lournal
of
Synagogu
ie
Music
December 1991 . Tevet 5752 . Vol. XXI
. No. 2
From the Editor
Jack Chomsky 3
Articles:
Research On Voice Productions
From Diverse Traditions:
An Appeal to Hazzanim
Howard B. Rothman 5
Improving Experiences With The
Volunteer Synagogue Choir
Eugene D. Rosner 1 3
Nusach Notes
Max Wohlberg 25
Leitmotifs in the Sephardic High Holy
Day Liturgy
Maxine R. Kanter 33
Recollections of Early Years of the Cantors
Assembly West Coast Region, 1947-1 956
Julius Blackman 53
Review Section:
The Golden Age of Cantors:
Masterpieces of the Synagogue
Robert S. Scherr 58
Yamim Noraim, Volumes I and II
Murray E. Simon 60
JOURNAL OF SYNAGOGUE MUSIC, Vo/ume XXI Number 2
December 1991/Tevet 5752
EDITOR: Jack Chomsky
MANAGING EDITOR: Samuel Rosenbaum
REVIEW EDITOR: Robert Scherr
EDITORIAL BOARD: Ira Bigeleisen, Stephen Freedman, Edwin Gerber,
Paul Kowarsky. Eugene Rosner, Robert Scherr, David Silverstein.
OFFICERS OF THE CANTORS ASSEMBLY: Nathan Lam, President:
Stephen J. Stein, Vice President; Abraham Lubin, Treasurer; David Propis,
Secretary; Samuel Rosenbaum, Executive Vice President.
JOURNAL OF SYNAGOGUE MUSIC is a semi-annual publication. The
subscriptionfee is $15.00 per year. All subscription correspondence should be
addressed to Journal of Synagogue Music, Cantors Assembly, 150 Fifth
Avenue, New York, New York 10011.
Articles and Letters to the Editor should be addressed to Cantor Jack Chomsky,
Editor, Journal of Synagogue Music, 1354 East Broad Street, Columbus, Ohio
43205. Telephone is (614) 2538523. Fax is (614) 253-6323. Articles should
be typewritten and double-spaced. Music and musical examples should be
photo-ready. Material can also be sent on computer disks as follows: IBM-
compatibles 1/4" or 3 1/2" using WordPerfect5.1 software or M acintosh3 V
2" using Pagemaker software. For further questions, contact the editor.
Copyright © 199 1, Cantors Assembly
FROM THE EDITOR
This issue of the Journal of Synagogue Music represents an unusual
variety of articles on a broad array of subjects. The reader may begin with
Howard Rothman's fascinating inquiry into the technical aspects of vocal
production of hazzanim and other artists. Dr. Rothman's article really
serves primarily to begin the questioning and gathering of information.
We look forward to learning about his conclusions at a later date.
Eugene Rosner's suggestions on how to work most effectively with a
volunteer synagogue choir are bound to be helpful in considering
repertoire and rehearsal and performance practices for hazzanim and choir
directors.
Max Wohlberg's ruminations on Nusach reveal once again the
encyclopedic recall of one of the great hazzanic sages of our era. Readers
canalsolookforwardtothenextissueof the Journal, which willbedevoted
to articles contributed in honor of Hazzan Wohlberg's 85th birthday by
some of those who have been touched by his teaching and personality.
Maxine Ranter's examination of the use of Leitmotifs in the high
holiday liturgy of the Sephardim will provide an in-depth view of that
subject which is not only fascinating, but also timely for the
quincentennary being observed around the world.
And Julius Blackman's recollections of the early days of the Cantors
Assembly on the west coast provide anecdotal material to be treasured by
those who participated as well as those who will want to preserve this
record for the future.
Finally, our reviews consider something old and something new:
Robert Scherr examines the music book/cassette set The Golden Age Of
Cantors, while Murray Simon takes a look at the new two volume
anthology of High Holiday Music published by Transcontinental Music.
Thanks to Robert Scherr for taking on the role of Review Editor. Future
items for review may be sent directly to Hazzan Scherr at Temple Israel of
Natick, 145 Hartford Street, Natick, Massachusetts 01760.
This issue of the Journal lacks a Music Section. There is plenty of
music included in the articles, but readers who miss having this feature are
encouraged to send items (original pieces are particularly welcome) to me
at the Editorial address: Congregation Tiferetb Israel, 1354 East Broad
Street, Columbus, Ohio 43205. Ready-to-publish materials are preferred,
but we do have some resources available for music copying.
■Jack Chomsky
RESEARCH ON VOICE PRODUCTIONS FROM
DIVERSE TRADITIONS: AN APPEAL TO HAZZANIM
Howard B.ROTHMAN
The research program tbat is described below derived from my
professional interests involving perception and the acoustic analysis of
speech and voice and from several erroneous assumptions. For
approximately ten years I have been conducting perceptual and acoustic
research on the voice of opera singers. Perceptually, the intent was to
determine if listeners have an auditory concept of specific tonal qualities
and movements, if there is a consensus of opinion as to that concept, and
if listeners can consistently categorize the different vocal productions.
Acoustically, the intent was to specify the nature and extent of the
parameterscomprising vocal tones and movements and todetermine if any
measured parameters could be identified that influenced the perceptual
judgments. For example, if a group of listeners separated two voice
samples into the categories good and bad vibrato, or into the categories
open and covered tones, would certain acoustic parameters be identified
and measured that also differentiated the samples?
The erroneous assumptions derived from my long-term love of
hazzanut, from many years of listening to the historical recordings of the
"golden age" hazzanim and from many years of living in the Jewish galut
of North Central Florida, far away from any center of Jewish culture and
far away from the possibility of interacting with any contemporary
hazzanim. My assumptions were that some hazzanim sing for many hours
without benefit of amplification, use a great deal of coloratura and vocal
ornaments (such as trills), sometimes without any food or water and seem
to go on for years without experiencing any vocal difficulties.
I have been enlightened, at least partially! Hazzanim do not appear to
be supermen and many do experience the same vocal problems that all
singers experience. Some questions still remain. Were the "golden age"
star hazzanim like Rosenblatt, Hershman,Sirota, Chagy, etc. supermen?
Or did they experience the same problems that Peerce, Pavarotti, etc.,
experience? Does vocal style/tradition have any influence/impact on a
DR. HOWARD B. ROTHMAN is a Professor in the Department of
Communication Processes and Disorders of the Institute for the Advanced Study
of Communication Processes at the University of Florida, Gainesville, Florida.
hazzan's long-term vocal health? Do hazzanim reflect the same aesthetics
as do opera singers in terms of their vocal behaviors? To answer these and
other questions, I am developing a program of research to compare voice
productions deriving from diverse traditions.
The human voice can be the most responsive, flexible and infinitely
variable sound producing instrument When used by the artistic level
singer of opera, lied, popular/folk music or liturgical music, it is the most
thrilling of all instruments and represents the human voice at its highest
level of achievement Even so, the physiology of voice production and the
acoustic parameters that comprise the signal are not completely
understood, despite a vast literature extending from the work of Manuel
Garcia in the 1850's to the present Further, we know that there are
differential standards of vocal beauty, effectiveness or aesthetic
preference because we are moved by the exceptional sounds produced by
a premier singer. However, we do not know what is common or different
in these standards within or between diverse ethnic groups.
The art of voice production in singing is a learned behavior derived
from different traditions. The effects of a given tradition on a practitioner
are strong enough to enable a listener to identify the tradition. Miller
(1977) describes differences in English, French, German and Italian
styles. Smith et al(1967) have described an unusual mode of chanting
produced by Tibetan Lamas. But even the relatively untrained listener can
hear differences between, for example, Western-trained, North African
and Chinese singers as well as others who are producing traditional styles
of vocalizations.
Jews, as a group, are comprised of individuals from many different
countries and cultures. Their cultural affilitations have, for the most part,
remained intact (Cohen and Katz, 1968). In her introductory remarks
during the 1978 World Congress on Jewish Music, M. Smoira Cohen
indicated that research on Jewish music is concentrated in two major
centers: the United States and Israel, with Israel providing leadership in
ethnomusicological research that is attempting to describe the chants and
melodies of different ethnic communities gathered in Israel from the
Diaspora. Various scholars (Bruno Neal, Simha Arom, Amnon Shiloah.
Dahlia Cohen and Ruth Katz), in their presentations at the 1978 Congress,
discussed the need for safeguarding the continued existence of oral
traditions before homogenization sets in, for collecting materials,
diffusion and research. Professor Nettl emphasizes the importance of
research, as "the continued existence of centuries-old musical traditions
hang in the balance." If they are not preserved, they will disappear over
time. Rosenbaum (1985) tells of the concern of the eminent hazzan David
Kusevitsky for the preservation of hazzanut:
Where will they hear the sound of the authentic traditional
hazzanut which we inherited from the burned-out world of
Eastern Europe, if not from those of us who escaped? In past
generations there were hundreds of European-trained hazzanim
serving countless generations where you could hear- where you
could almost feel and touch the sounds of the nusach of Jewish
prayer. Today, these hazzanim and their synagogues have almost
disappeared.
Current research on the singing voice is attempting to bring scientific
objectivity and discipline to a tradition based on subjectivity and
individual biases. An understanding of the physiology of exceptional
voice productions and its acoustic manifestations is necessary in order to
help understand the parameters comprising various vocal styles, to help in
the development of better training methodologies, to devise methods for
recognizing vocal problems, to develop techniques for vocal
rehabilitation, and for prolonging singers' careers. Fortunately, the
attributes of voice that convey beauty, emotion, distress or illness are now
quantifiable by means of modem techniques in sound analysis.
There is general agreement that the golden age of hazzanut existed in
parts of Russia, Poland, Lithuania and Hungary up to World War II. During
the war, the major centers of this cantorial tradition were destroyed and
many of its practitioners werekilled Some survived and fled, primarily to
the United States and Israel. Many cantors in Israel who serve European-
based congregations carry on the Eastern European style of vocal
production in their singing of the liturgy. On the other hand, singers in the
United States who become cantors are most often trained in a Western,
operatic style of vocal production. Therefore, the quality of the sound they
produce is different from that of Eastern European cantors and they do
(may?) not utilize the range of tonal movements employed by Eastern
European-trained cantors. For example, recordings of cantors who had
careers in Odessa, Warsaw and Berditchev exhibit tonal movements
ranging from straight tone through various kinds of vibrati and trills. A
recent study by Shipp and Hakes (1985) examined characteristics of
vibrato and trill. In order to find subjects capable of producing various
kinds of trills, Shipp and Hakes used singers trained to sing music of the
Renaissance and Baroque periods since different trills served as vocal
ornaments within those styles and is not commonly found in music of later
periods. Should Shipp, located in San Francisco and Hakes, located in New
York, have utilized local hazzanim as subjects?
Recorded samples of cantors performing in an Eastern European style
have been characterized by non-Jewish singers and vocal pedagogues in
the United States as "singing in the back of the throat" and as being "tight"
and "constricted." Yet these cantors sing with great facility and agility,
have a large range, utilize coloratura and trills and sing a full synagogue
service lasting two to three hours or more. Singers from Yemen, Morocco
and other North African/Middle Eastern countries are perceived as beiig
different from both European and Western trained cantors and singers.
These differences may be laryngeal, supra-laryngeal or both.
PURPOSF
The primary purpose of this study is to analyze perceptually and
acoustically vocal movements and tones used by cantors trained in
European, North African/Middle Eastern and Western opera traditions.
Perceptually, the intent is to determine 1) if listeners have an auditory
concept of specific tonal qualities and movements, 2) if there is a
consensus of opinion as to that concept and 3) if listeners can categorize
the different vocal productions as deriving from one of the above
traditions/styles.
Acoustically, the intent is to specify the nature and extent of the
parameters comprising vocal tones and movements and to determine what
differences occur in these parameters when produced from singers from
the different traditions/styles. Specifics to be examined include the
following:
1) Distribution of energy and relative amplitude of voiced
harmonics. Differences between harmonics will affect voice
quality and will reflect differences in open, covered and
constricted tones (Rothman, Nielsen, Hicks, 1980).
2) The singing formant. The singing formant is an area of
maximized acoustic energy. Its presence is said to provide
brilliance and additional amplitude to the voice (Sundbury,
1977). Production of the singing formant requires a lowered
lamyx and a relatively open pharynx just superior to the larynx.
It is found in many Western trained opera singers. Do cantors
from other traditions have a singing formant?
3) Vocal vibrato and trill. In the Western tradition, a perfectly
controlled vibrato is perceptually viewed as indicating a
laryngneal system in good health and functioning properly.
Deviations from vibrato, called tremolo or wobble, are indicative
of a poorly functioning system. Further, changes in vibrato from
Deviations from vibrato, called tremoloor wobble, are indicative
of a poorly functioning system. Further, changes in vibrato from
one generation to another indicates a change in aesthetics. For
example, Seashore (1938) measured the vibrato pulsation rates of
some of the great singers of his and earlier times. He reported
vibrato pulsation rates ranging from 5.9 to 7.8 pulses per second
(pps). Rothman, Neilsen and Hicks (1979) and Shipp,
Leanderson and Sundberg (1979) reported pulsation rates
ranging from 4.9 to 6 pps. The slower pulse rates current today
represent a shift in our aesthetic value system. Acoustic analyses
of samples acquired from live and archival recordings will
provide information as to whether Eastern European andNorth
African cantors follow the same or different aesthetic systems
than Western trained singers and if these aesthetic systems are
stable or changing. Sustained unaccompanied (i.e., acappella)
segments will be recorded "live" and from historical recordings
for acoustics and perceptual analyses in order to determine what
stylistic changes have occurred during the past sixty-plus years.
Acoustic analyses will provide information as to differences or
similarities between vocal movements resulting from the
different traditions. Further, by comparing the vocal productions
deriving from different traditions, information will be acquired
concerning different learned behaviors and how they might affect
the teaching process and the singing activity itself.
Vocal pedagogy, wherever it is practiced, is a highly subjective art.
Vocal pedagogues, singers, voice scientists and otolaryngologists have
difficulty in specifying the differences between a good, healthy vibrato
and other tonal movements or between various tones otherthan through
subjective auditory processing. Quantifying differences in the parameters
comprising vocal movements and tones through acoustic analyses and
classifying them into different categories through perceptual tests will
clarify some of the confusion. The ultimate goal of this program of
research, along with past and, hopefully, future research, is to understand
the nature of the exceptional sounds that provide pleasure to so many. If
we can understand what constitutes a good healthy voice, we can
determine when changes occur indicating a change in physiologic use or
a vocal mechanism beginning to break down. The ability to identify and/
or describe changes in a performer's vocal output or the ability to identify
the incipient stages of a vocal mechanism in trouble will enable
rehabilitation to begin at an earlier stage than usual so that a career can
be maintained for longer periods of time.
It would be most helpful if hazzanim who read this would be willing to
share their recordings with me, recordings of themselves or of any other
hazzanim in their collections. The recordings could be LP's, CD's,
cassettes or reel-to-reel formats. Of particular interest are recordings of
anyone that span a number of years so that changes in vocal behaviors over
time can be examined and measured. To paraphrase Mordechai Yardeini:
The value of a good, tasteful, serious Jewish song is incalculable.
REFERENCES
Arom, S., Utopian Proposals for the Preservation of the Jewish Traditions,
Proceedings of the World Jewish Congress on Jewish Music. Jerusalem,
1978, Judith Cohen, ed., The Institute for the Translation of Hebrew
Literature Ltd., Tel-Aviv, 1982.
Cohen, D. and Katz, R., Remarks concerning the use of the melograph in
ethnomusicological studies, YUVAL, Studies of Oie Jewish Music
Research Centre, Israel Adler, ed. The Magnes Press, Hebrew University,
1968.
Cohen, D. and Katz, R., Inscription as Transcription, Proceedings of the
World Jewish Congress on Jewish Music, Jerusalem, 1978, Judith Cohen,
ed., The Institute for the Translation of Hebrew Literature Ltd., Tel- Aviv
1982.
Miller, R., English, French, German and Italian Techniques of Singing,
The Scarecrow Press Inc., Metuchen. NJ, 1977.
Nettl, B.. The Concept of Preservation in Ethnomusicology, Proceedings
of the World Jewish Congress on Jewish Music, Jerusalem, 1978, Judith
Cohen, ed., The Institute for the Translation of Hebrew Literature Ltd.,
Tel-Aviv, 1982.
Rosenbaum. S.. David Kusevitsky (1911-1985), A Brief Retrospective,
Journal of Synagogue Music, 15,1985.
Rothman, H.B., Nielsen, K. and Hicks, J., Perceptual Classifications of
Voice Movements, Proceedings of the Eighth Symposium: Care of the
Professional Voice. Van Lawrence, Ed., The Voice Foundation, NY,
1979.
Rothman, H.B., Nielsen, K. and Hicks, J., Perceptual and Acoustic
Analysis of Vocal Tones, Proceedings of the Ninth Symposium: Care of
the ProfessioMI Voice, Van Lawrence, Ed., The Voice Foundation, NY,
1980.
Rothman H.B. and Timberlake, C, Perceptual Evaluation of Singers'
Vibrato, Preeeedings of the Thirteenth Annual Symposium: Care of the
Professional Voice, The Juilliard School, New York City, New York, The
Voice Foundation. NY, 1984.
Rothman, H.B. Varying Vibrato: Is it rate or extent? Proceedings of the
Fourteenth Symposium: Care of the Professional Voice, Van Lawrence,
Ed., The Voice Foundation, NY, 1985.
Rothman, H.B. Vibrato: What is it? The NATS Journal, 43, 1987.
Rothman. H.B. and Arroyo. A.A., Acoustic Variability in Vibratoand its
Perceptual Significance,,/ ourna/ of Voice, 1, 1987.
Rothman, H.B., Rullman, F. and Arroyo, A.A., Inter-and Intra-Subject
Changes in Vibrato: Perceptual and Acoustic Aspects, The Journal of
Voice, 4, 1990.
Seashore, C. E., Psychology of Music, McGraw-Hill, NY, 1938.
Shiloab, A. and Gerson-Kiwi, E.. Musicology in IsraelJ960-1980, Acta
Musicologica, 53, 198 1.
Shipp T. and Hakes, J., Voice Frequency Oscillations During Vibrato.
Trill and Trillo. Transcripts of the Fourteenth Symposium: Care of the
Professional Voice. Van Lawrence, Ed., The Voice Foundation, N,Y.
1985.
Shipp. T., Leanderson. R. and Sundberg, J., Rate and Extent of Vibrato as
a Function of Vowel, Effort andFrequency, Proceedings of the Eighth
Symposium: Care of the ProfessioMI Voice, Van Lawrence, Ed., The
Voice Foundation, NY, 1979.
Slobin, M., Chosen Voices: The Story of the American Cantorate,
University of Illinois Press, Urbana and Chicago, 1989.
Smith, H., Stevens, K.N. and Tomlinson, R.S., On an unusual mode of
chanting by certain Tibetan Lamas, J. Acoust Soc.Am., 42,5,1967.
Smoira-Cohn, M., The World Congress on Jewish Music, Introductory
Remarks, Proceedings of the World Jewish Congress on Jewish Music.
Jerusalem, 1978, Judith Cohen, ed., The Institute for the Translation of
Hebrew Literature Ltd., Tel-Aviv, 1982.
Sundberg, J., The acoustics of the singing voice,Sc/\ A mer., 236, 1977.
IMPROVING EXPERIENCES WITH THE
VOLUNTEER SYNAGOGUE CHOIR
Eugene D.ROSNER
With the wealth of synagogue choral music in existence, it behooves
a cantor to form and engage a synagogue choir. The resources of a modest-
sized synagogue will often include a number of qualified singers after a
rough recruitment from the membership list is made. These singers may
not have the powerful voices possessed by professionals but their pleasant
voices and suitableears can be trained in a manner which will yield a nice
sound. The leader of the group can rely on the balance of sound and good
musicianship. A dozen or so singers can do justice to some fine choral
works. The volunteer synagogue choir is an important institution.
The idea that a choir is composed of a synagogue's memberhip is
valuable and not to be taken lightly. In fact, it is something on which many
synagogues pride themselves. The virtues of professional versus volunteer
choirs must be weighed. While the sound of a professional choir will
undoubtedly be finer, the question of who is singing adds an emotional
twist. Somehow, knowing that your congregants are producing the music
being heard adds to the psychological impact of the music. On the average,
lay volunteers workmuchhardertobeapartoftbesynagogueservice. This
fact is irrefutable. The volunteer choir is an institution that is indeed
relatively easy to form and nurture, but there is a responsibility to maintain
its music-making abilities and in fact, improve them. The growth of the
group will be noticed by the congregation. More importantly, the
individual members of the choir who recognize their progress will be
inspired and will continue to support the endeavor.
What are the ingredients that make up a successful choral singing
program?
Because music, in the eyes of music lovers is fun, a choir is perhaps
more easily formed than an average synagogue committee. A choir meets
to sing, an activity which is said to provide emotional and physical release.
Rehearsals are, for the most part, scheduled at night after a day of work.
Your singers might be tired, but they have come to sing and perhaps
socialize a little. But when it comes down to it, the main reason they are
E U G E N E D. ROSN ER is Hazzan of Temple Beth Hillel/Beth El of
Wynnewood, Pennsylvania.
there is to make music. Hopefully, after rehearsal, they will return home
with the positive feeling that they have accomplished something very
meaningful and be inspired for the next time they meet The operative word
here is "inspiration:" Challenge your choir! They can do more than they
or you realize.
Example 1
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In the first example, a setting of V hakonim by Paul Discount, there
is a vast opportunity for unison singing. Contrary to first impression, this
type of singing presents a variety of problems. A missed note in a
harmonized selection might go unnoticed. A missed note in unison singing
can easily stick out like a sore thumb. Entrances and cadences have to be
scrutinized as well, since the focus is on the melodic line. The weight of
music-making now falls on the phrasing of melody. Breath and dynamic
contrasts come to the fore and now become a necessary part of the piece.
The antiphonal nature of this piece presents more challenges. At the end
of the second line, the choir must sense the E-Bat fronthe cantor's F. A
measure later, the choir breaks into two octaves (or three, depending on
your interpretation). Balance here is very important. Moments later we are
back in unison; the intensity of the descending line must be felt by the
listener. The melismatic quality of the choirs first entrance climaxes at
H ayu Korim with four-part harmony. This piece has several shifts of mood
and all of them must be recognized by the conductor and subsequently
conveyed to and by the singers for the music to be effective. The remote
key and low notes of the bass can add an air of mystique to this highlight
of the Avodah Service.
A completely different but equally challenging work for choir would
be something along the lines of our next example, Hayom T'amtzenu by
Max Helfman.
Example 2
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Much choral music is written in homorhythmic style. This saves the choir
undue worry over not singing together. The singersonly have to master one
rhythm and do not have to be concerned with combining different rythms
at any given moment. The challenge here (and the resulting payoff) is the
way the music moves from one key to another. By a basic vehicle of
secondary dominance, the piece constantly moves but does not stray too
far. With the exception of the bass line, each part is of interest and can stand
on its own. Cries of "the sopranos always get the melody" are somewhat
vanquished here. But of course, some of these lines are difficult In
Example 3, opportunities arise for concertino singing where male and
female voices are featured.
Example 3
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Intonation becomes a focal point of rehearsal time. I have found that
making part tapes (I use falsetto for soprano and alto parts) and handing
them out with the musicbefore thefirstrun-through is invaluable. Once the
members of the choir realize that you are quite serious about your
intentions, as well as your aspirations, they will likely answer the call and
put in the practice time. They will come to rehearsals and be surprised at
what they have accomplished.
Along with the ambitious qualities of a choral conductor come the
more realistic ones. What will keep my choir interested? A series of
difficult pieces can bum singers out through frustration and not achieving
certain goals. Bring music that's enjoyable to sing. This shouldnot be in
conflict with my first statement. In fact, it is complementary. Music that
is easy to sing will often not be inspiring. The need to challenge must be
addressed but it is important for all to be able to see the light at the end of
the tunnel. Our previous example illustrated the need for all singers to
enjoy the parts they sing. When a composer sets out to arrange a melody,
a typical approach is to give the melody to thesoprano, introduce a moving
bass line and fill the chords out in alto and tenor. The most perplexed
singers in choirs are members of these last two sections, and with good
reason. Example 5 below shows what can be done in the simplest of
seuings.
Example 5
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Again, some intervals are difficult (last two measures in alto) but the
richness of the tightly packed voice, the opposite moving parts in soprano
and bass make for a powerful sound. The suspension in bar 3 is a
marvelous, timeless moment. As we guide our prayers up to heaven on the
night of Yom Kippur, tell your choir members the meaning of Yaaleh and
how it manifests itself in the form of the soprano's melody. Beimel must
have had the sequence D-F#, D-G, D-A, D-Bb in mind. Each singer will
react in a special way to this idea. The relationship between voice and word
will reach new meaning, and the choir as the cantor's "m'shor'rim" will
play an important role for some. If the parts are memorized, the singers can
be encouraged to sing out of their Machzorim where new words are
substituted on each new line of this piyyut. The piece can obviously be
done several times. The choir will welcome these strophic settings.
The basses in the choir have an important role as well. It is indeed
crucial to keep their spirits and pitches high. The pieces shown in
Examples 6 and 7 each give the bass a sense of responsibility.
Example 6
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~i
f^—jx^
~ pa J s 1
Iv'i """■ ^- K
rr-~^| if ^
H,4,
l- H ^f j-
MJ>
=H
>/»
In this work by Naumbourg, the bass establishesone of the motives which
is then emulated by soprano and alto in thirds. Atdolce the bass has an
ostinato figure which characterizes his role in music even more so. In this
purely musical style (typical of European synagogue music in the mid-
19th century) as opposed to a programmatic or a liturgically-related style,
the bass is given a charming solo at the end, one that any singer will covet
The piece has some other notable features which should come to the
attentionof theconductor. Sopranoand tenorcontinually have an interplay
of a dotted rythm. The high tessitura of the tenor line can be dealt with by
a transposition. An effort should be made to make a contrast between the
two measures of Vet haaretz. Much can be done with the long thirds duet
for the entire ensemble. The sudden four-part writing at the duet's end is
fine and the sudden pianissimo B-minor chord at Vayinafash is an
important mood change and should be worked on until its effect is felt by
all the singers.
Example 7
1?,- ,. , 1
^
±* 1 — >■ — .
r
> •■■ -
X
.n**.,., ™„
« *— '- — • ■ — ■•
1 l> '*" ^ "
' ■ ' ** ' > t ' '
^ ] — r ^,.» s ™^
ri
i- > . v ^ > A ~ m - =i
«--*■•*- _
J I ; ~ ^— ,
-^ "-^-r. z ,
; ? .* "^. T" r6 - —
L< „*.„■ i/. - y
., - L v " 5 ~ Li r. .-r^-j
The Greenberg piece also has opportunities where pairs of parts(S/T),
(A/B) play off each other. The melody in thirds is by now a familiar,
effective and even irresistible device in writing. It is also not hard for choir
and is readily enjoyed by the participants. Alto and bass have
countersubjects that give them the opportunity to shine. It is imperative
that when one looks at music for potential choral use that it be examined
with the singers in mind. What will spark their interest? What will they
enjoy?
A choir that grows musically will flourish. Periodic announcements
in the synagogue bulletin inviting people to join will help the choir grow
in numbers. It is always a desire to have more members to obtain, among
other things, a fuller sound.
Recruit singers from obvious sources! Taking an active role in
synagogue functions shows your interest in the welfare of your synagogue
as a whole. In return, your congregants are likely to reciprocate if they are
approached on their ground, be it a Sisterhood meeting or a Men's Club
breakfast. A shabbat service with your ears attuned to the congregation
will expose previously unheard voices. A compliment like "I really heard
you singing along" can start the proceeedings. Our young students are
special. Besides representing our future, our Bar/Bat Mitzvah students
keep us young. We even establish a fine rapport with a few gifted and
caring students now and then. The solo shown in Example 8 can be sung
by a boy alto, a stylistic return to the past
Example 8
I've experimented with tenor and bass humming "ah" in supporting the
soloist. At molto rallantando, the alto and tenor can really enjoy the
progression between the third and fourth beats before the second verse.
Think of your choir as year-round. In many synagogues the
quantum leap from High Holy Day to year round is not so hard to
implement. As we come full circle, the idea of inspiration resurfaces again.
A choir that sings only in the fall, and whose members have fixed in their
minds a rigid set of rehearsal dates will not be inclined to learn new music
or to rehearse earlier in the spring. Forming a core of music lovers to sing
year-round opens many doors and allows for practically endless
possibilities. Being in good communication with your group is of
paramount importance. Sending out reminders of choir rehearsals and
telling them what to bring will make your singers feel respected and
needed. Preparing special events and giving your choir an occasion to look
forward to is an incentive. Consider using your choir to introduce new
24
congregational tunes on shabbat The fact that a dozen poeple know a new
piece from the start makes the piece more viable. Other possibilities
include supplying works by one composer and whole service material in
one style. Shabbat Nusach S'fard by Rosenberg and Chassidic Service by
Davidson are examples. These become learning experiences for choir and
congregation alike. Announcing events such as these well in advance and
even previewing them with articles will result in a larger congregation to
listen to you and to give your singers the sense of honor they need to
continue on in this wonderful service that they can provide to themselves
and your congregation.
NUSACH NOTES
Max Wohlberg
I am frequently asked for a definition or meaning of the term
Nusach. My usual response is that it is the generally accepted manner of
chanting our liturgy. Sometimes I add that this manner does not necessarily
hold true for every country and every region.
When pressed for greater detail I endeavor to explain the musical
modes utilized during the various services and mention the "Misinai" tunes
employed. If pressed further I point to the cantorial recitative as an
embellishment of the simple chant versus the more elementary
congregational tune or response. We rarely reach the stage of discussing
choral compositions or organ solos.
However, in fact, upon close analysis of our nusachrepertoire we
discover in it a more minute structural element; short melodic phrases
which may occur with frequent regularity.
These brief melodic phrases are, as a rule, absorbed by Ba' ale
Tfillah and regular synagogue attendants. I am thus often delighted to hear
an untrained officiant on a Sabbath morning chant:
Example 1
m£-leKfi o-Tfiii- o-mo-shi-a c-ma-^ein
He wilt also repeat the motif for v'ne-eman ala. (Example 2)
Example 2
u v'ne-e-man a-ta I 'ha-ha- yet- mei- t \m .
MAX WOHLBERG is Nathan Cummings Professor ofHazzanut at the Jewish
Theological Seminary.
Such brief motifs may be found at different parts of our liturgy.
Take for example, this simple motif:
Example 3
kgggfragtp^
I have encountered it in such places as at the end of the Hoshana service
(Example 4) and at the conclusion of the Hallel (Example 5).
Example 4
Example 5
Ki I'Khft tev J'ho-de* vl-lh'im-Kh* ntth I'tCrm^r Ki mt'n-l*n rod o-lam erto. _ «'i |
Actually you can also hear it in the prayer after the ceremony of
circumcision (if chanted by a knowledgeable person):
Example 6
Yi's-moh b&-o.vu b'ic-Uti />a-la--tsav_ Y"*a-Jt«il i-Tio. blf-i-L vit-nah.
When, during that prayer, a few drops of wine are passed to the baby's lips,
you will hear.. .
Example 7
t- laKh_ fcUa-mWifth $a-y; fa-O-irxulaKh. fe'cfc-ma-^Kh hQ-y,'.
A careful examination of the tunes we employ will reveal
interesting details. We meet exclusive tunes which are attached to one
specific text: The Kol Nidrei. for example, and the Aleinu for the High
Holydays. We also encounter texts which utilize many tunes, such as
Yigdal, Kaddish, Barchu, etc.
We discover that many tunes begin alike but will end differently
while others begin differently but end similarly. We also encounter some
tunes in unexpected places.
Take, for example Tair Vetaria (Example 1091) [all the
following example numbers refer to A. Baer's Ba-al Tefilah].
Example 109 1
,. . TJ?l"l IX A.:».d.MtU.X« 1084.)
As expected, similar passages consisting ofthree short phrases followed
by Kadosh will use this tune. (See also examples 1095, 1097.1098.)
Example 1095
Example 1097
ebeeife _ ^
28
Example 1098
It is nonetheless surprising to fiid this tune during the four special
Sabbaths (Shekalim).
One of the most distinctive and impressive elements of the Yom Kippur
service is the Avodah. During it the V'hakohanim (Example 1442) is
chanted.
Example 1442
,,m
W^j >' Wia*?^
But you will also hear at least part of this tune in the K'dusha (Example
1198). And, unexpectedly, on Shabbat Shekalim.
Example 11 ( .
BUIIOIU. | i \ m m
I K'vo.lo mo.le o. .lorn
Example 657
R*c)inink™li»iiitonnL_e . . diok' <A»ef kipjSrim
To attempt to justify the appearance of these High Holiday tunes
at other occasions, such as in the examples I have given above (Examples
659. 657) is no easy matter. Let me at least venture one plausible
explanation, in the first you find the word Rosh, in the second, Kippurim.
Perhaps these words were sufficient to justify employing these tunes. I
challenge my readers to unearth other reasons.
One of the most frequently encountered tunes, in whole or in part
is (Example 1101).
Example 1101
mm
,1*-
* fe.MJ
....j ™u.
See also Examples 1158. 1093.
Example 1158
Example 1093
•frcrba bv c-i
RmilMu '. l«k Ugi.Wikiijn.M.'.l.
Its practically identical appearance you will find in the Shacharit of Yom
Kippur (Example 1368).
Example 1368
thjj bnpi miste
\ Mil'cta.w kikk.lt l». ti «.*'«•-*• *i I »»-»-«■' • - to»MkkudtH*»JP«r»-i»*»L
J, i ■ r , h \ I m ■ i i i i i j T j iQi g i ■ f ;i T" I J ' =ri \
A fascinating view is represented by the following three
Example 852
(nij?i:E6) nino ct ix
Example 1
. »i J«.t.id>rr mi jtlcklct. . M ..ml J..
While they all begin the same way they all end differently.
Now let us look at three examples that have different beginnings:
Example 1311
Minhag Polen.
Solo, dajmChor.
Example 1311 -2W
Dark'cho « lo .lie .no 1' ha • rich »p . pe . cfan
|^ ,'',,.,
iloro.im w'latto . wim w-hi s'hil.lo.se . . ehu.
Example 1311 -1W
Solo, dann Chor.
ti . no . chcm a]
. for wo.e . . . fer taschJ
If— ■ ,T.
I lichens to . «-nn ir's.
k*
te_re ki en isch
> 1; '■ - ■ -
*eh immonn. ido
. kuh.
«!/
* * ' X* * -
_V~
Example 1407 v. 3
D-hcer m bn m
h
<j* «| «. «... ; Urn
» rf . . lim (■
• . MhKioAeii m' ■l.lin)
'
•w •*
' " *
^*U-«, rf
-
--«-^*i^
... ^^V „..
' Im j j ■--■-;'? ''"l
r ' ' » -— ~
^"'••;x 1 '^
As you see, they conclude the same way as Example 1033 above did
To offer just one more example of this exciting phenomenon I
will point to the popular Ata Hareita tune for Simhat Torah.
Example 918
nj?-6 runn nna •>
« a •* MilJ'wi
How surprising it is to hear it at the Musaf of Yom Kippur!
Example 145 1
(peio) i:n:« vrznr ch
A close study of this subject-alas a neglected task, reveals many
surprises and affords a fascinating view of the melodies which have
become "traditional" in our synagogues.
Regrettably many of these tunes are disappearing from our
repertoire since their texts have been removed. Fortunately, Charles
Davidson hassuccessfully transplanted anumberof them to retained texts,
thus saving them from extinction.
Hopefully some of our younger colleagues will decide to launch
serious studies of this subject. The recent efforts of Davidson, Brian J.
Mayer and Boaz Tarsi augur well and hold out much promise for the future
of such studies.
33
LEITMOTIFS IN SEPHARDIC HIGH HOLY DAY
LITURGY
MAXINE R.KANTER
The Jews of Spain and Portugal-the original Sephardim-
developed over many centuries their own unique and very beautiful form
of religious worship. Their services were enhanced by the addition of
poetry for special occasions such as the major festivals and tbe Yamim
Noraim (High Holy Days). Most of these poetic insertions are rhymed,
metrical hymns (piyyutim) and were the products of the great literary
figures of the Golden Age of the Jews in Spain (c. 950-1 150). such as ibn
Gabriol, Haleiv and the two ibn Ezras.
Following the Edict of Expulsion in 1492,Spanish Jews who did
not accept conversion to Catholicism were facedwith the loss of all their
property and virtual deportation. Many fled to nearby lands where they
believed they would be safe and perhaps, their exile would be temporary.
Those who settled around the Mediterranean basin (Turkey, Greece,
North Africa, Palestine, etc.), are known to us as "Eastern" or Levantine
Sephardim. They are remarkable in the Sephardic Diaspora in that they
carried their language, liturgy, and customs with them and have
maintained these uninterrupted until this day.
Other Sephardim, principally those who had crossed over from
Spain into Portugal-only to discover five years later that the long and
menacing arm of the Inquisition had pursued them even to that supposedly
welcoming haven-escaped, if they were lucky, to France, Holland, and
other countries in Northern Europe and, eventuallylhe New World. This
second group, often referred to by their contemporaries as "Portuguese
merchants" because of their close identification with commercial
enterprises, included many Marranos or "secret Jews" who were
outwardly practicing Catholics. As a consequence, these crypto- Jews
were not as steadfast or fortunate in being able to preserve their Jewish
traditions, For the ex-Marranos, then, the forced change of identity
necessitated more of a reintroduction than a return to mainstream
Judaism. This accounts for the differences between the "Eastern"
MAXINE R. KANTER holds a Ph.D. in Music History and Literature from
Northwestern University. She has lectured widely on Sephardic History and
Culture as well as Opera and has taught at Sparta College and the University of
Illinois.
Sephardim and the "Western." In addition, theeffects of acculturation in
the various host countries of their dispersion played a significant role in
shaping the two main branches of the Sephardic family.
As a general overview, however, both traditions of synagogue
song share these common traits:
1. Oral transmission. Not until the middle of the 19th century
were the chants written down.' Continuity was assured by
strict adherence to custom. However, in the event certain
hymns or prayers had no tradition tune, the hazzan, not unlike
themedieval bards or minnesingers, was permitted to select or
invent one of his own2 This resulted in a large number of
melodies for a few well-known hymns such as Ein Kelohenu,
Yigdal, Adon 0/am, Lekhah Dodi, etc. Conversely the
extreme sanctity of the High Holy Days, although embellished
with piyyutim, is imbued with such somber soul-searching
that it would discourage any attempts at entertainment or
novelty on the part of thehazzan.
2. Use of repetition, Sephardic chants are often made up of short
motivic figures which are linked together and repeated again
and again-or varied somewhat-in order to fit the text. This
method of musical composition coresponds generally to an
Oriental styleandprobably dates from ancient, or, at least, pre-
Expulsion times. The disaffection and impatience with this
body of music often expressed by non-Sephardim may be
attributed to this type of musical construction, but it has a
special quality and deep meaning for all Sephardic Jews.
3. Absence of melancholy or mournful expression. Despite
1. The first publication containing ;; significant number of musical items
was The Ancient Melodies of the Liturgy f the Spanish and Portuguese Jews.
Harmonized by Emanuel Aguilar. Preceded by an Historical Essay on the Poets,
Poetry and Melodies of the Sephardic Liturgy by the Rev. D|avid] A|aron] de Sola.
London: Wessel and Co., 1857.
2. Idelsohn, Abraham Zevi. Jewish Music in its Historical
Development. New York, 1929. p. 125.
the penitent or pleading nature of many of the liturgical texts,
Sephardic music often reflects a joyful and vigorous character.
Unlike that of the Ashkenazim, Sephardic liturgy contains few
laments and, in the rhymed and metrical pieces, therhythms
are strong and well-defined. Among the Western Sephardim,
in particular, the tunes are frequently based on the scale
patterns found in the music of Northern and Western Europe.
4. Use of local popular or folk-tunes. This practice is found not
only in Sephardic music, but, unquestionably, in the
repertoires of the Ashkenazim and Christian communities as
well. (Martin Luther is reputed to have asked, "Why should
w e leave all the good tunes for the devil?" )Many a folksong
has been transformed into a synagogue song, regardless of its
originorapparentsuitability. Someoftheearly hazzanim, who
were also poets (paytanim), cleverly constructed contrafacts,
new poetic texts to fit a popular melody, imitating the meter,
rhyme and phonetics of the original secular text. No doubt the
congregation enjoyed singing the familiar and well-loved
melodie, but rabbinic literature of the time reveals a serious
concern over the use of inappropriate secular songs, even with
substitute religious texts.' Unfortunately, there exists no
record or musical evidence of the tunes that were adopted for
synagogue use, although de Sola cites several examples of
Spanish popular melodies by name.4
5. Use of tune as a representative musical theme or "leit-
motiv."During an important holiday or season, one melody is
heard often and carries the association of the special day(s).
Thus, throughout the High Holy Days a melody closely related
to a key poem or prayer is adapted also for their implementation
under the rubric "Sing to themelody (lahan) of . .." followed by
the incipit of a well-known Hebrew or Arabic song are to be
3. Ibid., p. 94. On page 12, Idelsohn quotes Maimonides as being
"extremely antagonistic to all poetry and 'music'."
4. de Sola, "Historic Essay," p. 13.
found in many old manuscripts. 5 To this day, as we shall
see, prayerbooks in the Sephardic rite carry these musical
clues. (This was not only practical as a reminder to the
congregation which melody was to be used, but it
discouraged which melody was to be used, but it discouraged
an ambitious [ or forgetful?] hazzan from introducing a tune
of his own choosing at this point in the service.
THE DUTCH AND ENGLISH TRADITION
The oral tradition of synagogue music became crystallized
among the Portuguese Jews who settled in Holland after that country freed
itself from Spain in the late 16th century. Their customs, the order of
service, and the musical practices of the Amsterdam Synagogue and the
slightly younger London congregation were originally the same, as they
remained in very close contact, the Dutch community usually providing
the rabbis and hazzanim for both, as well as for the "daughter"
congregations overseas. However, it was not until 1857, when a collection
of liturgical tunes of the Spanish and Portuguese ritual was published, that
a document containing substantial musical material became available and
could then be circulated among the affiliated congregations in an effort to
fii and preserve their repertoire.
This valuable cornerstone of Sephardic musical history, The
Ancient Melodies of the Spanish and Portuguese jews, consisted of
melodies transcribed and harmonized by Emanuel Aguilar (1824- 1904).
but the selection of he tunes and their placement in the liturgical or&r was
undoubtedly made by David de Sola, hazzan from 1818 until his death in
1860 of Sahar Asamaim, the Spanish and Portuguese Jews' Congregation
at Bevis Marks in London.
De Sola, born December 26,1796 in Amsterdam, was the only son of
Aaron and Sarah Namias Torres de Sola, highly educated and observant
Jews who traced their family origins topre-Expulsion Spain and, later, to
Holland and England. Although initially his knowledge of English was
5. The term lahan was adopted by the Jews from the Arabic. See Hanoch
Avenary. "Music," Encyclopedia Judaica, XII. P. 595.
slight, he learned very quickly and soon mastered the language well
enough to publish his first work, "The Blessings," with an English
translationin 1829. Inthesameyear, he preached the first English sermon
ever heard in the Portugese synagogue, religious discourses having been
infrequent and invariably delivered in the Spanish or Portuguese
languages.6
In 1840 de Sola issued a prospectus for a new edition of the Sacred
Scriptures, with critical and explanatory notes. The first (and only)
volume, containing also a brief history of former translations, appeared in
1 844 and was considered to be a valuable literary production, being
republished shortly afterwards in Germany. However, it is The Ancient
Melodies that remains de Sola's greatest literary contribution, not only
because of his collaboration in this first attempt at notating and
authenticating the sacred music legacy of this branch of Jewry, but for the
English translations of many of their hymns and a memorable early
venture into the uncharted waters of Jewish Music scholarship, his
"Historical Essay" which prefaces the collection.'
In attempting to date the creation of the melodies given in his
anthology, deSola suggests three chronological divisions: 1) prior to the
settlement of the Jews in Spain; 2) during their long sojourn on the Iberian
Peninsula; 3) "a later date" [i.e., after the Sephardic dispersion]. Although
he states in his Preface that "very probably many chants used on the
Festival of the New Year and Day of Atonement [belong to the first
class] ," he seems to contradict himself by placing all of the twelve High
Holy Day tunes except one in the category, evenly dividing the examples:
6. The Iberian languages were still the vernaculars employed in the
Sephardic community of London in the first half of thenineteenth century, and all
of its written records were kept in Portuguese.
7. The Essay was omitted when the book was reprinted as Sephardi
Melodies being the Traditional Liturgical Chant of the Spanish and Portuguese
Jews' Congregation, London. Part I is "The Ancient Melodies by Emanuel Aguilar
and the Rev. D.A. de Sola. " Part II consists of melodies harmonized by E[lias]
R[obertJ Jessurun. London: Oxford University Press, 5691/1931.
six are for Rosh Ha-Shaua and six for Yom Kippur. 8 Ten out of the twelve
are forpiyyutim. These include Ahot Ketannah,9 Shofet Kol Ha-aretz, 10 Yah
Shimkha,!! Et Sha-arei Ratzon,12 Adonai Bekol Shofar,13 Shema /Co//, 14
8. The hymn collection consists of six categories: 'Morning Hymns, "
" Sabbath Melodies and Hymns, " " For Feast of New Year and Day of Atonement,"
" Festival Hymns." "Elegies for the Ninth Day of Ab," and "Occasional Hymns."
Nos. 26 to 36 are for the High Holy Days. No. 70, Rahem N a Ala, ("Dirge for the
Dead") has also been included in this study as the melody is also used for Gabirol's
Elohim Eli Attah for the morning of the Day of Atonement, and is the tunede Sola
regards as being "composed at a later date. "Historical Essay," p. 16.
9. "The Little Sister," by Abraham Gerondi. Author's notation taken
from Aguilar's transcription. All hymn notations given in musical examples are
from77ie Ancient Melodies unless otherwise identified. Example 1.
10. "Sovereign Judge of all the Earth," by unknown poet. It was
formerly attributed to Solomon ibn Gabirol, probably because of a name acrostic
which reads SheLoMoh HaZaK ("Solomon, be strong"), but none of the
anthologies or biographies of Gabirol mention this poem. Example 2a is a
photographic reproduction of Aguilar's transcription, the only hymn tune given
monophonically in the collection. Judging from the extreme ornamentation and
melismatic style of the piece, one can conclude that it was a greatpersonal favorite
of Hazzan de Sola's. Example 2b. a more straightforward notation, is taken from
the Book of PrayetS. ...I Of the Spanish and Portuguese Jews]. London: Henry
Frowde. 5661-5668/1901-1907, Vol. II.
11. "O Lord, I would extol They name, "by Yehudah ben Samuel Halevi.
considered to be the greatest of all post-Biblical poets. There are more piyyutim
in the Sephardic prayerbooks by Halevi than by any other author. Example 3.
12. "When the gates of mercy are opened, "by Judah ben Samuel Abbas.
Example 4. Example 5 is a photographic reproduction of the stanza of Et Sha'arei
Ration as it appears in Sephardi Melodies, Part 2.
13. "God has gone tip amidst shouting." b\ an unknown paytan named
"Jacob." Example 6.
14 . "Hear Thou my voice, God." by Hai ben Sherira [Gaon]. last of
the great geonim of Babylonia. Examples 8a and 8b.
Anna Be-korenu,13Yah Shema Ebyonekha,16 El Nora Alilah,17 and Elohim
Eli Attah.18
The eminent pioneer Jewish ethnomusicologist Abraham Zevi
Idelsohn presented a somewhat different dating for the ancient melodies:
he suggests a Spanish hallmark for only twenty-three, compared with de
Sola's total of forty-seven, 19 but no explanation is given. In fact, neither
expert offers criteria or proof for his assessment Nevertheless, it is
impressive that, although they concur on only nineteen musical numbers,
nine of them are from the repertoire for the High Holy Days." That these
scholars should be in agreement on nine out of twelve examples given in
this classification should not surprise us and only serves to reinforce the
theory that, because of the solemnity associated with the High Holy Days,
there is a greater tendency to honor and preserve the old tunes at that time.
15. This hymn written by David ben Eleazer ibn Paquda is constructed
without a true refrain. From its design it is obvious that the poet meant for it to be
performed antiphonally (i.e.. after every phrase thehazzan sings, thecongregation
responds with a short phrase of its own). Inasmuch as it also does not appear as a
"representative" theme for the High Holy Days, it has been eliminated from this
16. "Lord, to Thy pitiful people," by Yehudah Halevi. Example 9.
17. "God of Awe," by Moses ibn Ezra, despiteitspositionof importance
in this religious observance, does not have a melodic relationship with any other
text and therefore has been excluded.
18. "0 God, my God art Thou," by Solomon ibn Gabirol shares its
melody with Rahem Na Alav anditisthistextthatde Sola and Aguilar used in The
Ancient Melodies. Example 10.
19. Idelsohn, up.cit.. 515 (No .2).
20. Ibid. Idelsohn and de Sola agree that all the piyyutim except Ahot
Ketannah are from the Spanish period. Idelsohn places U at a later date than deSola
LEITMOTIFS FOR THE HIGH HOLY DAYS
It is also not unreasonable to speculate that these same tunes, because
of their age and venerability, have not only survived in the Sephardic High
Holy Day liturgy, but have become inseparable from the service, where
theyareheardoverandoveragain. Theyareoften adaptedforthepiyyutim
havingrefrains (pizmonim),21 but they may also appear as settings for other
texts (Barekhu, Kaddish, Kedushah, etc.) during that season. However,
although it is certainly not usual for a melody associated with one event on
the Jewish calendar to appear on any other, it is extremely rare in the
Sephardic tradition, especially during the Yamin Noraim.22 On the other
hand, a number of tunes are featured often enough to qualify as true
holiday leitmotifs. That is: 1) they are unquestionably very old; 2) they
convey a strong and immediate reminder of the High Holy Days; 3) they
have multiple settings and are heard repeatedly.
The first piyyut sung in the evening service of Rosh Ha-Shana (first
night only) is Ahot Ketannah. 23 (Example 1) the hazzan usually repeating
the last stanza to the tune of Shofet Kol Ha' arertz (Examples 2a and 2b) and
continuing with this melody for the first part of the Kuddish Let efa which
is done on both evenings.At the congregational response Yehe Shemeh
Rubbu the melody shifts to that of Yedei Rashim and this is sung to the
Barekhu and the Kaddish Titkabal; in Amsterdam it is also used for the
Yigdal which concludes the evening service." [On the second night of
21. See Avenary. op. cit., 595. Avenary traces the development of
refrain types to the extensive use of foreign forms such as the shirezor ("girdle
song") , which was probably an ancestor of both the Spanish villancico and the
French virelai. Ii is characterized by a certain order of rhymes and an unchanging
refrain (pizmon) to be performed in chorus by the audience.
22. In addition to the Rahem Na Alav already discussed, in the Musaf
services for Rosh Ha-Shanah, Hayom Hat-at Olam is sung three times, each time
to a different melody. The third setting is set to the same melody as Leshoni
Bonanta, a poem from the Passover season.
23. Thedescriptions ofperformancepractices in the Dutch and English
Sephardic congregations which follow are based primarily on the writers
observations, field work and interviews with community clergy.
24. Ye&i Rashim ('Too feeble and poor" ), Yehudah Halevi's piyyut for
the first day of Rosh Ha-Shanah, is set to the same melody as Yah Shimkha. In
London and New York they sing Yigdal to the tune of Et Sha'arei Ration for the
High Holy Days. See Example 5.
Rosh Ha-Shana the Kaddish is sung to the Ahot melody, inasmuch as that
piece is not recited then. 1
Example 1
rfV
to S.«t«n«.+o CJ-VO l^'W)
Pee
fife
n f r^ i ■* j r fir f .* Trf f^f i
B^
^_T_J^It ' E n '• S i CJ;i LJ 3
t L J^jJ^ 1 '- i LJ
l>n T ' U'
42
Example 2a
SHOFET KOL HAARETZ. .
LINTO fttN2A TENPOj
. .fa.r . . log... I:
Example 2b
Sfofrt &j //afcrA. fje „_x
m ^^m
In the morning service for the first day, following the usual blessings
and psalms, the hazzan begins the pizmon Elohai A I Tedineni 25 to the tune
of Shema Koli followed by the entire Shofet . [On the second day they sing
A dona/ YomLekha26 to the tune of Shema Koli.] On the first day Kaddish
has as introduction Halevi's Yedei Rashim; for the second day, that poet's
pizmon Yah Shimkha 11 is substituted in its place, both poems- as one
would expect-utilizing the same tune, the holiday's musical themepar
25. "Judge me not, my God," formerly attributed to Halevi, it is now
believed to have been written b\ Issae 'oar Levi ben mar Saul Alisani.
26. "Lord, this day," was written by Yehudah Halevi.
27. Note the error in Aguilar's iransciipiionof "i ah Shimkha (Example
3). He has reversed the words to the refrain and has written that of Yedei Rashim,
the first day's hymn (also by Halevi). instead.
excellence, and one that is very nearly ubiquitous as well. Then the
Kaddish is sung to the Yedei Rashim.
Example 3
I f 1 ' 1 J Ji|^.nu 1 ' H i, m ' n |
J J J ■■■II J " l
*»
I -eF^ E - I. -<« V«r*-
Note the text for the refrain given here as in The Ancient Melodies it
is actually the refrain from Yedei Rashim, Halevi's hymn sung the fiit
day. The words (taken from the Kaddish which follows) should be
Y'lShtabah ve-it pa'ar ve-yit romam ve-yit naseh ("Praised be He and
glorified, lifted and exalted.")
After the repetition of the Amidah on the fist day they sing Lema-
ankha Efohai % to the same melody as Adonai Btikol Shofar, although the
imperative "Lahan Lema-ankha" (sing [to] Lema-ankha here) in some of
the oldest prayerbooks known gives rise to the question "Which of the two
poems received the musical setting first?" Depending upon the answer, a
second question might be "Were the two poems, in fact, always sung to the
identical melody?"
In place of the above poem for the second day they sing Ya aneh
Behor AhotH to the Lema-ankha Adonai Bekol melody. The next poetic
28. "For Thine own sake," was written byibn Paquda, who is also known
as Pakuda or Bakoda.
29. "For merit of the fathers," is believed to have been written by
Abraham ibn Ezra.
piece, Et Sha-arei Ratzon,30 a long, dramatic rendition of the sacrifice of
Isaac (the Akdah) is one of the high points in the Sephardic High Holy Day
service and is significant also for the role of women in its performance.
Because of its subject matter-the near loss of a beloved child-the
universal understanding and empathy for maternal grief often produces
audible reactions from the women in the congregation, particularly those
of Eastern or Oriental origin. Unless Rosh Ha-Shanah falls on the Sabbath
(thus omitting the blowing of the shofar). all Sephardic congregations
chant A donai Btikol Shofar brfore the first "sounding of the horn" on the
New Year.
Example 4
yy 5** v r e , « atM
6V ; ^:>
El sho- 4e.-aN . ft.
'^ (jj frffP l 1 1 Q § 'i.L L
*
#»
..y m u ^l.i
1 ' TJ C'l ' I
i*P
-U* Ic-KfMK. ">i S»-<
m
^
«P
^^
\ll «.-**«r «»-»»<- !c - Kda 1b-
30. This poem is also sung in Amsterdam after the closing hymn Yigdal
on the Eve of Yom Kippur as well as in the Shaharit service on Rosh Ha-Shanah.
Perhaps this is a vestige of an older custom. It is also still part of the afternoon
s of North Africa.
46
Example 5
LIBRITECHA
END OF NCET SHANC/l
RE RATION.
Sung on New V
CRAVE M.40.
|-{M
JfiMMfrr jp
i. e N n, i-ftf
N?12l\
LO> - ' - "? In
ttf VotJ
^
=AfW|U J -
jch«n
p.
"j
^ Lf _ f l
1 ' J 'h ' r
=t=
-r
jry
TT" i fe?f?
rr r r r rr— ^» ip-" r r tr
.Trf-ltylyah »'J«1
, Jo, 1 - —
l L rb |'-i'^aa
lirri "T rr r tf 1
■iJ.V i rfr"-n| i"n ^
^ — i i t yn. ■ rra -
.ha-le - «hh Yin-aOB '• ^- J
rv , J J J J | J- — J— J3
r p|'ccp ff
■,l-^>^
|U ^ r ■* r r fe^ =
1 1 i ta : '^Jj» 1
^,-T-Vi ,
1 f» a 1* q ■ l| J i l — *^ '
W-W' b'lr ^
al «bo-H -
khh. II
Example 6
i f, n | ■, t | f^ =tir y^4| ( ^(sm=
-«l>u. - e aJ| le - Kft. - bei sth Ft -la-i^J, b t - k>o- hi
i . f> r f s i p r /44-r 1 FEwt=^^
1 Jen +e - ihu.-'aJ\ »n _ l.k ir_ I- — Kim h.+- _
Ado net QsJ&L Sfiofo-r /■ .
*«.-••/,
^
In the Musaf service there are no piyyutim specifically included, but
the Amidah and the Kedushah that follows later are both sung to the tune
of Lema-ankha or Ahot Ketannah. [ On the second day Et Sha-arei Ratzon
may be substituted for Lema-ankha.] After the Malkhuyot and the blowing
of the shofar the congregation singsHayom Harat Olam three times: the
first is sung to Shafer, the second (after the blessings of theZikhronot) to
A dona/ Bekol and, finally, after theShofarot prayers, to the melody for
Leshoni Bonanta, a poem "borrowed" form the festival of Passover and,
therefore, a rarity during this holiday. If it is late enough in the day, some
selihot can be inserted, otherwise, Ein Kelohenu is sung to the tune of Yedei
Rashim and the service concludes (as it does on the Sabbath ), except that
it is now heard to the tune of Yedei Rashim.
The first hymn for the Eve of Kippur is Shemar Koli.31 Later, after the
Kol Nidrei and other prayers, Ve-Hu Rahum is sung to the tune of Shofet,
Barekhu to the tune of Yedei Rashim and they proceed with evening
prayers as on the Sabbath. After Tefillah , thepizmon Anna Be-korenu is
performed in its characteristic (i.e., antiphonal) manner. Kaddish
31. In some congregations Lekha Eli Teshukati (To you, my God, I
desire") by Abraham ibn Ezra is read beforeJ/iema Koli. The next is included in
the Book Of Prayer... published by the Union of Sephardic Congregations in New
York. It is in Hebrew with no English translation. Rabbi David de Sola Pool (a
great grandson of Rev. David deSola) was editor and translator of the series and
obviously had the congregations of Eastern Sephardim in mind as potential
customers for his new edition.
[Titkabbal] is sung to the Yedei rashim and this tune is also used for the
Yigdal Elohim Hai which concludes that evening's service.
Example 7
[^
■%1
</,,<.
UfU,^
«n'
Cfc»«.r
u^
*s-
U t-
■.-rv(_. . j
■-■
-V-
k^t,
. H*
4*=
=fc±=
1 yj-
=F3N
l^ Jn Lt -
^^
-,
=
%~*.e k lt „
-«.
1
«t-l
•»KS V-J
t «a* S»*w, - _
ll-
M-
L-
♦o.
Example
■ » * ■ ■ t ' i r i i' i m r i i i i n w
dh ! ! , j j ,im — rm
(<*• ve-*a.-«l fc-mt.
Examplf
S/ie/na' Ko/( (A/0. 2j is taken from Abraham Lopes Cardozo, "The Music
oftheSephardim," in The World Of the Septiardim (Herzl institute
Pamphlet No. 15). New York: Herzl Press, 1960. The hymn is given
here with its entire melody. (Aguilar's transcription, (No. 1 ] gives only
the refrain.)
The first piyyut heard in the morning service of Kippur is Adonai
Negdekha Kol Ta'avat/,32 sung to the tune of S/iema Koli, followed directly
by Elohim EHAttah,33the hymn introducing Nishmat. Then Shin'annim
Sha'annim" is heard, yet another setting of the YedeiR ashim melody and
the Kadd'lSh as in earlier services (i.e., Ahot Ketannah, except for Yehe
Shemeh Rabba and Barekhu using Yedei R ashim). Following the priestly
blessing they sing Lema-ankha to its traditional melody, as it is also done
on Rosh Ha-Shanah.35
Example 9
*&** Afr. 'AkD
33. Sung as in No. 70 of The Ancient Melodies, Rahem NaAlab. See this
paper, Example 9.
Gab hoi's
34. "Radiant Angels of peace," has an unchallenged authorship; ibn
35. Lema-ankha is the only piyyut having a firm and long established
place in the liturgy for both Rosh Ha-Shanah and Yom Kippur. It is included in all
the old prayer books I was able to locate, including the fustoneknown to have been
printed in Spain, the Mahzor fe-Yom ha-Kippurim, [ Puebla da Montalban?], 1480,
in the collection of the Jewish Theological Seminary in New York.
Compared to the Ashkenazic and Italian rituals,the Musaf insertions
of piyyutim in the Sephardic ritual are relatively few in number. Bimromei
Eretz36a hymn to introduce the Kedushah, is sung to Adonai Bekol Shofar
and, later, that melody-or A hot Ketannah - is used for Keter. There are
several superb piyyutim in the Musaf Abodah which are no longer sung,
but the fmal poetic insertion in this service, Shamem Har Tziyyon37 is sung
to the Lema-ankha/Adonai Bekof melody in all Sephardic communities.
After the repetition of the Amidah, Yisrael Abadekha,38 sung to the Yedei
Rashim tune, introduces the Musaf sell hot, after which Musaf concludes
with Ein Kdlohenu and A don 01am, both sung to Yedei Rashim.
In the repetition of the Amidah during Minhah on Yom Kippur the
congregation sings Benei Elyon39 to the tune of Adonai Bekol Shofar as an
introduction to the Kedushah, which is set to either Et Sha-are Ration or
Ahot Ketannah. The pizmon Yah Shema Ebyonekha, with its own
traditional melody, introduces the sefihot which close the afternoon
service. (No doubt the appearance of the "new" tune at this point is a
refreshing tonic to the ears of the weary worshippers.)
Example 10
^.^♦.q.no- ff 1 - * s/wma< gtynf . Mh C^,;,^.
36. "In the heavenly heights," once thought to have been written by
Halevi, is now attributed to Joseph ibn Abitur. The second hymn which introduces
the Kedushah, En litmotelal ( I uih |ui i 1 md quaked"), is a genuine work
of Halevi' s, but it is no longer sung in the service.
37. 'The Mount of Zion," is a piyyut by ibn Gabirol.
38. "Israel, Thy servants." is a hymn of unknown authorship. The
English congregations sing this to the Adonai Bekol Shofar melody.
n high."" is by an anonymous poet.
For the Neil ah, or closing service, unique to this holiday alone, the
symbolic closing of the gates of heaven is reflected in the much-loved
pizmon El Nora Alilah/tO another rare example during this holiday season
of a poetic piece having its own indivisible musical setting. In the
repetition of the silent Amidah there are two poems to introduce the
Kedushah by Abraham ibn Ezra. The first of these, EreSim Me-
Hashmalim41 is sung to the A donai Bekol Shofar melody. As the sunset
approaches, the confessions are shortened, as are the numbers of the
selihot The final piyyut, Shebet Y&hudah, 42 is a supplication pleading for
God's protection for his suffering people and is recited only today.
In the event Habdalah takes place in the synagogue, rather than
in the home (that is, if Yom Kippur should occur on the Sabbath), the hymn
Ha-Mabdil Ben Kodesh Lekhol43 is sung, adapted to the melody used
earlier in the day for/a/i Shema Ebyonekha.44 Clearly, the musico-poetic
40. A II Sephar die rituals have the Neilah service ushered in with the
singing of this well-known hymn, and it has many musical variants, although there
is a distinct prototype to be found in all the tunes. It is of interest also that the hymn
was retained in many of the congregations who abandoned the Sephardic Minhag,
such as Savannah, Curacao, etc.
41. "Angels bright and angels strong," is the Fist of the two poems by
Abraham ibn Ezra; the second is Emet Bisfarekha (The truth in Thy Books"),
much shorter and more subdued and not sung any more.
42. "Still is Judah's tribe," by the anonymous poet Shemaiah. In London
this is chanted very slowly as befitting the mood of solemnity at the end of the long
43. "May He who maketh a distinction between things sacred and
profane" exists in two versions, both probably by the same poet, Isaac ben Judah
ibn Ghayyat. In both the refrain begins with the same words. One is for Sabbath,
the other, shorter variant was probably composed for the Neilah service on Yom
Kippur. It has been the custom in Amsterdam to sing that version immediately
preceding the reading of ShebetYehuda.
44. This is thecustom in Amsterdam. London, New York, Philadelphia,
and Montreal. The only community that I have found to follow another tradition
was that of the Comtat Venaissin in France, who sang H a- Mabdif to the melody
of El Nora Alilah, However, since that community is no longer viable, further
inquiry into current practice is not possible.
liturgical traditions shared by the Dutch and English branches in the
Sephardic Diaspora have remained strong and only slightly changed or
eroded over the period of several centuries. Differences, when they do
occur, seem to point more to a lessening of interest or involvement in
congregational singing-a phenomenon certainly not peculiar to modem
Jewish (or non- Jewish) communities alone. Many people today simply do
not want to, or feel they cannot sing in chorus, and the custom of domestic
music, personified by the image of a cozy group gathered around the
family piano, has all but vanished into the realm of history. More than ever,
congregations today wish the hazzan not only to lead them into the musical
portions of the service, but to relieve them of much of the responsibilty for
its performance. As in the past, the community expects to be inspired and
uplifted by the hazzan' s beautiful singing, musicianship and taste, as well
as the sincere expression of his or her religious insight.
It is this writer's belief that, in some instances the more things
change, the more they stay the same. Perhaps it was the desire to fulfill the
congregation's needs that prompted the efflorescence of poetry and music
which constitutes such a revered treasure among the Sephardim. But it is
also possible for all Jews to share this magnificent treasure and so it is this
writer's hope that, in time, some of the lovely poetry and melodies
discussed in the above pages will find their way into new homes, where
they will be readily adopted and services immeasurably enhanced.
RECOLLECTIONS OF EARLY YEARS OF THE
CANTORS ASSDEMBLY WEST COAST REGION
1947-1 956
JULIUS BLACKMAN
My first exposure (or near exposure) to a cantorial organization
came in 1946 when my then cantorial teacher-now my dear friend and
colleague Josef Roman Cycowski-had me drop him off, after a lesson, at
the home of one of the hazzanim of the Jewish Ministers Cantors
Association of California (the Hazzanim Farband) located in Los Angeles.
He expected to see Cantor Paul Discount, Cantor Solomon Ancis, Cantor
Itsikel Schiff, Jacob Weinstock ( a conductor of Jewish choirs) and others.
Subsequently, in 1947, 1 met some of these and many others as
I took my first full-time pulpit at the Valley Jewish Community Center
(now Adat Ari El in North Hollywood). Particularly, I cherish my
association through this pulpit with Paul Discount, cantor, composer,
friend, and advisor, and one of the sweetest human beings I have known.
With the encouragement of Hazzanim Cycowski and Discount,
in 1946 I became a member of the Jewish Ministers Cantors Association.
This group included mostly orthodox hazzanim, though there were several
Conservative and even one Reform cantor in the organization. Joining
with me was a good friend, Cantor Nathan Katzman.
Cantor Katzman and I both were active in the Jewish Ministers
Cantors group-he was one of the vice-presidents. I became Financial
Secretary and Treasurer.
Nate and I were the "youngsters" of the group, with ambivalent
feelings about it. We respected and admired our senior colleagues, yet at
the same time we chafed at what we considered outmoded ideas and
practices.
One accomplishment I recall, with some pride, was a dinner
which I chaired and Nate served as co-chair. At this dinner, planned during
Jewish Music Month, to honor Hazzanut, we prevailed on rabbis in the
forefront of the three main wings of Jewish religious expression to pay
tribute to our profession. The three were Rabbi Jacob Kohn of Temple
Sinai, a leading synagogue in the Conservative movement; Rabbi
Soloman Neches of the Western Jewish Institute, a large Orthodox
JULIUS BLACKMAN is a retired Hazzan in San Francisco, California
Orthodox Synagogue; and Dr. Max Nussbaum, senior rabbi at one of the
largest Reform congregations in the area, Temple Israel of Hollywood.
This was early in 1947.
Soon after, Cantor Katzman and I decided that we should involve
ourselves in the just-formed Cantors Assembly. At that time, the CA there
had three members: Carl Urstein, whose death this year saddened all of
us, Nate Katzman, and myself. I became the president for the newly-
formed group of the Cantors Assembly, Nate was vice-president and Carl
was Secretary. We grew from those very tiny beginnings. By the time I left
the presidency in 1956, we had grown to 20 or so.
We decided early on to associate the Cantors Assembly closely
with the conservative movement and the University of Judaism, the West
Coast arm of the Jewish Theological Seminary. We made it a point to
participate actively in the United Synagogue region. In fact, I was made a
member of the Regional Board of the United Synagogues, and of the Board
of Governors of UJ. I must emphasize that we had to fight for this
recognition, but would add also that the fact of our active participation in
regionalactivitiesonasteadyongoingbasis madeiteasier for thepresident
of the Cantors Assembly for the region to become automatically a member
of these Boards, as a matter of policy.
In those earlier years, as the Conservative movement grew
rapidly in Los Angeles, so too did membership of the Assembly. Cantor
Abe Salkov of the Olympic Temple (now Beth Am) joined us, as later did
Allan Michelson, who also passed away this year. Also Cantor Cycowski,
then in San Francisco at Beth Israel; Vittorio Weinberg of Beth Sholom
in San Francisco; Leon Bennett in Los Angeles; Hy Hammerman, Sam
Fordis, and numerous others.
To establish our role, we also participated jointly with the
Rabbinical Assembly in United Synagogue activities: for a number of
years, the united Synagogue heldregional weekend conferences, with one
of the larger congregations hosting a United Synagogue Sabbath Eve
service, in which Rabbis and Cantors participated Usuallly, a host
Rabbi-or occasionally a seminary professor-delivered a sermon. The host
cantor usually made Kiddush and /or whatever other prayer he preferred.
The other Hazzanim formed the ensemble for all the other settings, with
different Hazzanim doing solos in setting of Ma Tovu,L'chu Neran' nah,
Hashkivenu. V'shomru, etc. In 1955, as an outgrowth of our active
participation in United Synagogue and University of Judaism programs
and endeavors, and a good working relationship with the Rabbinical
Assembly, we were invited by Rabbi Max Vorspan of the RA to
participate in what at that time was an annual Rabbinical retreat, this one
at the Arrowhead Springs Hotel below Lake Arrowhead. We accepted and
joined our rabbinical colleagues for that retreat. Scholars in residence for
this were Dr. Mordecai Kaplan and Dr. Jacob Kohn. We had the chance to
participate in the sessions, which we found illuminating, and which gave
us a better glimpse of the communal concerns of our rabbis. The
experiences of that retreat also helped develop a better understanding and
rapport among the rabbis and cantors. I know of no other similar occasion
before or since. I was honored by being asked to chant the£ / Mo/ei at a
special memorial service for a Rabbi Lieberman, a professor at the
seminary who had died during the time we were there. In all, some 1 1 or
12 of our colleagues participated in this retreat.
In 1956, for the United Synagogue's Annual Regional
Conference, I was asked to chair the Saturday Evening Program
Committee. We decided to have a kind of Melave Malke program rather
than another speaker. I was asked to write a cantata which could dramatize
in narrative and music the concepts inherent in Shabbat observance. We
called it "And on the Seventh Day."
We involved the cantors in this cantata. As a matter of fact,
practically the entire production was done by the cantors. The cantata was
directed by Nathan Katzman, lights and sets were under the aegis of David
Dam. In addition, cantors Abe Salkov, Leon Bennett, Sam Fordis, Herman
(Hy) Hammerman, and Bob Roth participated. Ben Lax, past-president of
the United Synagogue Region and Leo Simon, who also was active in
United Synagogue Region were the narrators, and I was in charge of the
production.
The cantata was a smash hit. As a matter of fact it was selected
to represent the Jewish music idiom some months later at a "Brotherhood
in Music" concert sponsored by Los Angeles' Jewish Community Centers.
This concert waspresentedat the Wilshire-Ebell Auditorium and featured
ensembles from University of Judaism, and several others, with the
Cantors Assembly members participating on behalf of the University of
Judaism.
In other aspects of these United Synagogue weekends and indeed
any United Synagoue events, it became a tradition that the Birkat
Hamazon at all meals be led by a cantor-and some of the sessions at these
conferences involved hazzanim chairing sessions and/or leading
diicussionson aspects of liturgy, developing activity groups such as choirs
and music councils, etc.
Also, as part of our efforts to establish ourselves-and hazzanut-
as integral parts of the Conservative movement, when our individual
members arranged Jewish music concert in their synagogues, we provided
a cantorial ensemble to help make these occasions more meaningful and
attractive. We made it a point to highlight whichever cantor was the host.
He conducted the ensemble; he had the feature spots in the choral settings-
and one of us, usually the chairman, made it a point just after intermission
to pay tribute to the fine Sheliach Tsitw of that congregation, and to his
place as a luminary in the cantorial firmament of our community. All
proceeds-if there was a charge- went to the congregation. The only
expenses we charged were for an accompanist.
When a new cantor came to town, we tried to arrange an
appropriate 'Baruch Habbcf preferably in his congregation, at which a
representative of the Assembly spoke.
We recorded some other achievements as well . . .
We were able to convince the University of Judaism to be more
creative with their program. In those early days (1947 through 1953), the
UJ Music curriculum consisted of (A) a "class" on synagogue music, at
which some eight or ten volunteers learned some choral settings; and (B)
a "class" on Jewish music which focused on such Jewish composers as
Mendelssohn and Bloch.
We persuaded the UJ to set up a Jewish Music Council on which
the Assembly was represented and which comprised some of the finest
Jewish composers and instrumentalists.
The council, under the aegis of the University of Judaism,
presented two concerts in 1953 and 1954. Each concert presented a world
premiere in the "Jewish idiom." The first was a cantata "The Queen of
Sheba" for contraltoand eleven women, conducted by Dr. Hugo Strelitzer,
then conductor of the Hollywood Bowl chorus, with composer Mario
Castelnuevo-Tedesco at the piano. This was a 12-minute cantata. To fill
out the program, we presented the American Arts Quartet in a series of
vignettes by Joseph Achron, and Prokofieff s Overture on a Hebrew
Theme.
The most enthusiastically received item on the program was the
performance by a Cantors Assembly ensemble presenting Yiddish and
Hebrew folk and art songs and liturgical settings.
In 1954, this Jewish Music Council again presented a world
premiere, this timeofa work by Ernst Toch.This was" Vanity of Vanities"
for small string and wind ensemble with tenor and soprano solo. This was
a 15-minute work.
Again, to fill out the program, we added a piano quintet with
music by established Jewish composers and again, the most vigorous
acclaim greeted theCantors Assembly ensemble. I should mention that the
Tedesco work was published (by Transcontinental). I still have the
manuscript for the Toch work.
By this time, our region had grown to include cantors from
Phoenix, San Diego, San Francisco, Seattle, Oakland, in addition to the
greater Los Angeles area.
We also established or began a close working relationship with
the Reform cantors in Southern California. Among these cantors were
Edward Krawll, Baruch Cohon, Saul Silverman and others.
After much discussion, we were able to persuade the University
of Judaism to provide "in-service" courses for cantors on pulpits. The
University was loathe to establish these courses, but eventually they
agreed to two such courses. One, taught by Hazzan Leib Glantz, was a
musical evaluation of Nusach H at' filah. Only established Hazzanim were
admitted to this course or the second one. The second course was a "master
class" on the role and function of a modem cantor within the Conservative
movement. This course was led by Cantor Nathan Katzman of Beth El and
by me (at that time at Beth Zion). Some 12 to 14 cantors attended these
In 1955 there was a Boy Scout World Jamboree held at Irvine,
California (this was before California State University was built there).
These Jamborees involve scouts from all over the world. One of the
features of this jamboree was the three religious services; for Catholics,
Protestants, and Jews. Vice-President Richard Nixon spoke briefly at each
of these. For the Jewish service, two J.W.B. rabbis participated. I was
asked to officiate and persuaded the J.W.B. that we could involve several
other cantors. We hadcantors Leon Bennett, Bob Roth, and Sid Bloom join
me in the religious service, involving Jewish Scouts from across the U.S.
and Canada, England, Australia, South America, and South Africa, to
mention just those that come to mind.
In all, the Assembly grew from the original three members in
1947 to more than 20 by 1956, from a small enclave of mostly European-
born cantors to a significant group of young, American-born hazzanim
who began to develop a more modem approach to our ancient and
hallowedprofession. We have come a long way since those early days. The
May 199 1 national convention of the Cantors Assembly in Los Angeles
truly was a remarkable and significant step forward
I am proud that we who " worked in the Assembly vineyards" in
those days when there were very scant and rare vineyards-can look back
on our role in providing a foundation on which our talented and dedicated
young colleagues are building and expanding.
58
MUSIC REVIEW
THE GOLDEN AGE OF CANTORS - MUSICAL
MASTERPIECES OF THE SYNAGOGUE
Edited by Velvel Pasternak and Noah Schall, with an Introduction by
Irene Heskes.
Reviewed By Robert S. Scherr
Whenovercome with gratitude, our tradition has said, "Dayenu!"
Thus. . if Irene Heskes, noted musicologist, had only written her essay
"The Golden Age of Cantorial Artistry, Dayenu, we would be grateful for
this publication. If Noah Schall, a treasured expert on hazzanim and
hazzanut, had only assembled over two dozen of the greatest compositions
in the repertoire of hazzanut, Dayenu. If Velvel Pasternak had only
compiled a sensational cassette of our greatest voices singing their own
material, Duyenu. The Golden Age of Cantors, just published by Tara
Publications, is itself truly golden.
Irene Heskes, in seven concise and articulate pages, covers the
history of hazzanut, placing it in the context of Jewish musical and
communal development. Heskes' essay traces theoffice and role of the
hazzan, from the early Middle Ages, through Sulzer, through the era of the
great voices presented in this volume, to the modem era and the challenge
of incorporating our past into our present. Her beautiful conclusion bears
repeating:
Thus, the true hazzan would give forth with heart and soul at the moment
of intonation, in the absolute trust that the more one created music in
prayer, the more creativity one could call forth from within. The vessel
would simply never be emptied by its use.
The inclusion of brief biographical material makes this a small
encyclopedia of hazzanut, valued as a program tool, both for repertoire and
concert program notes.
In the forward, Pasternak carefully explains that this volume is in
no way acomplete presentation, either of the particular masters or the age.
Rather, it is a sampling of some of the great hazzanim of that turn-of-the-
century era, displaying their craft
ROBERT SCHERR serves as Hazzan of Temple Israel of Natick. Massachusetts.
He is review editor of the Journal of Synagogue Music.
Every one of the twenty-seven recitatives contained here is a
gem. They are not only pieces for which these great artists are famed-
Rappaport's Elu D' vorim or Pinchik's Elohai N' Shomo-but pieces which
were themselves classic examples of hazzanut: Steinberg's Birchas
Hahalel Hate Elohai Ozn'cho by Israel Schorr, Shomea Kol Bichyos by
Kapov-Kagan, and Vigoda's Moran Di Vishmayo.
Some settings, such as Kwartin's V'al Y'dei Avodecho, Elu
D'varim by Koussevitsky. or A to Chonen by Man&l, include keyboard
accompaniment. Some accompaniments are "originals," (e.g. Leo Low's
for Kwartin's V'al Y'dei), while others have Morris Barash'sarrangements.
Chagy's Birchas Kohanim even has a choral arrangement. David
Koussevitsky' s V'chol Hachayim, and Av Horachamim by Leib Glantz,
among others, appear with only the vocal line. Malavsky's Shomea Kol
Bichyos indicates that it was abridged and edited, apparently by Schall
(though the publisher does not make that specifically clear).
So why is this anthology different from all other anthologies?
Because it comes with a beautifully edited(cleaned of almost all the 78 rpm
noise and hiss) cassette of the famed artists singing their own
compositions. The cassette presents David Roitman singing his L'dovid
Mizmor and Gershon Sirota singing S/iome'a Vatismach Tsiyon and Israel
Alter singing his Yo Ribon. The cassette, accompanying the anthology, is
a significant achievement. Notes on the page, transcribing a hazzanic
recitative, are only part of the story. While Noah Schall has superbly edited
the transcriptions (and we are told when a recording, Moshe
Koussevitsky' s Elu D'varim, is a performance which differs from the
written composition), notes on a page are not "hazzanus." Hearing the
performances by the masters themselves illumines the printed page. For a
lover of hazzanut, having the two together is extraordinary. For the
professional hazzan who would add these pieces to his/her repertoire, the
tape is a great learning aid. While an individual artist is free to interpret
Karniol's T'vienu El HarKodshecha, it is good to hear and understand what
Karniol himself had in mind. To learn from the original form is an essential
lesson in hazzanic interpretation.
Velvel Pasternak, whose publications are a pillar of Jewish
musical life today, has truly created a "star" publication in77ie Golden
A ge. This is a volume which becomes the cornerstone of a library of
hazzanic recitatives. The book and tape together allow both the intellect-
through biographical material and the printed composition, and the
imagination of our ears and souls-through the sounds of the hazzanim
themselves, to respond together to these great masters and their work. And
isn't that melding of the intellect and the soul what the hazzanic art isto the
prayer texts of our heritage?
On second thought, maybe we shouldn't say "Dayenu" for this
publication. Maybe we should say, Nu, Pasternak, when will Tam publish
The Golden Age, Volume II?
YAMM NORAIM, VOLUMES I AND II
Edited by Samuel Adler
Reviewed By MURRAY E. SlMON
Transcontinental Music Publications, under the stewardship of
Dr. Judith Tischler. has again performed au inestimable service for
cantors and professional Jewish musicians by publishing their
beautifully bound, two volume compendium entitled Yamim Nor aim,
musical settingsof theliturgy for the High Holy Days for cantor, choir and
organ. Edited by Dr. Samuel Adler, this valuable edition is a reworking of
au earlier anthology compiled and edited by Prof. Adler and published by
Transcontinental in 1972. The selections offered in the earlier work were
geared to the liturgy in the Nigh Holy Day Union Prayer Book of the
Reform movement. The second edition was motivated by the emergence
of the New Reform High Holy Day Prayer Book, Gates of Repentance,
which incorporates many more of the traditional prayersof tbe High Holy
Day liturgy. This dictated a need for a more comprehensive collection of
musical settings than was offered previously.
The following quotation from the preface by Dr. Adler presents
the philosophical thrust of the editor and, hence, reflects the tenor of these
newer volumes.
Too often Jewish music, especially on solemn occasions, has
been made synonymous with slow and tearful sounds. The music in
these services will dispel this erroneous convention. Traditionalmodes,
motives, ending patterns and moods have been judiciously employed
throughout and new harmonizations of chance me offered here The
High Holy day literature is a rich and ennobling and exceedingly strong
collection of prayers. It is arranged to form a profound drama from
solemnity through contrition, confession, remembrance, to conviction
and hope for a new and more meaningful life in the year to come. To
serve as the handmaiden to this overwhelming human involvement with
the self, as well as the Eternal in life, the music is created to clarify and
enhance the words spoken and felt.
MURRAY E. SIMON is Cantor of Tempi eReyim of Newton, Massachusetts. Past
president of the American Conference of Cantors, he is also the producer of the
historic video, "G reat Cantors of the G olden Age."
In my opinion, the musical settings offered in Yamim Noraim
have nobly carried out this intention.
The Rosh HaShannah volume was printed first in August 1990
and contains 79 musical settings, while the Yom Kippur volume, printed
in February 1991 contains 81 settings. Unlike the original 1972 work,
these volumes present alternative musical approaches to the same prayer.
Usually one setting is more "traditional" in sound and the other, by such
contemporary composers as Samuel Adler, Ben Steinberg, Michael
Isaacson, Aminadav Aloni reflects more of a"minhag America" style. In
general, both settings are very effective and may be alternated to offer
variety in the texture of the service. Some congregations have adopted the
custom of offering a more "contemporary" service on the second day of
Rosh HaShannah. Thus, the inclusion of settings by living composers is
most welcome.
Because there are settings of prayers which are common to both,
the Table of Contents lists the corresponding page numbers of the prayers
to be found in both the Reform Gates of Repentance and the Conservative
Rabbinical Assembly Mahzor. In terms of its usage, Yamim Noraim is
primarily for reference. After selecting the desired musical settings in the
anthology, one consults the individual catalogue number which is
provided in the Table of Contents next to the prayer listing so that
performance editions may be ordered. Transcontinental will provide a
price list of the individual settings after the anthology has been purchased
($40.00 for the two volumes). There is also a separate organ edition
available for $10.00 which contains larger print and additional organ
pieces as a supplement to the familiar Lewandowski preludes for Rosh
HaShannah and Yom Kippur which open both volumes.
The following caveat is offeredinboth volumes. "Please note that
the Hebrew text has been changed throughout to modem Sephardic
transliterations, although word accents have remained as in the original
versions." According to Judith Tischler. the cost of resetting all of the texts
to put them in their proper accentuation would have been prohibitive. It is
up to each individual cantor or music director, therefore, to see to it that the
proper adjustments are made.
Yumim Noraim is not the same as the Ephros anthology. It is a
very successful attempt to offer a more contemporary, more suitable
collection of musical materials for the High Holy Days for American
congregations, both Conservative and Reform. Journal readers should be
grateful for the generosity of the American Conference of Cantors and its
individual members, who made the publication of Yamim Noraim
possible, andespecially to the expertise of Dr. Samuel Adler, editor, and
Transcontinental Music Publications, publisher, for this monumental
musical resource. This work is a must for every Jewish music library.
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