have attained the stature of "traditional melodies." (I wonder how
many know that the popular "M'chalkel Chayim" for Shabbat, which
is sung in almost all Conservative congregations in the country, was
composed by Max Wohlberg and included in his 1947 collection,
"Shira Zimroh".)

Wohlberg confines almost all of his Z'mirot to the easily reach-
able range of approximately an octave. Besides being tuneful and
charming, his melodies have this in common — they are all easily
memorized. In fact, chant any of his melodies through once or twice
and suddenly you have the comfortable feeling that you have always
known it! A close examination of the structure and form of all of
Wohlberg's Z'mirot will reveal an astonishing variety and ingenuity
which contribute much to the ease with which the melodies are com-

11

mitted to memory. The short Z'mirot have a simple, standard form.
The longer Z'mirot are more intricate in their structure.

As a prime example of the ingenuity of some of Wohl berg's
Z'mirot, I cite No. 38, "Ish Hasid Hayah." This remarkable Z'mirah
is, I believe, the only one that tells a complete story, a fanciful won-
drous legend. It is a long Z'mirah. There are 12 stanzas, consisting
of six lines each, with three words per line. Each two lines are
rhymed, but there is no consistent poetic meter. This unique Z'mirah
(its title became familiar in recent years due to a popular Israeli
show by that name), appears in few Z'mirot anthologies. None of
those which I researched contained a setting covering the entire text
of the story/Z'mirah. Wohlberg does provide music for the entire
text, and I regard it as among the best in his entire bag (Yalkut)
of Z'mirot. The key is f minor, and the meter is 6/8. The composer
suggests that it be sung "Quasi parlando, calmly, interpretatively."
(The composer's suggested dynamics for all of his Z'mirot are won-
derfully descriptive and convey the essence of the spirit for which
heisstriving.) Theover-al Iformis: A-A-B-B-C-A-A-B-B.
A closer look at each of the main sections and its sub-themes reveals
an interrelationship between all the sections. Thus, "A" consists of
a-a^b-bi-c-Ci -d-e; "B" consists of f-f-g-g,-h-lvi-j-e; "C" consists of
k-k,-g-g,-h-h ,-i-j-e. Note that all of the sections end with the
theme "e" which acts as a cadence. Note also the doubling of most
of the sub-themes, a trait which all the sections have in common.
The end result is not only a delightfully singable Z'mirah, but also
one that is quite easy to memorize despite its great length.

The aforementioned lack of consistent poetic meter in "Ish Hasid
Hayah" is also the case in most other Z'mirot. Yet, throughout his
entire collection, Wohlberg has managed a beautiful match between
word and melody, with most syllables generally assigned to one note,
as well as a remarkable adherence to the proper mil'el — milra
accentuation. This and the almost faultless transliteration into the
Sephardic pronunciation lend the work a contemporary feeling.

Another noteworthy Z'mirah is No. 39, "Amar Adonai L'Yaakov."
It is the only responsive Z'mirah in the collection. It consists of 22
lines, and the second half of each line ends with the quote: "A\ tira
avdi Yaakov," which is the responsive part assigned to all the par-
ticipants. The composer divides the Z'mirah into two parts of 11
lines each. The melody of the first half of each line (a short two-
measure theme assigned to the soloist), is echoed by the participants.
The interesting aspect is that each of the 11 lines employs a slightly
different melody — almost like variations on one theme. Because the
participants use the same four words again and again and because

they always echo the soloist's melodic line, it makes for easy and
most enjoyable participation.

Space prevents me from describing in detail each of the Z'mirot
that attracted me. Yet, I cannot refrain from mentioning briefly
No. 12 ('Tzamah Nafshi") , which is a genuine outpouring of the soul
in a wonderfully singable and fervent melody. Some of my other
great favorites are: No. 1 ("Shalom Aleikhem"); No. 5 ("Mah
Yedidut"); No. 14 ("Anokhi Ashirah") ; Wo. 31 ("Hamavdil") and
Wo. 32 ("B'motza'ei Yom Menuhah").

In our tradition there is no set mode for Z'mirot. Yet, there is
a general style which one usually associates with this type of com-
munity chant. It seems obvious that Wohlberg did not compose the
40 Z'mirot with a master plan in mind, but simply let the words, the
muse and his life-time recollections inspire him. His ultimate guide
surely must have been his unerring instinct. Thus, he utilizes with
great effectiveness the Sephardic (Spanish-Ladino) type of melody
with its characteristic florid, lacy and delicate runs for some Z'mirot.
It blends well with the Ashkenazic idiom. In two Z'mirot (No. 3
and No. 17), he employs no meter. These are the only two Z'mirot
in which he utilizes recognizable melodic material. The Major scale
appears in only seven Z'mirot. In one instance (No. 34, "Eli Hish
Goali"), the composer seems to have been in a whimsical frame of
mind. The melody has a Far-Eastern ring to it — a charming but
strange sound.

Recently, I received the recording "'MOODS IN CELEBRA-
TION" (by the Beth Abraham Youth Chorale under the direction
of Hazzan J erome Kopmar) and was glad to note that one entire side
of this excellent recording consisted of 11 melodies from "YALKUT
Z'MZROTAZ." It is always a delight to listen to this well drilled and
energetic group. It was doubly pleasurable to hear them sing from
my newly-discovered treasure bag of Z'mirot, arranged tastefully by
Charles Davidson with a colorful instrumental accompaniment.

"YALKUT Z'MZROTAZ" does have a few minor faults. One of
them, in my opinion, is the exclusion of any modern poetry. There
is a great deal that would easily fit into the Z'mirot category.
("Shubbat Hamalkah" by Bialik, for instance, would make for a
natural Z'mirah) .

As Max Wohlberg himself noted in his introductory remarks, the
popularity of any Z'mirah in any given time depends to a great extent
on a combination of lucky circumstances. Israel Goldfarb, whom I
regard as the most popular composer of congregational melodies and
Z'mirot in recent memory, knew that one of these ingredients is
proper "packaging." Since Goldfarb was his own publisher, he made

13

certain that each published song appeared with the clear Hebrew text
right next to it, a synopsis of the translation and, on occasion, an
optional singable English version. "YALKUT T MIROTAI" does
have the Hebrew text of all theZ'mirot, but it seems an afterthought.
The Hebrew text is printed side ways in the back of the book. The
print is barely legible, without identifying numbers that match the
music. Even more confusing, the order of the Z'mirot texts is different
from that of the music.

Ideally, a collection of Z'mirot such as this should be available
to every person seated around the table so that all can join the
chanting, either by using the music or the Hebrew text. Unfortu-
nately, the present format of "YALKIJT Z'MZROTAZ" does not
easily lend itself to this procedure. I earnestly hope that future
editions will present this musical collection of veritable gems in the
appropriate setting that it deserves.

EDWARD STARK: AMERICAN CANTOR-COMPOSER
AT THE TURN OF THE CENTURY

J EFFREY S. ZUCKER

The last two decades of the nineteenth century and the first
decade of the twentieth century were a period both of consolidation
and expansion for the American J ewish community. During this era
of mass immigration by J ews from Eastern Europe, the German J ews
who had come earlier in the century and their descendents were
shaping a particularly American Jewish culture. As the German
Jews became more established in America, they strove to become
more like their neighbors. Acculturation and assimilation became
the norm.'

The final quarter of the nineteenth century saw the publication
of a number of musical works, primarily hymnals, for use in the
growing Reform synagogues and Sabbath schools, which were institu-
tions of and for the German-American Jews. The music in these
books was drawn from a number of sources, but the authors (re-
flecting the taste of the era) showed an affinity for the German
and American Protestant hymn styles. As congregations grew in
wealth and sophistication, greater emphasis was placed upon the
employment of professional singers, organists, and, in some cases,
instrumentalists to provide music for the synagogue.

This article will consider the career of Cantor Edward Josef
Stark, who served Congregation Emanu-EI of San Francisco from
1893 to 1913. Emanu-EI was one of the nation's largest and wealthi-
est synagogues. Its members were very Americanized, 2 and its rabbis
were among the leaders of Reform J udaism.3 Stark's duties included
officiating at services and funerals, directing the choir, and teaching
in the school, a routine similar to that of a modern-day cantor. He
composed and arranged much of the music used at Emanu-EI himself;
these compositions were published as Sefer AnimZemiroth, a musical
service based on the Union Prayer Book for Sabbath, Rosh Hashana
and Yom Kippur.

As a cantor and composer for the synagogue, Stark was dis-
turbed by many of the developments that he saw in the American
Reform temple. He was especially concerned because the music
heard there was lacking in J ewish content. Stark was a progressive
J ew who thought that acculturation had gone too far. He felt that

J effrey S. Zucker is a graduate of the 1983 class of the Cantors Institute
of the Jewish Theological Seminary of America. In September 1983 he will
make aliyah to Israel, living and working in Kibbutz Kfar HaHoresh.

16

by setting the traditional synagogue chant in a contemporary style
he would create music that would speak to the temple-goer of his
day. He believed strongly that, a modern congregation could be
inspired only by music based on tradition, that only such music
could move the Jew.

Stark's published output includes hymns for school children,
cantorial recitatives and compositions for choir, organ and occasion-
ally other instruments. His objective was to restore the traditional
nusah hat' filah4 to its rightful position in the service. Stark's music
became popular and was preformed widely in American Reform
synagogues.

Edward Stark's career can be considered a prototype for the
professional American cantorate that was emerging during this
period. Although professional hazanim were functioning in New York
as early as the late 1840's,5 it was not until Stark's generation that
the cantorate in America took on the form that it has today. This
article will examine Stark's training and career, as well as his ideas
and music, in order to gain an understanding of the cantorial pro-
fession in America's Reform synagogues during the turn-of-the-
century period. It will not consider the phenomenon of the star
cantors, also active during Stark's lifetime, because they functioned
primarily in Eastern European congregations that were just beginning
the road to Americanization.

The fourth son in a family that included five sons and one
daughter, Edward was born on March 29, 1856 in Hohenems,
Austria.6 His father, Josef Stark, had studied in Vienna with the
renowned Cantor Salomon Sulzer and served the village as hazan
and shohet. Sulzer had recommended him to his first two positions,
Prossnitz (now Prostejov), Moravia (where he had served from 1843
to 1853) and Hohenems, his home village. In 1865, Josef Stark was
engaged in Ichenhausen, Bavaria.?

Edward Stark spent his childhood as a cantor's son in the
latter two localities. He sang in his father's choir with his older
brothers; nothing else is known about his life during those years.
Edward's three older brothers immigrated to New York during the
1860s, and were quite successful in the business world. They urged
their family to join them, and in 1871 Josef Stark resigned his
position in Ichenhausen and moved the remaining members of the
family to New York.*

The Starks settled in the German-Jewish community of New
York's East Side (the extreme east fifties), and for three years Josef
Stark officiated at Congregation Adath Israel, located at First
Avenue and East Fifty-seventh Street. Isidore, the oldest of the

16

brothers, was in the Clothing business, and was the economic main-
stay of the family, employing his younger brothers as clerks. Edward
worked in his brother's firm for twenty years, and was listed as a
partner in the city, Directory of 1888.9

On April 1. 1884, Stark married Rose Weinberger. 10 They were
the parents of four children; the eldest, a boy, died when still a
young child. Edward was a member of several social organizations,
most notably the Free and Accepted Masons and the Progress Club.
The latter group was a German-J ewish club based in Stark's neigh-
borhood." He devoted much of his spare time to music, and was
also a member of the Germania Quartett Club, an amateur singing
group, and composed an operetta for them which was performed at
Terrace Garden in 1885. This operetta, "Germania, oder Traumbild
eines Gesang-Vereins" ("Germania, or the Dream of a Singing
Society"), consisted of a number of selections from various operas
and operettas interspersed with Stark's original compositions.12 In
its review of the performance, the Hebrew Standard reported that
"Mr. Stark posses a baritone voice of great volume and beauty, and
was heartily applauded for the masterly rendition of his solos. "13
The following November, the operetta was repeated by the Club at
Terrace Garden.'* It appears that among Stark's social set, if not
with a larger public, his operetta was a huge success.

With the exception of two operettas which Stark wrote for the
Emanu-EI Sabbath School, we hear no more about his activities on
the stage. According to his anonymous biographer, he fulfilled his
parents' wishes by devoting himself to the cantorate.15 He studied
Hebrew and hazanut with his father, and returned to Europe to
study music in Vienna and Leipzig.16 This trip, which probably took
place sometime between November 1885 and October 1886, is said
to have been sponsored by a wealthy friend. 17 This is a rather short
period of time in which to receive a musical education, although
Stark may have studied voice or music with one or more teachers
during his stay in Europe.

In 1891, Stark was appointed to the position of cantor at Con-
gregation Beth Elohim in Brooklyn, New York, which he held for
two years.18 Little is known about Stark's period of service at Beth
Elohim. The congregation's minute book for that period of time is
missing from the synagogue archives. All that remains is a set of
resolutions in album form, produced in beautiful calligraphy.19 In
these resolutions, Stark was praised for

the solemn and reverential manner in which he has
conducted the services, also by his excellent singing,
reading, by conducting the Choir, and bringing the

Musical Library of the Congregation to a perfect
system.

In late October or early November 1893, at age thirty-seven,
Edward Stark was engaged as cantor of San Francisco's Congregation
Emanu-EI. Like its namesake in New York, Emanu-EI was one of
the nation's leading synagogues and it was an honor to be invited
to serve there. The appointment provided Stark with considerable
status in the German-Jewish society in which he had grown to
maturity and felt at ease. San Francisco was a growing, bustling
city, and its richest citizens were members of Temple Emanu-EI.
They provided the funds to support a fine musical program, and
expected the best in terms of performance. Stark's goal was to pro-
vide inspiring and exciting services for his congregation by drawing
from the wellsprings of Jewish tradition.

Stark's dutes at Emanu-EI were defined by the By-Laws of the
Congregation. He was to attend all services and funerals, read the
service at the house of mourning if requested to do so by the family,
teach a class in the Religious School, direct the choir and perform
"such other duties as the Board of Directors may prescribe. "20

Stark did officiate at a number of weddings and funerals, par-
ticularly during the year-and-a-half that the congregation was with-
out a rabbi .21 The greatest part of his time was devoted to the
synagogue service, and that is what shall concern us here. The
congregation was one of the first to adopt the new Union Prayer
Book (1894) issued by the Central Conference of American Rabbis,
and Stark composed and arranged much music to be used with it.
Many of these compositions were collected later into his Sefer Anim
Zemiroth. In addition to Stark's own works, he also performed music
by Sulzer, Spicker, Schubert, Mendelsohn, A. J . Davis and Theodor
Guinsberg. The works of the latter two composers were published
in Alois Kaiser and William Sparger's A Collection of the Principal
Melodies of the Synagogue (1893) .22 Stark also included a number
of hymns by various composers, as well as adaptations of works by
Haydn, Gounod, Auber, Flowtow and Reinecke. This selection of
music is typical of that of American Reform temples of the period. 23

Interest in the music in the synagogues was quite high, and
both the J ewish newspaper Emanu-EI and the secular San Francisco
papers often listed the works performed in their reports on services
at the various synagogues. This was especially true of services held
on the High Holidays and special occasions. The following quotation
from the San Francisco Chronicle demonstrates the attention given
to music in the synagogues of San Francisco:

18

With a cultivated taste for the best music and with
a love for the majestic chanting and reverent choral
responses, the J ewish people have always contributed
liberally for the choirs ... They have always sought
the best singers and the fact of employment in one
of the synagogues was a certificate of excellence. The
ambition of every possessor of a good voice was to
have it heard in the J ewish choirs, and even those
engaged for special occasions when the choir was aug-
mented would refer with pride to their good luck.24
When the choir at Emanu-EI, which usually had eight voices,
was augmented to eighteen or twenty singers, instrumentalists were
often added. This occurred most often on Yom Kippur Eve and for
the Memorial Service, Shavuot and for occasional festivals and cele-
brations. It is unfortunate that only two of Stark's compositions
for instrumental accompaniment survive, because he was one of the
first to write for instruments in the synagogue.

As a choir director, Stark seems to have been quite a task-
master. According to one of his choristers, he rehearsed his choir
seven hours per day, three days a week for several months prior to
the High Holidays.25 This was necessary in order to perform the
choir's tremendous holiday repertoire up to Stark's and the con-
gregation's standards.

Stark's participation during services was not limited to singing.
He also served as an assistant rabbi or minister, and read much of
the service. His reputation, however, was based on his singing and
his compositions. He was a short, squat man, and was said to look
somewhat like Beethoven. He had a magnificent baritone voice which
could fill the huge sanctuary of Emanu-EI. 26 In 1905, Rabbi E. G.
Hirsch of Chicago visited San Francisco, and praised Stark for
"combining depth of religious feeling with dignity and breadth of
artistic execution," and branded him "a master who sings well because
he feels deeply. "27 In addition to singing in the synagogue, Stark
sang occasionally in recitals, and taught voice in his own studio.

Every Sunday morning, Stark conducted a worship service and
taught singing in the Religious School. In 1900, the congregation
published Services for Children. Rabbi J acob Voorsanger wrote the
services and the words for several of the hymns, and Stark composed
and arranged the music. The book undoubtedly was an outgrowth
of the Sunday morning service, and was intended to use primarily at
Emanu-EI.

Stark drew on his experience in order to produce two large
dramatic productions for the school. 'The Merry Company" was

19

presented for Hanukah 1895. 'The Maid of Shushan, or Esther
the Queen" was performed for Purim in 1906. Both of these pro-
ductions served to enhance Stark's reputation in the community, and,
no doubt, his popularity as well. The latter, especially, seems to
have been in the style of the operettas that Stark wrote in New
York: it combined selections from grand opera, light opera and
popular song with "quaint Jewish traditional melodies."**

We see that Stark's position was quite similar to that of the
modern-day cantor who is not only a performer on the pulpit, but
becomes involved in all facts of congregational life. Likewise, Stark
became involved in the professional organization of his day, the
Society of American Cantors. In 1904, he served on an eight-member
Advisory Committee assigned to outline a plan for the future activity
of the Society. Two years later, he served on the Executive Board. 29
It is not possible to evaluate the extent of his activity in the organi-
zation because their records seem to have been lost, although he
probably did attend meetings of the Society on a trip to Cincinnati,
Chicago and New York in 1904.30

In a series of articles published in Emanu-EI, San Francisco's
leading Jewish newspaper, Stark discussed his views on music for
the synagogue. While some of the ideas expressed were clearly his
own, Stark relied heavily on Kaiser and Sparger's introduction to
A Collection of the Principal Melodies of the Synagogue In at least
one instance, he quoted them practically verbatim without giving
them credit.

Briefly stated, Stark's position is as follows: The traditional
melodies of the synagogue became corrupted and disfigured by
hazanim who were only interested in vocal acrobatics. Sulzer and
his colleagues put an end to this practice. The modern composer
for the synagogue should write music of

simple, noble and energetic character, not showy and
inclining to parade, lest it turn attention from the
melody nor too meagre of interest. The hearer must
not be surprised by too frequent a use of dissonances,
unusual tones, modulations and transitions, still care
should be taken, not to convert simplicity into mono-
tony, by employing exclusively fundamental chords and
their first inversions. 31
Stark acknowledges that an elaborate harmonic development has
its place and may be used successfully in the house of worship.
Indeed, the creation of music which is advanced technically and
sounds inspired is the greatest challenge for a composer. Only by
meeting this challenge, he tells us, can a masterpiece be created.

20

Stark's comments about solo vocal work reveal a feeling for the
traditional baal t'fillah. For him, the vocal solo should reflect true
piety, "which is a stranger to all outward show and seeks to appear
before the Eternal Being in submissive humility."32

Stark has great praise for the organ, stating that its versatility
and size have earned for it the principal position among instruments
used in the house of worship. The following description of the
organ illustrates the power which Stark felt the instrument possessed.
The language used places Stark solidly with the romantics of the
nineteenth century:

An organ in the hands of a master, in one of his best
moments of musical inspiration, is inferior to no source
of the sublime in absorbing the imagination. The rush
and concourse of sound has been not inaptly compared
to the full and even volume of a mighty river; flowing
onwards, wave after wave, occasionally dashing against
some rock, till [sic] sweeping with momentary in-
creasing vehemence, to the brow of a precipice, it rushes
down, a wide-spreading and overwhelming flood.33
Clarity and conciseness would seem to be the qualities which
Stark required in sacred music. He desired a middle ground in
harmonic language, avoiding dissonance that diverts the listener's
attention from the melody, but maintaining sufficient harmonic
activity to hold the listener's interest. Certainly, the clear and
thoughtful presentation of the text was Stark's priority.

Stark was very much an advocate of the preservation of tradi-
tional J ewish melodies within the fabric of the contemporray Reform
service, because he felt that only the traditional nusah could move
thej ew.34 He also recommended teaching these melodies to children
in the Sabbath schools and at home. He hoped that traditional
Jewish tunes would replace the banal hymns then taught in the
Sabbath schools, and would in turn be passed on to the next genera-
tion. Stark, however, failed to use traditional melodies in the hymns
he composed for Services for Children.

Before considering Stark's compositions for the synagogue, we
shall examine the state of music in the American Reform synagogue
at the end of the nineteenth century, the period during which he
began his career in the cantorate. The first European professional
cantor arrived in New York in the late 1840s,35 and the profession
was well established in America by the last quarter of the nineteenth
century. Some of these cantors, such as Alois Kaiser (1840-1908)
and Morriz Goldstein (1840-1906) had been students of Sulzer.36
The music sung by these cantors included that of Sulzer, Naumbourg,

21

Lewandowski and other European composers. 37 The first books of
music for synagogues and schools were published in the last three
decades of the nineteenth century, and it is during that period that
we can see the beginning of the development of an American syna-
gogue music.

These publications included both hymnals and music for choir
and organ. The hymnals included material in German and English
(less German is used in later years) to music by such composers as
Mozart, Mendelsohn, Macfarlan, Davis, Bamby, Beethoven and
Wesley, as well as traditional melodies and compositions by the
compilers. Stylistically, the music is similar to the German-Protestant
chorale and Anglo-American Protestant hymn. 38

The most ambitious of the works for choir and organ was
Zimrath Yah (1871-1886) by Alois Kaiser, Morriz Goldstein and
Samuel Welsh. This is a four volume collection of music for the
liturgical year, and includes psalms and hymns set in Hebrew,
English and German according to the various rituals in current use
in American synagogues. About half of the music was written by
the editors; the remainder was adapted from Sulzer, Weintraub,
Naumbourg and others, or composed by non-Jewish composers. It
includes some traditional cantorial pieces, but much of the music
lacks traditional J ewish traits.39

In 1893, Alois Kaiser and William Sparger published A Collec-
tion of the Principal Melodies of the Synagogue.40 Stark drew heavily
on the introduction to this volume for his articles on J ewish music.
The music includes fifty traditional tunes set in hymn form with
English texts, followed by sixteen modem compositions, some of
which are based on traditional themes. The titles of compositions
from this latter group appear regularly in programs performed by
Stark and his choir at Temple Emanu-EI.

Two other works that were published at the turn of the century
deserve mention here. Both are based on the Union Prayer Book
(1894), as is Stark's Sefer Anim Zemiroth, and both became quite
popular. In 1901, Max Spicker and William Sparger's The Syna-
gogical Service was published. Sigmund Schlesinger's Complete
Musical Service According to the Union Prayer Book was published
in several volumes during the next few years. Both of these works
contain little of Jewish content and much that is openly adapted
from opera.41

This music, as well as music published in Europe, was available
to Stark for use in the synagogue, and he did perform a number of
works from these collections. He did, however, feel that this music
was inadequate because of its distance from the tradition and its

22

stress on virtuosity. The question that must be considered now is:
to what extent did Stark achieve his goal, namely, creating a music
for the modem synagogue based on the traditional nusah?

Stark's music for the synagogue may be divided into three
categories, individual works, the hymns of Services for Children and
the volumes of Sefer Anim Zemiroth. Of the latter work, the volumes
for the Sabbath and the High Holidays were published. He did
complete a volume of music for the Three Festivals,42 but this was
not published and is presumed lost.

The tradition which Stark learned from his father, and which
his father had learned from Sulzer, was the nusah of the South Ger-
man J ews.43 A characteristic of this nusah is its strong tendency
to use the adonai malakh and magen avot modes.44 The ahuvah
rabbah mode was used infrequently in Germany.45 The music of
Sefer Anim Zemiroth is true to this tendency. The majority of the
selections are set in major keys. The remainder are in minor, with
one exception which is set in the ahavah rabbah mode. Not a single
selection in the Sabbath Morning Service (which is usually sung in
magen avot and ahavah rabbah) is set in minor, and only in two
services — the "Memorial" and "Concluding" services for the Day
of Atonement — are the majority of prayers and hymns set in minor.
Quite often, a piece set in a minor key ends with a picardy third.

Almost half of the selections in Sefer Anim Zemiroth utilize
nusah in some manner. These selections include settings of Hebrew
texts that have a particular nusah associated with them, settings
of English texts and interludes for organ. Because of the nature of
the Union Prayer Book, Stark was forced to be creative. Traditional
Hebrew prayers were abbreviated, or prayers and hymns in English
were inserted in their places. One reason for Stark's success was
his ability to adapt the nusah to this new situation. On the other
hand, nineteen Hebrew texts with distinctive nushaot were not set
as traditionally sung.

It is in the services for the High Holidays that nusah is given
the most attention. The service for New Year evening and the
"Concluding Service" for the Day of Atonement are the only two
services in which all of the Hebrew texts are set to the traditional
nusah. There are several possible reasons for the increased use of
nusah on the High Holidays. First, because the High Holidays occur
annually, their nusah is more pure than that of Shabbat, which has
been varied and diluted more by usage. Second, the tradition of
singing certain texts to particular misinai tunes on the High Holi-
days is very strong. Third, the Sabbath services were the first to

23

be published. Stark may have made a conscious attempt to write
more in the nusah in the volumes that followed.

How authentic is Stark's transmission of the traditional nusah?
In most cases, his melodic lines are quite similar to settings of the
same prayers found in Sulzer's Schir Zion, Baer's Baal T'Fillah and
Idelsohn's Thesaurus of Oriental -Hebrew Melodies, volume seven
(The Traditional Songs of the South German J ews). Stark is loyal
to the South German tradition, which he follows consistently when
it differs from the tradition of Eastern Europe.

Motives from the ahaoah rabbah mode occasionally occur in
Stark's settings of the liturgy, but only one prayer, "Toras Adonoy"
for Sabbath morning, is set entirely in this mode. This particular
selection is written in an Eastern European choral style, in which
the choir repeats every few words after the cantor, and is the only
such piece in Sefer Anim Zemiroth. Stylistically, it is out-of-place
in the collection.

Melisma is a characteristic feature of synagogue song. Colora-
tura, although more common in Eastern Europe, was not unknown
in Germany, although a syllabic style was more common there.
Sulzer incorporated coloratura in his cantorial recitatives (for example
"Vay'khulu," Schir Zion, No. 42). Stark made limited use of colora-
ture in this cantorial solo passages, but his writing lacks the imagina-
tion and vitality of Sulzer's style. In most cases, the same vocal
runs are repeated over and over again. At the other extreme, Stark
metricized nusah, which traditionally was chanted freely. One pos-
sible reason for this practice is that all of Stark's music was
accompanied.

The weak area in Stark's music is his own compositional tech-
nique. His melodies are dull and tedious, and are hampered by a
metrical rigidity that works against the natural rhythm of the words.
His harmonic language is too often reminiscent of the "barbershop"
quartet music which was so popular during the period, and he
regularly changes keys for no apparent reason. One of the most
serious flaws of Stark's choral music is what Albert Weisser termed
"a short-breathed sectionalism." *6 His phrases are short, and the
music seems constantly to be coming to a stop. Excessive use of
the fermata and breath mark tend to emphasize this characteristic.
A successful performance would have to gloss over the pauses which
Stark placed in his work.

Stark's setting of the Hebrew language is quite good, with
careful attention paid to correct accentuation. He does not show
the same ease with English prosody, which he frequently sets in-
correctly. Stark does not always succeed as an interpreter of text

24

and an expresser of feelings, but his music breathes sincerity. He
is at his best in his "Memorial Service" for the Day of Atonement.

Stark may have been the first American synagogue composer to
write for an ensemble that contained instruments in addition to the
organ. Two of his early works, "Memorial Hymn" (1895) and "Day
of God" (1898), introduce various instruments to the choir and
organ. The former composition employs a harp and 'cello, and the
latter adds a flute and violin to this ensemble. In general, Stark's
instrumental lines are well-written. He tends to use the harp to
convey a mood of sentimentality. It is known that Stark composed
additional music for instruments and choir, and employed an orches-
tra on several occasions each year. The two works mentioned above
are the only compositions for instruments that have survived to the
present day.

What are the sources of Stark's style? Both Idelsohn and
Weisser note the strong influence of the classic oratorio,47 and the
oratorio style is present in Stark's vocal lines. The works of Sulzer
(particularly) and Lewandowski were Stark's models for overall
form. His harmonies, however, often bring to mind a number of more
popular styles prevalent at the turn of the century, such as "barber-
shop" quartet and light opera. Rather than forging a style of his
own, Stark wrote in an amalgamation of different styles, and did not
choose the most progressive styles of his day. Perhaps it is for this
reason that Stark's music was heard in American synagogues as
long a the styles he imitated remained popular.

Several of Stark's compositions might still be used successfully
in the synagogue. His settings of "Eternal Truth" ("Sabbath
Evening," No. 6, "New Year Evening," No. 4) are excellent examples
of responsive chant in the nusah, and the congregation might be
encouraged to participate. "Hodu Ladonoy" and "Onno Adonoy"
("Sabbath Morning," No. 10, No. 11) are simple and effective for
Shabbat Hanukah. "Boruch Attoh" and "Sochrenu" ("New Year
Morning," No. 5, No. 6) are a nice combination of cantorial solo and
choral response for the High Holidays. Stark's setting of "El Noro"
("Concluding Service," No. 72) can be used effectively during the
n'ilah service.

With the exception of the last work, what these compositions
have in common is simplicity. Not all of Stark's simple and short
pieces are good, but those which are his best are short in duration.
In 1896, he praised that which is simple and clear.48 When he
heeded his own advice, he wrote his best compositions.

Edward Stark's music was a positive step for the American
Reform synagogue during the first decades of this century. For most

26

of his mature life, Stark was an active cantor, devoted to demon-
strating from the pulpit the ideas that he incorporated in his pub-
lished works. In an age when many of his colleagues ignored the
traditional nusahhat'filah, or used it only sparingly, Stark attempted
to return it to its rightful place in the synagogue. He tried to accom-
plish this by translating the nusah into the musical language then
popular in America. Because Stark's work was so rooted in the
present, its popularity was destined to be short-lived. His music
remained popular for as long as it did because synagogue music in
general failed to look forward.

In early September 1912, on his way to a rehearsal for the
High Holidays, Stark fell ill and had to betaken home. The Emanu-
EI reported that his physician had attributed his illness to "the
strain of overwork."49 Although he did return to the pulpit in J an-
uary, it was clear that he was not in good enough health to be able
to continue in his position. Stark resigned the following J une, and
in August Reuben Rinder was elected to succeed him.50 He passed
his last years quietly in San Francisco, and died on April 21, 1918
while visiting his daughter in Los Angeles."

Edward Stark left behind a tradition of high musical standards
at Temple Emanu-EI. His successor, Reuben Rinder, served the
congregation for over half a century, and commissioned a number of
compositions for the synagogue, among them the Sacred Services of
Bloch and Milhaud. Stark's music, especially his High Holiday
services, continued to be performed at Temple Emanu-EI for many
years. According to Mrs. Rinder, Cantor Rinder used Stark's High
Holiday music for most of his career, and it was heard in many
American synagogues during the half century following his death,
Stark's contribution was to make the traditional nusah hat'filah the
basis for music in the Reform synagogue. I n addition, he can be
considered one of the first modern American cantors.

NOTES

1 Leon J ick The Americanization of the Synagogue (Hanover, New Hamp-
shire: University Press of New England for Brandeis University Press, 1976),
p. 81.

2 Irena Narell, Our City: The} ewsofSan Francisco (San Diego: Howell-
North Books, 1981).

3 Fred Rosenbaum, Architects of Reform (Berkeley: J udah L. Magnes
Memorial Museum, 1980).

4 Nusah hat filah (or nusuh, plural nushaot) refers to the traditionally
accepted way of chanting the synagogue service, including the usage of prayer
modes, misinai tunes and other traditional melodies. The style and content of
nursah vary among different groups of J ews, and change through time.

5 Albert Weisser, The Modern Renaissance of J ewish Music (New York:
Bloch, 1954), p. 135.

26

6 Birth Certificate, Edward Stark, Israeli&he Kultusgemeinde, Innsbruck,
Austria. The commonly published years of birth of 1858 and 1863 are both
incorrect.

7 Aron Tanzer Die Ceschichte der J uden in Hohenems und in Obringen
Voralberg (Meran: F. W. Ellmeureich, 1905). p. 645. Also see Josef Stark's
obituaries in the Jewish Messenger (August 14, 1888). the Hebrew J ournal and
Die Deborah (both c. August 11, 1888).

8 Anonymous biography of Edward Stark in the possession of Mrs. Dorothy
Taub of Los Angeles, Edward Stark's granddaughter. This biography was
written after 1929 by somebody who knew Stark or his family.

9 New York City Directory, 1889.

10 Twenty-four telegrams sent to the Starks on their wedding day are
preserved in Stark's scrapbook.

11 Letters in Stark's scrapbook, February, 1889. On the Progress Club, see
Harold LaT. Bennet's Older Clubs of New York (New York: St. Nicholas
Club, 1933-34), p. 11.

12 Hebrew J ournal, c. November 14, 1885. The previous year, Stark had
written a similar production for the Progress Club. A program is included in
his scrapbook.

13 Hebrew Standard, c. November 14, 1885.

14 Hebrew J ournal, c. November 20, 1886. This report contains a long list
of the music included.

15 Anonymous biography, p. 1.

lb American J ewish Yearbook, 1904, p. 102.

17 Dictionary of American Biography, 1935, 5.V. "Stark, Edward Josef," by
David de Sola Pool.

18 The year in which Stark accepted the position is uncertain, although the
evidence points to 1891. The history of the congregation in its Centennial
Year Celebration album (1962) does not mention his presence there at all.
Samuel P. Abelow, in his History of Brooklyn Jewry (Brooklyn: Scheba Pub-
lishing Co., 1937) mentions only that he occupied the pulpit "for a short time."
From 1884 to 1891 William Sparger served the congregation as minister and
introduced a number of reforms. In 1891 the functions of rabbi and cantor
were separated. Rev. Dr. George Taubenhaus was engaged as rabbi, and, I
believe, Stark was engaged as cantor.

19This album is currently in the possession of Congregation Emanu-EI,
San Francisco.

20 Congregation Emanu-EI, "By-Laws of Congregation Emanu-EI," San
Francisco, 1892.

21 J une 1908-J anuary 1910. This was the period between the death of
Rabbi J acob Voorsanger and the arrival of his successor, Martin Meyer.
Emanu-EI, J une 1908-J anuary 1910.

22Alois Kaiser and William Sparger, A Collection of the Principal Melodies
of the Synagogue (Chicago: T. Rubovitz, 1893).

23 Weisser, pp. 137-142.

24 "Singers in the City Churches," San Francisco Chronicle, November 12,
1899, p. 12.

25 S. Homer Henley, "Yom Kippur in the Temple Emanu-EI," Western
States J ewish Historical Quarterly 4, 1 (October, 1971).

26 Ibid.

27 E. G. Hirsch, "Impressions," reprinted from the Reform Advocate,
Emanu-EI, September 11, 1905, p. 8.

27

28 J ewish Times and Observer (San Francisco), March 9, 1906, p. 5.

29 American J ewish Yearbook, 1904, p 275, 1906, p. 122.

30 Emanu-EI, December 10, 1904, p. 15.

31 Edward Stark, "Music in the House of Worship." Emanu-EI, April 17,
1896, p. 13.

32 Ibid.

33 Ibid.

34 Edward Stark, "How Traditional Music May Be Retained in the J ewish
Reformed Service," Emanu-EI, September 18, 1903, pp. 19, 21.

35 Weisser, p. 135.

36 Abraham Z. I delsohn, J ewish Music (New York: Holt, Rinehart, and
Winston, 1929), pp. 332-323.

37 Weisser, p. 136, n. 9.

38 Ibid., p. 137.

39 The author was only able to examine volume four, which was compiled
by Kaiser alone. Alois Kaiser, Zimrath Yah, vol. 4: Massaf, Minchah and
N'ilah for New Year and Day of Atonement (Baltimore: A. Kaiser, 1886).

40 Kaiser and Sparger.

41 Max Spicker and William Sparger The Synagogicai Service (New York:
G. Schirmer, 1901). Sigmund Schlesinger, Complete Musical Service for the
New Year (New York: Bloch Publishing Company, 1901).

"Anonymous biography, p. 3.

43 I delsohn, p. 248.

44 Albert Weisser, Class in Synagogue Music Literature, Jewish Theological
Seminary, New York, September 23, 1980.

45 Each of these modes is composed of a number of motives which can be
related to a given scale, The mode is dot define by the scale, rather, it is the
motives that create the sound of the mode. Ian general, th adonai malakh mode
may be described as major-like, and the magen avot mode as minor-like,
whereasdth ahauah rabbah mode has an augmented second between the second
and third scale degrees.

46 Weisser Modern Renaissance, p. 141.

47 I delsohn, p. 326; Weisser, ibid.

48 Edward J . Stark, "Music in the House of Worship," p. 12.

49 Emanu-EI, September 6, 1912, p. 6.

50 "Minute Book," Congregation Emanu-EI (1906-1913), J une 16, 1913,
p. 342 Emanu-EI, August 15, 1913, p. 8.

51 Emunu-EI, Apri I 16, 1918, p. 5.

SELECTED BIBLIOGRAPHY

Emanu-EI (San Francisco).

Henley, S. Homer. "Yarn Kippur in the Temple EmaYiu-EI. Western States

J ewish Historical Quarterly 4, 1 (October 1971) : 11-19.
Idelsohn, Abraham Z.J ewish Music. New York: Holt, Rinehart, and Winston,

1929.
Jick, Leon The Americanization of the Synagogue. Hanover, New Hampshire:

University Press of New England for Brandeis University Press, 1976.
Kaiser, Alois and Sparger, William. A Collection of the Principal Melodies of

the Synagogue. Chicago: T. Rubovitz, 1893.
Rosenbaum, Fred. Architects of Reform. Berkeley: J udah L. Magnes

Museum, 1980.

28

Weisser, Albert. The Modern Renaissance ofjewish Music. New York: Bloch
Publishing Company, 1954.

Zucker, J effrey S. Edward Stark: An American Cantor. Unpublished masters
thesis, Cantors Institute-Seminary College of J ewish Music, J ewish Theo-
logical Seminary, New York, 1983.

ARTICLES BY EDWARD STARK

1896 "Music in the House of Worship." Emanu-EI, April 17, 1896, pp. 12-13.
A slightly different version of this article was published in the Ameri-
can Hebrew, J uly 31, 1896, pp. 325-326.

1898 "The New Organ of the Temple Emanu-EI." Emanu-EI, August 19, 1898,
p. 9.

1903 "How Traditional Music May Be Retained in the J ewish Reformed

Service." Emanu-EI, September 18, 1903, pp. 19, 21. This article
was published as "Die traditionelle Musik des J udentums" in the
Oesterrei chi sch-U ngari sche Cantoren-Zeitung, 24 J ahrg., nr. 1, 4
(1904).

1904 "Solomon Sulzer: Professor and Chief Cantor of Vienna." Emanu-EI,

March 18, 1904, pp. 7-9.
1907 "The Seder." Emanu-EI, March 29, 1907, p. 8.

MUSIC BY EDWARD STARK

"All Praise to God." Anthem for baritone solo and chorus, by R. Wagner, arr.

E. Stark. Manuscript, J udah L. Magnes Memorial Museum, Berkeley,

nd.
"Day of God" ("Tag des Hernn"). Soprano solo and mixed chorus, with flute,

violin, 'cello, harp, and organ accompaniment (English and German words).

San Francisco, 1898 (by the composer). Hebrew Union College Library,

Cincinnati.
"Hymns." Manuscript, Temple Emanu-EI, San Francisco. Dated 1906-1907:

contains ten hymns.
'In Distress I Called Upon the Lord" (Psalm 118:5-25). New York: Bloch

Publishing Company, 1912. Adapted and arranged to the English for soZg

chorus, and organ from Halevy's "Min Hammetsar."
"The Lord is my Light." New York: G. Schirmer, 1905. For soli, choir and

"Memorial Hymn" ("Why Art Thou Cast Down"). San Francisco: L. Roesch
and Company, 1895. For soli and double chorus, with 'cello and harp
obligato and organ accompaniment.
Services for Children. San Francisco: Congregation Emanu-EI, 1900, 1908.

By Jacob Voorsanger, with music by Edward Stark.
Sefer Anim Zemiroth. New York: Bloch Publishing Company. Services for
the Sabbath, New Year, and Day of Atonement. The various volumes
were issued during the years listed below:

Day of Atonement, Eve of Atonement (1913)
New Year Evening and Morning (1910)
Sabbath Eoening (1911)
Sabbath Morning (1909)
Shofar Service According to the Union Prayer Book. San Francisco, by the
composer, 1905.

MUSIC REVIEW

"FAMILY SHABBAT SERVICES AND MELODIES", (Cassette)
featuring Hazzan Abraham Lubin, produced by The Board of
Jewish Education of Metropolitan Chicago, also including study

kit ($18)

The cassette tape under review, produced during 1983 by the
Board of J ewish Education of Metropolitan Chicago, is intended for
"family study and enjoyment" by affiliants of Conservative con-
gregations. I have no doubt that it will successfully meet this dual
goal.

Side one of the tape comprises a quintessential selection from
the Friday night liturgy. The second side of the cassette contains
Shabbat Zemirot eclectically chosen, as well as "Additional Songs in
the Sabbath Spirit" and the Birkat Hamaton. The recording ends
in a sublime fashion as Cantor Abraham Lubin's superb rendition of
Todros Greenberg's "Elohai Neshama" heralds the coming of Shabbat
morn — an apt conclusion, indeed, to a finely conceived and skillfully
executed educational project.

A caveat which I, in particular, am tempted to proffer in con-
sidering this timely offering, is the absence of Shabbat morning
chants. Perhaps some future cassette will include this part of our
liturgy also. Admittedly, though, since most Conservative congrega-
tions do now tend to stress the E rev Shabbat Service, the choice of
items is seen to be judicious.

Despite the inescapable constraints of such an enterprise, the
melodies selected are certainly both interesting and edifying, and
will servetopleasurably enhance the layman's knowledge of the
sacred music of our Hebrew heritage. Where the traditional nusah
is provided for a certain text, other alternative — possibly more
singable — melodies are given. The individual listener is thus enabled
to appreciate the niggunim on various viable levels.

Hazzan Lubin's international reputation as an outstanding prac-
titioner of thecantorial art, and a scholar in the field of J ewish
music generally, is evident even upon a cursory hearing of the
recording. Moreover, in addition to his having "prepared and edited"
this worthy enterprise, Cantor Lubin wrote the musical arrangements
for two of the items, and composed five others.

Sonia Kass provides a solid, yet sensitive, piano accompaniment.
David Politzer's coordination of the project is laudable, and J oe

Aryeh Finkelstein serves as the Hazzan of Beth El Congregation in
Highland Park, Illinois.

30

Ben-Yisrael's (Audio Production; Design and Graphics) efforts
similarly deserve positive mention.

A booklet containing the Hebrew text, transliteration and trans-
lation of the items sung, accompanies the cassette tape, and both are
handsomely and conveniently encased.

Aryeh Finkels tein

"SHIRON HAD ASH- NEW JEWISH SONGSTER by Gershon
Ephros, Cantorial Anthology Foundation, Inc., 1982 Volume 1
— The Holiday Cycle

These past five years have only reinforced our conviction that
Gershon Ephros was a uniquely gifted individual whose passing was
a serious loss and whose likes we are not apt to see in the fore-
seeable future. The contributions of Ephros in diverse areas of
J ewish music are impressive indeed.

He gathered and thus rescued, little known compositions of merit,
he unearthed lost manuscripts, corrected and arranged items without
number, composed abundantly for the synagogue, set to music texts
of our poets, composed for instruments, taught and lectured, and
his contributions continue to enrich our repertoire.

Recently there appeared "Shiron Hadash," printed in Israel in
which Ephros set to music (for children's voices) the verses of con-
temporary Hebrew poets relating to all our major and minor holidays
including Yom Ha-atzmaut and Yom Hazikaron as well as the
Sabbath.

While most of the music is his own, Ephros also utilizes Sephardic
Babylonian, Yemenite, cantillation, hassidic and folk tunes. Included
are also a melody by J . Achron and Marcel I o's "Maoz Tzur".

The alert reader will find in these songs many nusah motifs
associated with most of our holidays. Thus, our children will meet
in pleasant encounter such tunes as are reserved for Misod, Hakafot,
Kaddish for Geshem and for Neilah, Akdamut, Shir Hashirim, Hodu,
Barkhu for Rosh Hashanah etc.

The handsome volume, beautifully illustrated, contains 74 songs
with English translations. The melody appears in the upper line,
the lower line containing an imaginative though fairly easy alto
accompaniment adding a welcome dimension to this lively, youthful,
altogether delightful work.

31
A pedantic Hebraist should have no difficulty in setting aright

a few misaccented words such as those in Hanerot (p. 78) and L'tu

Bishuat (p. 96).

Since the music for Vol. II is available and its publication is

being planned we look forward to continued joy derived from the

gifted pen of the unforgettable Gershon Ephros.

Max Wohlberg

"ACROSS THE GENERATIONS" — JAN PEERCE, tenor; selec-
tions from the 10th Anniversary Gala Concert of Dayton, Ohio's
BETH ABRAHAM YOUTH CHORALE, HAZZAN JEROME
B. KOPMAR, Director; with orchestral and piano accompani-
ments; recorded live May 2, 1982; produced by TAMBUR
RECORDS, 1983; $8.98

Here is an historic recording that is a must for any lover of great
singers, disciplined choruses, and fine J ewish music. Indeed, this
spectacular, live recording brings together a virtually unheard of
combination of musical forces. The beloved tenor, J an Peerce, is
heard here in phenomenal form as soloist with the marvelously pre-
pared Beth Abraham Youth Chorale of Dayton, Ohio in a concert
celebrating the 10th anniversary of the chorus' founding.

The record is appropriately titled "Across the Generations," for
the soloist and chorus who blend so beautifully in producing this
music are separated by a generation gap of about sixty-five years!
Incredible? Yes indeed, and so is the almost "electric" atmosphere
which permeates the performance. The listener senses an awesome
mutual respect between soloist and chorus that produces a high level
of musicality, with warmth and spontaneity, as well as control. All
that is captured here for posterity is surely the result of the inspira-
tion and charismatic leadership of Hazzan J erome B. Kopmar.

Kopmar's outstanding record of commissioned J ewish works (all
of which are documented on discs) is probably unrivaled. More im-
portant, this fine music is alive and has been sung by the Chorale
on tours throughout the world. This new recording has four wonder-
ful compositions for cantor and chorus by Sholom Kalib, all of which
were written for and performed for the first time at this concert.

Kalib's talent for capturing the authentic flavor of traditional
hazzanut and choral styles has surely found fruition in the vast

David Lefkowitz is the distinguished Hazzan of New York's Park Avenue
Synagogue.

32

musical literature he has created for all of us through the inspiration
of Hazzan Kopmar. "Uv'nucho Yomar" from "DAY OF REST" and
"Uvashofar Gadol" from "DAYS OF AWE" are already considered
masterpieces of our time. Both compositions demand vocal control,
musical ity, and expressiveness from both soloist and chorus, and
technical control and intimacy with the musical form from the
conductor. To say that all of these were present here is an under-
statement! "Mizmor Shir Chanukat Habayit" (by Todros Green-
berg) was arranged and beautifully orchestrated for this occasion by
Kalib.

The final work on the program and the major commission of the
concert, "Modim Anachnu Lack," is probably the most adventurous
cantorial-choral concert piece Sholom Kalib has written. The orches-
tral and choral writing (there is a very fine fugue pi us lovely harmonic
treatment here) is highly developed. The cantorial sections are less
novel although in all fairness to the composer, this composition would
probably be better served by a more stylistically-sensitive cantor.
The only weakness of the piece is a lack of musical cohesiveness
between sections, especially toward the latter part of the work. It
is a potentially stunning concert piece of considerable length, and
this reviewer would love to see some minor revisions by the composer.

The recording also contains two of J an Peerce's most famous solo
pieces — "A Dudele" and "A Din Toire Mit Gott." The vocal clarity,
technical security, and unswerving steadiness of tone here are
amazingly similar to the singer's performances of these pieces twenty-
five years ago! And the artistic nuances and warmth of expression
are in fact superior here.

Mr. Peerce is a vocal phenomenon without peer. The gorgeous
dark, burnished tone color displayed here along with marvelous legato
of line and expressive interpretation with feeling and style — all of
these are qualities which are combined here in a way which is captured
by no other Peerce recording. In fact these qualities of sound are
not heard on any recording of any other singer for one simple reason:
this is a sound which could only have been produced by a singer and
artist of incredible experience and maturity, and there never has been
a singer of Mr. Peerce's caliber that was so preserved at the age of
seventy-eight! And that is precisely the point of this. Jan Peerce
has shown us that a singer can continue to grow. Some of our most
celebrated tenors of today could do well to listen carefully to this
recording and learn the lessons borne out by it. A singing artist in
his mature years is able to bring special dimensions of beauty and
musical expression to singing if only the voice can be preserved. J an
Peerce has been a legendary singer '"across the generations." He

33

continued to bring musical joy to audiences after his colleagues, who
were two or three generations younger, had already faltered. What
is most astounding in his performance on this recording is Peerce's
unbelievable ringing clarity on notes above the staff, together with
an impeccably controlled expressive legato. Furthermore, he is
absolutely undaunted by the demanding tessitura of Kalib's music
which sends many talented cantors half his age into "labor!"

"ACROSS THE GENERATIONS" is a collector's item for
another reason, albeit a sad one. The fifty-five year professional
singing career of J an Peerce was abruptly interrupted just four days
after this great May 2, 1982 Dayton concert when the singer suffered
a paralytic stroke. We are fortunate that his inspired performance
with Hazzan Kopmar and the Beth Abraham Youth Chorale (both
of whom Peerce publically praised in rather remarkable superlatives
in a speech at the close of the concert which unfortunately was not
included on this disc) has been preserved for posterity in this
recording.

It is, perhaps, the Chorale's finest recorded live performance to
date. J erome Kopmar's continuing growth in technical precision and
control, as well as his musical maturity in phrasing and pacing, are
apparent throughout.

As if all of the above were not enough, we are fortunate even
further in that the quality of the recording is superb in every respect.
The degree of presence for soloist, chorus and orchestra are all quite
astounding. Yet the integrity of balance and accoustical ambience
of the Beth Abraham sanctuary have been quite well preserved.

Don't miss this recording.

David Lefkowitz

34

MUSIC SECTION

A collection of traditional classic choral compositions for the
synagogue collected by Hazzan Max Wohlberg, Professor of Haz-
zanut, Cantors Institute, J ewish Theological Seminary of America.

Adono Moloch D. Nowakowsky

Zaddik Kattomor L. Kornitzer

Weschomru (Choir) M. Goldstein

Weschomru (Cantor-Choir) .... M. Goldstein
Weschomru (Cantor-Choir) ....M.Goldstein

Elohenu Velohe Avosenu M. Gravmann

Adonoj Moloch E. Kirschner

V'shomou L. Kornitzer

Kaddisch (Sabbath Eve) A. Rose

Mogen Owos A. Rose

Elohenu A. Rose

Kiddusch (a) A. Rose

Kiddusch (b) ........... A. Rose

D. NOWAKOWSKY

Adono moloch.

Moderate maestoso.

Sopran 1.11.

Coro.

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Zaddik kattomor

Kutor Nlcht iu langr8am(J-»2),8ehrgebunden

Wshogen ba#denu.

Rec. Ad libitum.

Max Goldstein.

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Max Goldstein.

gg #=^=£,r \r v p i M^ r i r"~ ^£

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70

NOWAKOWSKY FRAGMENTS

These excerpts of music by composer David Nowakowsky (1849-
1921), music director of the Brody Synagogue in Odessa, are among
a collection of Nowakowsky works currently being prepared for pub-
lication by Hazzan David Lefkowitz of the Park Avenue Synagoguge
in New York City.

Etz Chayim Hi

Mimkomo (Sabbath Musaf Kedushah)

Sh'ma Yisrael (Sabbath Musaf Kedushah)

Part HI- Mimkomo

DAVID NOWAKOWSKY

Musaf Kedusha - III - 1

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usaf Kedusha - in - 3

Sh'ma Yisrael

DAVID NOWAKOV

?¥* pur u\\' y \ r rn r r ^'r r i f

Musaf Kedusha - Sh'm