Cantors Assembly Journal of Synagogue Music

Journal of
Synagogue Music

•

Vol. XXV . No. 1

From the Editor

Eric Snyder 2

Errata

4

Articles

Ramah - A Blessing and a Curse

Pinchas Spiro 5

Teaching B'nai Mitzvah

Michael S. Krausman 9

With Special Needs

How Jewish Music in America
Changed During the 20th Century:
A Comparative List For Thought and
Discussion

Herman Zalis - A Recollection

Hazzanut in the Responsa of the Rosh

Reviews

Book Review

A "Keeper of the Gates"
For Our Time

Guglielmo Ebreo of Pesaro:

De Practica Seu Arte Tripudii

(On The Practice or Art of Dancing)

Music Review

Three New Cassettes of Cantor
Moshe Ganchoff

Using Oral Tradition To Reconstruct
Baroque Synagogue Music

Michael Isaacson 20

Louis Danto 24
Alyeh Finkelstein 26

Samuel Rosenbaum 3 1

Jeffrey Nussbaum 35

Sholom Kalib 37

Charles Heller 4 1

FROM THE EDITOR

Those who teach, who transmit knowledge and values to future
generations have always enjoyed an exalted status in Jewish tradition.
Thus this issue of the Journal finds those exalted ranks severely diminished
by the passing of Dr. Miriam Gideon, z"l, and Hazzan, Doctor, and
Professor Max Wohlberg, z"l. These two people have for many decades
dedicated their lives not only to transmitting knowledge, but to instilling
moral and ethical values of the highest level in their students. Each was a
paragon of morality, ethics, and mentschlichkeit. I personally, and all
those who have been privileged, honored, and blessed to have their lives
touch these two warm, caring human beings will miss them not only as
teachers, but as role models. Each genuinely loved to teach and work with
students, and was infinitely patient in that teaching. Future issues of the
Journal will honor their lives and work, and indeed they will be sorely
missed.

Hazzan Pinchas Spiro has for many years spearheaded a deep concern
with the far-reaching effects on the nusach and the music of the synagogue
service, which Hazzanim across the country have long felt since the
inception of the Camps Ramah. He addresses this concern in his article
"R amah- A Blessing and a Curse".

For most Hazzanim today, the preparation of children for Bar and Bat
Mitzvah is a primary responsibility. As synagogues seek to gain and retain
members more aggressively than ever, the subject of working with
children with "special needs" is becoming an important issue. Hazzan
Michael Krausman has for many years dedicated himself to the prepara-
tion of these children for this major life-cycle event which, until recently,
had been unavailable to them, and the study of their physical, mental, and
emotional needs. He is rapidly becoming a leading authority in this area,
and his article entitled "Teaching B'nai M itzvah W ith Special N eeds"
will surely be an eye-opener for every active Hazzan in the field.

As the twentieth century draws to a close, how appropriate that Dr.
Michael Isaacson offers an analysis of the evolution of Jewish music in a
unique fashion. It should be noted that Dr. Isaacson welcomes the
feedback of the Journal readership to his study. All responses should be
sent to the address or e-mail address listed in the front of the Journal and
they will be immediately forwarded to Dr. Isaacson.

Louis Danto provides us with a brief glimpse into the past with his
recollection of one of the greats in Jewish music, Herman Zalis. These

kinds of memoirs are invaluable insights into the "Golden Age of Hazzanut"
for those not lucky enough to have experienced them for themselves.

Whereas we normally concern ourselves with musical changes in a
forward-moving timeline, Charles Heller has taken a unique approach in

converting what we know as a short melody for Psalm 11 8 (Pitchu li) into
18th Century musical roots.

Aryeh Finklestein in his "H azzanut in the R esponse of the R osh'\

provides, as a "teaser", an essay from his translation-in-progress for the
Cantors Assembly of Akiva Zimmerman's "Beron Yachad" and "Sha'arei
Ron". The full work is expected to be completed for the Cantors Assembly
1997 Convention in Chicago.

In our Book Review section, the volume "Eighteen Gates of Jewish
Holidays and Festivals" by Isaachar Miron is reviewed by Samuel
Rosenbaum. Hazzan Rosenbaum is at his most eloquent as he exposes

many of the nuances that make this work so special.

Jeffrey Nussbaum, who contributed a review article for our last issue,
again offers an interesting critique, this time on a volume dealing with a
little-known subject - the activities of the early Jewish dance masters. The
book, by Guglielmo Ebreo, deals not only with dance, but with the music
associated with it, in a critical analysis. We thank Jeff for his enthusiasm
and contributions to the Journal.

One of the most important contributors to the recorded history of

Jewishmusic, especially Synagogue music, and most notably, the Hazzanic
art, has come from Barry Serota, founder and President of Musique
Internationale. Over the years, Serota has produced high-quality record-
ings of the great Hazzanic masters and synagogue music which exists
today in many cases only in books long forgotten, or certainly unused.
Serota has done a "yeoman's job" in keeping this music and the artistry and
memories of the Cantorial giants alive. Here is presented a review by
Sholom Kalib of three cassettes produced by Serota of the great Hazzan
Moshe Ganchoff. Recordings such as these are a must for every Hazzan
who ascends the pulpit, for while reading about our Cantorial heritage in
books is important, no words could ever take the place of the actual sounds
of that heritage.

-Eric Snyder

ERRATA

Please note the following corrections to the December, 1995 issue of
the Journal:

. On page 17, the second paragraph of Cantors Assembly President
Abraham Lubin's acceptance speech should have read:

"When a Jew is about to perform a Mitzvah he pronounces the
following words: Bidechilu Vrechimu ("With Fear and with Love"). At
first this seems to be a contradictory set of emotions to accompany the
performance of a Mitzvah, namely, fear and love. However, on closer
examination, it is so true (and indeed appropriate) that acomplete commit-
ment and devotion to a noble cause brings together these two emotions of
fear or trepidation and love. Fear in the sense..."

. Also on page 17, the name of Cantors Assembly past President
Charles Surdock, z"l, should have appeared in the list of deceased
Presidents.

. On page 80, in the Editor's Note, Isabel Belarsky was misidentified

as the wife of Sidor Belarsky, z"l. Ms. Belarsky is the daughter of the late
Mr. Belarsky.

The Journal apologizes for any Inconvenience resulting from these

errors.

RAMAH - A BLESSING AND A CURSE

ByPINCHAS SPIRO

I have great empathy for the rights of women and most especially
when they concern religious practices. At conventions, when I have a
choice of attending either the so-called "Traditional" Minyan (where
only men count), or the Egalitarian Minyan, I instinctively gravitate to
the latter. However, I must confess that I usually leave that service
after a few minutes because I simply can't stand it. The drone of the
Ramah "nusach" that almost everyone uses there is enough to make
me want to climb the walls...

As a hazzan who has devoted his entire 46-year career to the
preservation of our traditional sacred nuschaot and particularly the
MSdch of the weekday services, I feel greatly disturbed about the
insidious Ramah scourge which is growing worse every year.
Sometimes I get the terrible feeling that we have already reached the
point of no return, b"~\ .

In recent years, we have been hearing encouraging news about the
willingness of those in charge of the Ramah camps to bring their
musical programs back in line with the traditional mainstream. I am
afraid however that this has merely been wishful thinking. The fact is
that those in charge are not even aware that they are doing anything
wrong, and that may be the worst part of the problem.

I am sure that I don't have to state the obvious, that Ramah is a
marvelous institution enabling Jewish children to live Jewishly 24
hours a day for two months each summer. It is an institution that for
the past 50 years has inspired countless youngsters to become rabbis,
cantors and leaders in the Conservative Movement. It is a shame that
the originators and directors of Ramah neglected to plan its musical
program properly. Instead, they have allowed it to develop into an
aberration that now threatens to pollute the entire field of Jewish
traditional music in America and beyond. Strong words? Perhaps, but
they do not exaggerate the situation.

PINCHAS SPIRO is the Hazzan-Emeritus of Tifereth Israel Synagogue in Des Moines, Iowa.
He is the author of a series of musical siddurim published by the Cantors Assembly and used
in the numerous Ba'al Tefillah Institute programs throughout the country.

Anyone who has ever attended a summer camp or worked in one
knows that summer camps have their own peculiar dynamics; they exist
as though they were isolated islands. Perhaps, much of the appeal of
life in summer camp is due to the fact that it constitutes a world unto
itself, quite apart from real life on the outside. There are things that are
designed and reserved specifically for summer camp. In the summer-
camp setting they work well; in the outside world they seem ridiculous.
A case in point are the typical summer-camp songs which are a lot of
fun when sung in camp, but are rarely sung back home during the year.
Ramah has developed its own camp songs, especially in the area of
community worship. The problem is that no one in a position of
responsibility realized what they were creating. No one sought advice
or guidance from the leaders of the Cantors Assembly, the instructors
of the Cantors Institute, or the half dozen acknowledged experts on
Jewish music and nusach. Whoever happened to hold the position as
music counselor each year was left to devise his/her own program.
Subsequently, someone developed a simplification of the basic
traditional modes for weekdays and Shabbat, and it was adapted for
camp life and style. By any scholarly standards, these simplifications
represented the lowest common denominator in Jewish musical taste.
However, it worked well in camp, and it seemed a better option than no
nusach at all. In retrospect. I feel that it would have been much better
had the Ramah "nusach" simplifications and adaptations been
completely untraditional, for then eventually they would have been
completely rejected. As it happened, these nusach adaptations had just
enough of the traditional flavor to make them seem legitimate

Originally, we all assumed that the so-called Ramah "nusach"
would remain a pleasant summertime aberration that would cause no
harm. Unfortunately, no one foresaw the tremendous growth of the
network of Ramah camps and their direct influence on year-round
youth organizations of the Conservative Movement: L.T.F., U.S.Y., and
Kadimah. The members of these organizations look on Ramah as their
model and ideal. Activities that are specifically designed for summer-
camp are carried over into year-round programs. The logic goes
something like this: If it is good enough for Ramah, it must be good
enough for year round. Consequently, the aberrations of Camp Ramah
are gradually finding their way into the regular repertoire of many of
our congregations, often replacing ancient hallowed musical traditions.

To understand how this unthinkable situation has come about, one
must remember that since Ramah has been in existence close to 50
years, the young campers of yesteryear are now themselves parents,
congregants and leaders in our congregations. What really scares me is
the fact that the majority of young Conservative rabbis and cantors in
the pulpits of America are former Ramah campers. They received their
inspiration at Ramah and consider Ramah melodies as the ultimate in
Jewish musical liturgical achievement. These rabbis and cantors aim
no higher than the Ramah model they know and love.

Some years ago, Dr. Ismar Schorsch, Chancellor of the Jewish
Theological Seminary of America, issued a booklet which he
distributed to everyone connected with the Conservative Movement -
rabbis, cantors, educators and lay-leaders. This booklet, entitled
THOUGHTS FROM 3080 BROADWAY, consisted of his selected
addresses and writings. One of these was an address which Chancellor
Schorsch delivered in 1986 on the subject, "Ramah at 40: Retrospect
and Prospect." Chancellor Schorsch begins by speaking of the need
for a comprehensive study, in which the achievements of Ramah "will
be demonstrated soundly and impartially." He then proceeds with an
unbridled song of praise concerning anything and everything associated
with Ramah. I did not become alarmed and dismayed until his

address turned to the music of Ramah.

I would like to quote a significant paragraph from this address, but
let me preface it by adding that immediately preceding that paragraph,
Dr. Schorsch talks of the way campers have been afforded the
opportunity to experience living as Jews in a community "governed by
the rhythm of the parameters of Halacha." He then adds the following,
and I am quoting: "Paradoxically, constraint bred creativity. The fervor
of communal worship at Ramah altered n ot only individual lives but
also traditional practice. In time, Ramah gave rise to a distinct nusach,
a recognizable liturgical mode. Great religious centers in the past were
always distinguished by a specific adaptation of the common forms of
prayer. The ability to generate such a nusach is the sign of a praying
community. An individual may compose a siddur but only a

community can produce a nusach The diffusion of this Ramah

nusach is tangible evidence of the impact of Conservative Judaism on
popular observance." ( The emphases are mine. PS)

What we must surmise from this address is that Ramah has
distinguished itself, like other great religious centers of our history, by
altering the traditional practice and creating a new "nusach!" The
logical conclusion is that since we have this wonderful new "nusach, "

we no longer have to follow the sacred musical nuschaot which have

been passed on to us through countless generations. We should replace
the old melodies of MI-SINAI with the new melodies of MI-RAMAH.

I know that Chancellor Schorsch is a great friend of Hazzanim and
Hazzanut, and I truly do not mean to be disrespectful to him. But, I
believe that he has expressed an opinion concerning a specialized vital
area in which he has no qualifications. Before he gave this new, so-
called, "nusach" his blessing, he should have considered its origins. In
the early days of Ramah, the camp in the Poconos was the only one in
existence. The music instructors in these formative years were, at best,
well-meaning amateurs without the proper background in traditional
liturgical Jewish music. Unfortunately, what they created back then has
continued to increase in power and has developed a momentum that
continues unabated to this very day, with no end in sight.

Few will disagree that the so-called Ramah "nusach" is a juvenile
adaptation of the real thing - its lowest common denominator. We have
ignored this situation far too long, and we must now try to change
things before it is too late. The task will not be easy, but we have to
start by declaring the Ramah "nusach" an insidious aberration. We
must make an all-out effort to convince those who use it and those
responsible for the educational programs of Ramah camps of the urgent
need to return to the traditional fold and our ancient roots.

What makes this task so difficult is the fact that an increasing
number of young Cantors Assembly members are alumni of Ramah.
They still cling tenaciously to the "nusach" they learned as young men
and women. I can understand their natural reluctance to give up
something familiar from early childhood and replace it with something
which is less familiar to them. What I wonder, when I listen to the
droning Ramah chants at our conventions, is where were these same
young men and women at many of our conventions when we conducted
workshops that discussed in great detail the intricacies of our various
sacred nuschaot? Where were they when we worried aloud who would
replace the wonderful old Ba'aley T'fillah who guarded our ancient
musical traditions and who had added warmth and inspiration to the
services with their consummate familiarity with the various nuschaot?
Where were they when we decided to make an all out effort to train
young men and women in our synagogues as Ba'aley T'fillah, to carry
on the precious musical legacy of our people? I must say that I am
very pessimistic about the situation, and I shudder to think that in the
future, Jewish liturgical music might be represented by the Ramah
"nusach/'

TEACHING B'NAI MITZVAH WITH SPECIAL
NEEDS

By HAZZAN Michael S. KRAUSMAN

Every parent expects their Bar/Bat Mitzvah to sing like Moishe
Koussevitzky, perform like Moishe Oisher and discuss the Torah like
Moishe Rabbenu; unfortunately the student often appears to the teacher to
be more like Moishe "Kapoier" ("Topsy Turvy").
Throughout our career as Hazzan/B'nai Mitzvah teacher, we are often
confronted by students with special needs or challenges that stand in the
way of success. Often the prospect of preparing such a student causes
anxiety on the part of the teacher, the parent and all involved-not to
mention the student. Fortunately, most of us who teach B'nai Mitzvah are
caring, patient and sensitive individuals. By considering the meaning of
Bar/Bat Mitzvah, understanding the nature of the challenges that some
students face and by designing our approach to these students in light of
the individual differences that define each human being, it is possible for
an instructor to achieve a great measure of success, and in the process, Shep
a great deal of Nachas!

It may certainly be beneficial to reflect upon what becoming Bar/Bat
Mitzvah means: Clearly, by strict interpretation, Bar/Bat Mitzvah denotes
the Halachic status of the individual. Having attained the age of Mitzvah,
regardless of any ceremony, ritual or service in which (s)he may partici-
pate, a person becomes responsible and eligible for obligations and
privileges as established by Jewish Law. Nevertheless, especially in our
time, Bar/Bat Mitzvah constitutes a crucial passage in Jewish life; a
passage from child to adult; from "kid" to responsible, accepted member
of the Jewish Community. Families of students with special needs con-
stantly struggle for equality and inclusion, so for them, the issue of
acceptance is of vital importance and is a crucial aspect of the definition
of Bar/Bat Mitzvah. A teacher, then, must consider B'nai Mitzvah training
in light of the expanded notion of the meaning of Bar/Bat Mitzvah.
Coupled with the preceding, is the reality that in the lives of a large
percentage of our students and their families, Bar/Bat Mitzvah is the most
significant and intensive period of contact with the synagogue, its profes-

MICHAEL KRAUSMAN is the Hazzan of White Meadow Temple of Rockaway, New

Jersey. He also serves as B'nai Mitzvah consultant to the Jewish Education Association of
Metro West and has taught B'nai Mitzvah with educational challenges ranging from ADD to
Deafness. Krausman is the authorofan individualized interactive text for pre-B'nai Mitzvah
training for students with special needs called "My Bar Mitzvah Book "

10

sionals and with Yiddishkite in general. Considering the aforementioned
reality then, it is important for the instructor to have as an underlying
objective to provide all B'nai Mitzvah with an authentic Jewishexperience
in non- shaming, positive environment in which every opportunity to
achieve and to feel a sense of belonging is afforded. Many times, especially
for students with special needs, Bar/Bat Mitzvah constitutes the first time
they are able to set and realize specific goals. How wonderful it is when the
first occasion on which a child excels takes place in a Synagogue!
Before attempting to examine the process of instructing B'nai Mitzvah
with educational challenges, it is important to briefly examine some of the
obstacles that can affect learning and to see what is meant by "learning
disability".

The federal government defines learning disability in Public Law 94- 142,
as amended by Public Law 101-76 (Individuals with Disabilities Educa-
tion Act-IDE A):

"Specific learning disability means a disorder in one or more of the basic
psychological processes involved in understanding or in using language,
spoken or written, which may manifest itself in an imperfect ability to
listen, think, speak, read, write, spell, or to do mathematical calcula-
tions.. ."1

The official government definition notwithstanding, it is difficult to
determine with certainty whether or not an individual has a learning
disability. Most of us at one time or another have encountered a subject in
school or a task which we found extremely frustrating, have experienced
a lapse in memory or have had difficulty understanding directions. The
extent to which a difficulty becomes a disability, then, depends on how it
affects the life of the individual.

Perhaps a better understanding of the nature of learning disabilities can be
gained by looking at factors that can influence learning ability. Betty B.
Osman, an educational therapist and author has compiled the following
list?

1. Intelligence. While learning problems can be found in students

with all levels of intelligence, students who possess average or above
average intelligence but fail to achieve may have a learning disability.
Osman points out, however, that intelligence should be thought more of as
a measure of the rate at which a person learns rather than as a measure of
capacity.

Jean, Lokerson; Digest #E516: C ouncil for Exceptional Children, Reston, Va.; ERIC
Clearinghouse on Handicapped and Gifted Children, Reston, Va.
2 Betty Osman, Learning Disabilities A Family Affair; Random House, NY, 1979. pp 18-20

11

2. Sensory Deficits. Obviously, learning can be a challenge when
sensory organs such as eyes or ears do not function properly. But even
when these organs function perfectly well, a breakdown in processing
information communicated by these organs to the brain can occur, result-
ing in a sensory or perceptual deficit. Betty Osman describes the phenom-
enon in this manner, "Their brains give them the wrong messages."

3. Activity level and Attention Span. The ability to remain in one
spot and concentrate on a task without being easily distracted has much
impact on learning. However, students are often labeled "hyperactive" by
a teacher who desires quiet and order more so than does an energetic
student. Students, whether hyperactive or hyperkenetic (i.e. increased
activity due to neurological factors) may or may not have learning
difficulties.

4 . Brain Iniurv and Minimal Brain Dysfunction (MBD). It is
difficult to measure the extent to which elements such as low birth weight,
oxygen deficiency or even physical damage to the brain are responsible for
poor academic performance. In fact, some students with neurological
impairment due to conditions such as seizure disorders or cerebral palsy,
are quite successful in school.

5. Genetic Factors. Certain learning difficulties, particularly in
males, appear to pass from one generation to the next.

6. Immaturity or Maturational Lag. Difficulties in learning may
simply be the result of the fact that we all mature and develop at different
rates. Just as the ability to walk manifests in different children at different
ages, so too, such skills as the ability to read at a certain level, etc., may
develop at different rates.

7. Emotional Factors. A student who fears failing, either because
of perceived or real competition with siblings or peers, or because of
parental pressure, may experience learning difficulties. Anxiety or ner
vousness engendered by family situation or diminished self image may
also contribute to academic problems.

Students with special needs are afloat in a sea of labels and terminology.
A prospective Bar/Bat Mitzvah may be described in terms including: LD
(Learning Disabled), ED (Emotionally Disturbed), NI (Neurologically
Impaired), MBD (see #4 above), ADD (Attention Deficit Disorder) or
Dyslexic. The latter two are perhaps the most prominent and merit further
discussion.

Ask the average person, "What is Dyslexia?', and the response will
inevitably be "a condition that causes a person to see words backwards."
That response reflects a common misunderstanding or at best an over
simplification. Although "dyslexia" is a term generally applied to all

12

reading disabilities, not all individuals who find reading difficult are
dyslexic. There is little agreement on the part of experts as to what
specifically causes and defines dyslexia 3 but, it can generally be defined
as: ". . .A severe difficulty in understanding or using one or more areas of
language, including listening, speaking, reading, writing, and spelling."4
When an individual's reading ability is significantly lower than his
intellectual ability, any external cause notwithstanding, dyslexia is
indicated. Some of the characteristics observed in dyslexics can include:
average or above average IQ, good math skills, letter or word reversal,
problems associated with coordination and left/right dominance, prob-
lems remembering letters and other symbols and auditory difficulties
including understanding words, language fluency or problems with word
sequence, moreover, dyslexics often have trouble transferring information
from what they hear to what they see. Problems also tend to arise when they
encounter words that are similar, (dog/dig) or words between which it is
difficult to discriminate (on/no).5 Certainly, given the complex nature of
dyslexia, highly qualified professionals are required to diagnose and treat
this disability. Finally, it is important to remember that each student is
different and an individualized approach must be devised to help in each
case of dyslexia.

Almost every teacher has come into contact with Moishe. Moishe sits at
his desk tying to spin his ruler on the point of his pencil. His book if he
remembered to bring it to class, may be open and may even be at the correct
page, but it is unlikely that Moishe is on the same line as you are. When
you ask Moishe to read for the class, he, after trying to encourage you to
ask someone else and requiring several minutes to find the correct place in
the book, can manage only a few disjointed syllables. Although it seems
rare that Moishe is paying attention to the teacher, the teacher inevitably
expends much energy paying attention to Moishe. Sometimes, Moishe
makes inappropriate comments; sometimes, his sense of humor is quite
different than that of an exasperated teacher; many times, one finds Moishe
seated in front of the principal's office.

The preceding scenario is typical of situations associated with Attention
Deficit Syndrome- ADD. Until recently, such students would have been
described as "Brain Damaged" "Hyperactive Active"or "Hyperkenetic"

i Carl B. Smith &Roger Sesenbaum Helming Children Overcome Reading Difficulties E RIC

Clearinghouse on Reading & Communication, Bloomington, IN.

\ Dr. Jean Lokerson, Learning Disabilities; Glossary of Spine Important Terms, ERIC Digest

#E517: E RIC Clearinghouse on Handicapped and Gifted Children, Reston, Va. 1993.

5 Roger P. Hanie, & Carol Weller, What Is Dyslexia: 1984 Digest: ERIC Clearinghouse on

Handicapped and Gifted Children, Reston, Va 1985

13

but "ADD"more accurately describes the characteristic of this condition."
The American Psychiatric Association publishes the following param-
eters for determining if student is ADD:'

1. "Inattention . . .often fails to finish things he or she starts; often seems
not to listen; is easily distracted; has difficulty concentrating on school-
work or other tasks requiring sustained attention; has difficulty sticking to
a play activity

2. Impulsivity . . often acts before thinking; shifts excessively from one
activity to another; has difficulty organizing work; needs a lot of supervi-
sion; frequently calls out in class; has difficulty awaiting turn in games or
group situations

3. Hyperactivity; ADD may be diagnosed as with or without hyperactivity
(if hyperactive, [may] show . . . the following): runs about or climbs on
things excessively; has difficulty sitting still or fidgets excessively; has
difficulty staying seated; moves about excessively during sleep; is always
"on the go" or acts as if "driven by a motor""

Scientists are unsure about what causes ADD, but most agree it is genetic
or prenatal in origin. Many times, drugs such as Dexedrine, Ritalin, and
Cylert are given, but medication is not successful in all cases"
Obviously, the above information regarding the nature of learning dis-
abilities is not intended to provide the Bar/Bat Mitzvah teacher with the
tools to make diagnostic decisions, but rather to serve as a basis for
understanding students with special needs before attempting to teach
them.

In addition to teaching students from my own congregation, I come into
contact with special needs B'nai Mitzvah in my capacity as special needs
Bar/Bat Mitzvah consultant to the Jewish Education Association that is
part of a local Federation. Whether the potential Bar/Bat Mitzvah has
profound developmental disabilities or minor learning difficulties, the
process of instruction from the first meeting to the actual date of the event
is essentially the same: Meeting and gathering information about the
student: Designing a specific approach; Implementing and evaluating a
course of instruction; Actual Bar/Bat Mitzvah day.
Especially when dealing with unfamiliar students or families, the first
meeting to discuss Bar/Bat Mitzvah is crucial. It is vital to make the proper
first impression, especially on the student. Atthismeeting theexpectations

6 Council for Exceptional Children, Teaching Children with Attention Deficit Disorder

ERIC Digest #462.E RIC Clearinghouse on Handicapped and Gifted Children Reston. Vu

7 Mary E. Scott. Attention Deficit Disorder (ADD).Digest #445: E RIC Clearinghouse on
Handicapped and Gifted Children, Reston, Va.

8 IBID

14

of the parent and student should be expressed. The teacher should cover
items such as his availability and limitations vis-a- vis instruction times
and Bar/Bat Mitzvah date. (e.g. ability to travel to or even attend a service
at a distant congregation on Shabbat.) The actual Bar/Bat Mitzvah date and
possible times of service (Shacharit vs. Mincha) may also be brought up.
Incidentally, Shabbat Mincha/Maariv, when available, is a most appropri-
ate choice for B'nai Mitzvah with special needs. While maintaining the
advantages of Shabbat and inclusion of Torah Reading, the duration of the
service is much shorter than Shacharit. Furthermore, Havdalah is a
ceremony in which B'nai Mitzvah on almost any level can find a way to
participate.

Before concluding the meeting, it is vital to learn as much about the student
as possible; most parents are exceptionally well informed with respect to
their special needs children. Include the nature of any special instruction
or therapy the student receives, the names of professionals such as
resource- room9 teachers or therapists in the data that is gathered.
Permission to contact professionals should also be obtained from the
parent.

It is critical to comprehend the experience of parents of special needs
students. Often, the parent must serve as an advocate for the child, making
sure that the child receives the optimum service from each of the many
facilities and services with which the child is in contact. The latter may
include special schools or school settings,(see note number nine below),
therapists or other medical providers, recreational or social settings not to
mention agencies that provide funding, insurance or grants. Moreover,
issues of accessibility, availability or adaptability inevitably arise when
dealing with institutions ranging from Synagogues to movie theaters.
Having a child with special needs may be a source of shame for some
parents; they are hesitant to tell a Hebrew School Principal or Bar/Bat
Mitzvah teacher about a child's disability out of fear that "everyone in the
Shul will find out". It is not unusual for the presence of a child with special
needs to have a significant impact on family dynamics. Issues such as
decisions involving the welfare of the special child or relationships with
other siblings can contribute to tension among and between family
members. Bearing all of the preceding in mind then, it is understandable
that these parents often are under considerable stress and are likely to
appear anxious regarding the Bar/Bat Mitzvah process.
There is a wealth of data that can be gathered about prospective Bar/Bat

) Resource rooms are special educational environments within regular school settings that
students go to for enhanced, individualized instruction in one or more subject areas.

15

Mitzvah students. In addition to information provided by the parents,
teachers and therapists can be an excellent source of insight. By knowing
about the student's preferred learning styles, favorite activities, level of
reading and various other strengths and weaknesses as well as the way in
which the student relates to other professionals, a teacher is better equipped
to formulate his/her technique. Hence, it is extremely valuable to obtain
permission to contact such professionals and to seek their advice and
where appropriate, assistance.

For a Bar/Bat Mitzvah teacher without formal education in the area of
special education, it is invaluable to have the support and council of a
qualified professional. I am most fortunate to work with Wendy Chesnov,
who is the Director for the Department for Special Education of The
Jewish Education Association of Metro West. Not only do I benefit from
her expertise and sensitivity when working with students that she refers,
but also when teaching B'nai Mitzvah that come through my Synagogue
Hebrew School. Offering frequent feedback and support, Wendy serves as
an interpreter of information from the various professional sources out-
lined above while providing her own expert assessment of the Bar/Bat
Mitzvah. One of the tools that a professional may use in assessing a student
is the student's "Individual Educational Program" or IEP 10. This document
is prepared be teachers with, in some cases, parental input, and is con-
stantly updated and reevaluated as the student progresses throughout the
educational system. Speaking in very concrete terms, the IEP sets out
specific goals and objectives concerning the student together with an
assessment of the student's strengths and weaknesses. The final step in the
process of gleaning information in cases where students come from
outside your congregation, is to contact the clergy and Bar/Bat Mitzvah
teacher at the student's home synagogue. Professional courtesy dictates
that permission must be obtained before teaching the child of a member of
aneighboring congregation. Moreover, information about the typical Bar/
Bat Mitzvah, the customs and traditions of the Synagogue (women's status
etc.), the student's history in the Temple Religious School and the relation-
ship of the family with the Clergy should be factored in. Armed with the
knowledge that has been garnered from all of the above sources, the
teacher is now ready to put together a program for Bar/Bat Mitzvah
instruction

The process of designing a blueprint for teaching a particular Bar/Bat
Mitzvah begins with determining long and short term goals: In which areas

10 B. Osman op at p 94

16

would you like to see the Bar/Bat Mitzvah student participate in the

service? Which parts of the Bar/Bat Mitzvah would you like the student to
learn first? Information gathered in the process described above will be
brought to bear to answer the preceding questions and to help fashion the
specific strategy for the Bar/Bat Mitzvah. One of the pieces of information
that is important to consider is the way in which your student learns most
effectively. Characteristics such as: learning style (i.e. active vs. passive;
pondering vs. impulsive)", and preferred learning modalities (i.e. audi-
tory, visual or tactile)2 , determine how the Bar/Bat Mitzvah prefers to
learn. In general I employ amultisensory, interactive approach; employing
several modes and styles at the same time. For example, I may teach the
blessings of Havdalah with the aid of a puzzle (see example below) which
the student can put together while saying the Bracha and / or hearing me
say it.

Many types of materials can be employed. Activities such as a paper Torah
that uses ornaments and vestments attached by velcro which can be
removed and applied repeatedly are extremely affective. Exercises which
require the student to match words, phrases, Ta'amim, or even parts of the
synagogue can also be helpful. Often the teacher must be prepared to
abandon comfortable, conventional techniques in order to reach a particu-
lar student at his/her level. For instance, I have taught exceptionally active
students with the aid of a plastic basketball set: the student shoots baskets
while saying each word of his/her portion. Instructional materials that
must also be accumulated include tapes (audio and/or video) and printed
texts. Tailoring the material to the individual student is vital. Often the
material on the tape must be repeated or recorded with blank space to allow
the student time to repeat. Many times, in order to instill confidence, it is
best to make a cumulative tape, adding each new section as the student is
ready so the Bar/Bat Mitzvah can always identify with everything on his
/her tape and not be overpowered by material not yet covered. Printed
materials must be large enough to be comfortable for the student without
being overwhelming. Care must be taken not to give the student too much
material at one time. Setting short term goals which are not too difficult to
accomplish insures quick success which boosts the student's sense of
accomplishment and desire to learn more. Once again, it is important to
consult the professionals with whom you have been in contact to review
the aptness of the methods and materials in your design.
Just before the first meeting with the Bar/Bat Mitzvah it is useful to contact

11 J. Lokerson op. cit. p2
II IBID

17

the student's parents to review their role as coach and the importance of
positive feedback The role of other siblings is also an issue worthy of
discussion. Suggest that parents provide copies of B'nai Mitzvah materials
to therapists and other teachers if possible to ilicit their assistance. You
may also discuss a system of rewards or incentives that would be effective
in motivating the student. Allowing the students to earn "points" towards
a purchase, movie or other activity, or providing a small toy or sweet, if
permitted, after completing an assignment or making a special effort can
be a critical element of successful teaching. I make it a practice to provide
such a reward at the conclusion of each lesson.

Once the actual Bar/Bat Mitzvah instruction begins, it is important to
communicate to the student the fact that Bar/Bat Mitzvah instruction is
part of the process of becoming a responsible Jewish adult. Outline the
goals and objectives you have set out and review the format of instruction.
Ensure that the student understands all requirements e.g. practicing,
attending lessons on time, attending services etc.. The system of feedback
or rewards you have established may also be demonstrated at the outset.
While teaching, it is vital to maintain a positive attitude at all times.
Students with special needs may be very fragile or have poor self image 13
Every small success should be rewarded verbally with encouragement;
"good job; way to go; you are going to be a great Bar/Bat Mitzvah!" As
lessons proceed, the instructor must be extremely flexible. Strategies,
goals, and materials may need constant reevaluation and revision. Stu-
dents, like teachers, have days on which nothing seems to work, but a
positive outlook must be maintained. Moreover, B'nai Mitzvah students
may be on medication which is not always taken in time to be effective
during the lesson. As I have previously stated, it is advisable to be in
constant communication with parents and professionals.
Obviously, especially, as the date approaches, it is of great importance to
practice in the actual room in which the event will take place. Many
rehearsals during which all the events of the Service are "walked through"
insure the familiarity of the student and help the B'nai Mitzvah to feel more
comfortable. I often allow the Bar/Bat Mitzvah to unlock the door, turn the
lights on and help open the ark in order to facilitate their comfort in the
Sanctuary. Several "dress rehearsals" involving the Rabbi and anyone else
who may be on the Bima or involved with the Bar/Bat Mitzvah are also
necessary.

After months of planning and preparation, the Bar/Bat Mitzvah date
finally arrives. Maintaining apositive, upbeat atmosphere is crucial on this

B Teaching Children with ADD. ERIC Digest #462. Council for Exceptional Children,
Reston, Va. p2

18

day. Acknowledging feelings of nervousness or apprehension is always

better than denying them; saying: "Of course you are scared, you have to
stand in front of a large group of people, you'll feel better once you start."
as opposed to: " Don't be silly, you've got nothing to worry about." As with
all B'nai Mitzvah, in most cases, the service will go as planned but even
if minor mishaps occur, it promises to be a most rewarding experience.
Teaching Bar/Bat Mitzvah students with special needs can be an over-
whelming prospect. However, by taking the time to understand the nature
of disabilities and designing and following a systematic approach to each
student, much satisfaction and success can be realized. Communication
with a knowledgeable professional and with the parents and other support-
ers of the Bar/Bat Mitzvah is also an invaluable part of the process.
When asked why I enjoy teaching special B'nai Mitzvah I usually respond
"I suppose I am a'Nachas Junkie'", for the feeling a teacher gets watching
a student succeed when many, including the student, thought that success
was impossible or when watching a parent witness what they had been
afraid to even dream about, become a reality, is the epitome of Nachas.
Maintaining an affirmative learning atmosphere and providing positive
feedback will strengthen the special relationship between the student and
teacher and form a portion of the uniquely Jewish experience that will
dwell with the Bar/Bat Mitzvah for the rest of his/her life.

Sample Activity: Puzzle for teaching Havdalah. "

Part A

BARUCH ATAH ADONAI
ELOHEINU MELECH HAOLAM

WE BLESS YOU GOD WHO IS KING OF THE WORLD

_r*Y

BOREI

WHO MAKES

PIREE HAGAFEN

GRAPES THAT GROW ON A VINE.

S~>L.

MKrausman, Michael; My Bar Mitzvah Book: R ockawav NJ, 1994

19

PartB

The third piece of the puzzle is substituted to form other Brachot.

M'OREI HAAISH

THE LIGHT OF THE FLAME

y~v

F

$> MINE1

BISAMIM

ALL KINDS OF SPICES

BIBLIOGRAPHY

1 . Attention Deficit Disorder (ADD). Digest #445: Mary E.Scott, ERIC
Clearinghouse on Handicapped and Gifted Children, Reston, Va.

2. Digest#ES 16: Jean, Lokerson; Council for Exceptional Children, Reston,
Va.; ERIC Clearinghouse on Handicapped and Gifted Children, Reston,
Va.

3. Helping Children Overcome Reading Difficulties: Carl B. Smith &

Roger Sesenbaum, ERIC Clearing House on Reading & Communication,
Bloomington IN.

4. Learning Disabilities A Family Affair: Betty Osman. Random House,
NY. 1979

5. Learning Disabilities: Glossary of Some Important Terms. ERTC Digest

#E517: Dr. Jean Lokerson, ERIC Clearinghouse on Handicapped and
Gifted Children, Reston, Va. 1993

6. My Bar Mitzvah Book: Michael S. Krausman, Rockaway NJ, 1994.

7. Teaching Children with Attention Deficit Disorder. ERIC Digest #462:
Council for Exceptional Children, ERIC Clearinghouse on Handicapped
and Gifted Children, Reston, Va.

8. What Is Dyslexia: 1984 Dieest: Roger P Harrie, & Carol Weller, ERIC
Clearinghouse on Handicapped and Gifted Children, Reston, Va 1985.

20

HOW JEWISH MUSIC IN AMERICA CHANGED DUR-
ING THE 20TH CENTURY: A COMPARATIVE LIST
FOR THOUGHT AND DISCUSSION

By DR. MICHAEL ISAACSON

As we are approaching the latter part of 1996 and our sensibilities are
now recognizing and preparing for the transition into the next century and
millenium, it is appropriate and beneficial to review the music of American
Jewry and assess where it was, where it is going, and how it has changed.

The general value of this exercise is that it emphasizes through one
cultural indicator - music - that Judaism, even in the recent past, has.,
indeed, changed dramatically and that, in the larger historic purview,
Jewish customs, practices, even values were never carved in stone but
were consistently reinterpreted from age to age in order to best serve the
people who utilized them.

As an overview, I've organized an annotated comparative list of
observable changes in American Jewish music during this century, fol-
lowed by some conclusions which may be drawn by the trends founded
upon this comparative movement.

18 POINT ANALYSIS OF
THE EVOLUTION OF 20th CENTURY JEWISH MUSIC

God as an awesome King ■ Buher's I -Thou intimacy with God

If God is approachable by everyone, professional intercedents are no
longer necessary.

Formal architectural distance ■ Organic, architectural intimacy

The design of Sanctuaries reflect a movement away from an Awesome
God to a closer parent.

Study & prayer as dominant force ■ Replaced by cultural &
sociological values.

If prayer and knowledge are less important than "being" within a

Dr. MICHAEL ISAACSON is the founding Artistic Director of the Milken Archive of
Twentieth Century American Jewish Music, a major ten year recording project. He was
appointed music director of the Israel Pops in 1988, and has worked with many major artists,
arranging and conducting concerts in Israel and America. Dr Isaacson is the recipient of the
Cantors Assembly's highest honor, The Kavod Award.

21

group, learning is secondary to popular association.

Predominantly children of immigrants ■ Predominantly children
of Americans

Old host cultural values now replaced by American host values.

H igh Art M usic ■ Easier understood music of wider appeal
Operatic ■ Popular

Example of the above, European artforms discarded in favor of
American disdain for elitism.

German high cultural model ■ Israel popular model

It is interesting to note that one foreign model replaces another with

less struggle than defining what the American model could be. Ultimately
America is understood as a Christian assimilative experience.

Liturgical settings in Hebrew ■ Settings in Hebrew, English or both

A transitional generation of composers began to let in less educated

Jews and non-Jews by mixing and varying the setting of the liturgy in new
ways; simultaneously adding its English translation to the original Hebrew
text.

Literal use of liturgy ■ New, English lyrics relating loosely to
primary texts

Less comfortable with both classical and idiomatic Hebrew, still later
composers allude to the Hebrew text with English lyrics that comment in

an independent, assimilated way.

Romanticized European past ■ Varied view and early enthusiasm
for experimentation

Traumas of the 20th Century including both World Wars, the Shoah,
the Nuclear Age, Viet Nam, et al. erase the kind, storybook quality of
Judaism and open up the possibilities of reflecting these traumas within the
devotional experience.

Palestine, later Israel, as America's center of J udaism ■ America as
its own center

As romanticism is replaced by realism, Israel's own foibles and
prejudices are seen to preclude a logical evolution of European models
which most American Jew emulate. Frustrated with Israel's iconoclasm,
Americans finally look into themselves.

22

H azzanic and choral emphasis- Solo and congregational emphasis

As familiarity with a parent God and structural nearness develops,
education becomes secondary and professional intercedents like Hazzan
and choirs are perceived as impeding the child-like intimacy.

Idiomatic safeness ■ M usical experimentation ■ Idiomatic safeness
■ Comfortable mediocrity ■ Daring Greatness ■ Comfortable
mediocrity.

Full cycles of progressiveness and conservativism have always been
identified at the end of centuries.

Ashkenazic musical supremacy ■ Increasing use of Sephardic
music Sect isolation & distinctness of repertoire ■ increasing cross
cultural world view

With increased recordings and exposure to once exotic sects of
Yemenite, Persian, and, in general, Sephardic culture, Ashkenazim begin
to incorporate a larger sound of world Jewry into their understanding.

Ignorance of Christian ways ■ Knowledgeable, more assimilated in
Christian America

American Jews, who once feared entering a church, now are familiar

with the great musical settings of the Masses, Requiems, Glorias, et al. The
assimilative process is evident in later synagogue composers' work.

Little grass roots recordings ■ Burgeoning Audio/Video produc-
tion & documentation

The end of this century is enjoying an explosion of recordings which
will ultimately find their true value with time; the kitsch will be forgotten
but the art will endure.

If history continues to be the teacher it has always been, synagogue
music in the 21st Century will, likewise, continue to reflect:

A. American Jewry's vitality as a world leader in contemporary Jewish
music.

1. Its level of education, sponsorship, and demand for new
composers and their music.

2. Acknowledgement, understanding, and (hopefully)
forgiveness that Israel will never share America's values and

appreciation for this genre.

B. The architecture, style, and image of each Temple and thecongregants

who support it.

23

1. The financial support needed to uphold these values within the
music program.
C. The secular music (minus two to five years) being heard outside of
the synagogue.

1. Popular language, melodic & harmonic conventions, and
instrumentation.

24

HERMAN ZALIS- A RECOLLECTION

By IDUIS DANTO

(Mr. Herman Zalis was born in Russia and received his early musical
education in Odessa. He studied harmony with the world-renowned David
Novakowsky, and, at one time, was a student of Rimsky-Korsakoff at the
Imperial Musical Academy of Petrograd. Mr. Zalis came to America in
1923 and joined the Temple Emanu-El of Boro Park, Brooklyn, NY choir,
as director, in 1924. He has written many liturgical compositions of lasting
musical value which are sung in synagogues throughout the world. For
twelve years he was in charge of musical orchestration for the RCA
Foreign Department.)

As a boy, 8 years old, I was the soloist in the Suwalki Main Synagogue
Choir. In 1936 a guest Hazzan came to Suwalki for the Yamim Noraim..The
Hazzan was Moishe Hendel. He made an unforgetable impression on me
because he had a constant gesture which look like chewing, like malegeyre
(Yiddish for "ruminate"). And as a child I could not conceive the fact that
a Hazzan is chewing on Yom Kippur. As I learned later, of course, he was
not chewing. When I came to New York City in 1950 1 met Hendel again
and we became friends. He promised to help me by offering some hazzanut
music, which I never got from him. I wanted so much to become a Hazzan,
but without money I could not get far. Anyway a new acquaintance that I
made was a fine person, a talmud hacham, who was a butcher in Boro Park,
and he was a lover of hazzanut. When I came to visit him once, he
introduced me to a young boy, about 10 years old, with a beautiful voice,
who came to pick up a meat order. The butcher gave him a candy and asked
him to sing for me in the store. Guess who this boy was? ■ the famous
Hazzan of today - Jackie Mendelson.

The butcher called up the Choir Master of Temple Emanu-El of Boro Park
and told him about me, the newcomer from Italy, who is a hazzanut lover
and student. And who was the Choir Master at Temple Emanu-El in Boro
Park? - Herman Zalis. This was my first encounter with Hazzan Zalis.
When I came to audition before him, he had invited David Kussevitsky,

LOUIS DANTO is the Hazzan of Beth Emeth Bais Yehudah synagogue in Toronto, Ontario,
Canada. Hazzan Danto is world-renowned not only for his Cantorial work on the pulpit, but
as a consummate concert artist, who has performed for, and continues to dehght, audiences
around the world.

25

who accompanied me in "Una Furtiva Lagrima". Zalis was very impressed
and offered to teach me without money, but made me promise him that I
will get a position I'll pay him back. He taught me for three years. He was
a very meticulous teacher. Since he was the Choir Master at the time that
Kwartin was the Cantor at Temple Emanu-El, he was used to Kwartin's
style and taught me recitatives with a lot of coloraturas. Zalis was very
friendly with Katchko and Kwartin and used to tell me all kinds of stories
about both of them.

My main knowledge of nusach haTefillah is from Herman Zalis.

26

HAZZANUT IN THE RESPONSA OF THE ROSH

By ARYEH FINKLESTEIN

Rabbi Asher ben Jehiel, also known as the Rosh, was born in Germany. A
descendant of Rabbeinu Gershom Me'or Ha-Golah, the Rosh is considered
among the most important of medieval Talmudists. With the death of his
illustrious teacher, Rabbi Meir of Rothenburg, in prison, Asher ben Jehiel
was recognized as his successor and became the spiritual leader of German
Jewry. As circumstances worsened for the Jews of Germany, the Rosh
migrated to Spain, where he was appointed head of the Yeshiva in Toledo.
His authority in Halachic matters was widely acknowledged, and ques-
tions pertaining to Jewish law were sent to him from many and disparate
Jewish communities.

More than a thousand of his replies to such queries are included in his
RESPONSA. which was published in Constantinople in 15 17. Several of

the questions posed to the Rosh concern hazzanim. In the most famous of
these (4:22), the Rosh had been asked if it was permissible to appoint a boy
of Bar Mitzvah age to be the congregation's regular Sh'liach Tzibbur.
"While a thirteen-year old boy is allowed to lead the services occasion-
ally," the Rosh explained, "he can only be made the permanent Sh 'liach
Tzibbur when his beard is grown."

The lowly status of Sh'lichei Tzibbur in that period is amply attested to as
the Rosh continues in his responsum. "Concerning what you have written,
about the custom in some places to appoint those who are ill-regarded
within the community as Sh'lichei Tzibbur, know that I consider this to be
a disgrace. It is as if one contends that such a position is not worthy of the
well-born Jew, but is merely a craft for the skilled to practice." The Rosh
adamantly regards as utterly inappropriate such contempt for the status of
the Sh'liach Tzibbur. Indeed, he advocates that it is preferable that only
those who are "well-born" and respected within their communities should
serve as hazzanim. "Rather than just a skill, such sacred work is to be
regarded as a glorious crown upon one's head."

Israeli-born ARYEH FINKLESTEIN is the son of the late Hazzan Zvi Finklestein, z"l, and
the brother of Hazzan Meir Finklestein. He translated "Recent Archeology in the Land of
Israel" (1984) for the Biblical Archeology Society. Aryeh has been Hazzan of Congregation
Mishkan Tefila in Chestnut Hill, Mass. since 1986

27

A debate among the early Halachists had sought to ascertain whether a
hazzan is to be considered a hired man, or as one who practices his craft
for the benefit of the congregation. According to the CHOVAT YA'IR the
hazzan does not hire himself out, but does hire out his skill. The KETZOT
HA-CHOSHEN thinks that the status of a hazzan is equal to that of any
other hired person, while the Responsa of Rabbi Yekutiel Enzel declare
that the hazzan is to be regarded as a contractor. The hazzan, he maintains,
has essentially been contracted to chant specific prayers on a monthly
basis. It is significant that the Rosh sees the Sh'liach Tzibbur neither as a
hired servant of the congregation, nor as a skilled professional. His holy
task transcends such categories, the Rosh teaches; it is "a crown upon his
head."

In the same responsum, the Rosh reveals his opinion about the hazzanim
of his era. "It angers me that the hazzanim of this land exist only to give
pleasure with their pleasant voices, and that our people seem unconcerned
if their hazzan is found to be an evil man, so long as he sings beautifully.
Did not G-d say, 'She hath uttered her voice against me, therefore I have
hated her' (Jeremiah 12:8)?" The Rosh's statement here yields an important
datum for the study of the history of Hazzanut. Namely, that even as early
as the 13th century, congregations were wont to value the magnificent
singing of a hazzan more highly than any consideration of his personal
worthiness.

From the latter section of this same responsum, we learn that it was
customary for a synagogue to appoint two hazzanim; one would lead
services during the weekdays, and the other on Shabbat as well as on

Mondays and Thursdays. The Rosh writes: "Those who appoint a hazzan
whose beard has not yet grown to lead the services on the lesser weekdays,
and think that this is acceptable because an adult hazzan has been
appointed for Shabbat, Mondays and Thursdays, are in error. The lad is to
be considered a regular hazzan because he has been appointed to lead
services on particular days, notwithstanding the fact that another hazzan
has also been appointed. A boy who has reached puberty may act as a
hazzan only in a temporary capacity, and only if he has not been officially
designated as a hazzan of the congregation."

Interesting information about contemporaneous communities as well as
their financial circumstances may be gleaned from yet another important

28

response (6: 1). "You ask," writes the Rosh, "about a congregation with
limited means which must decide who is to take precedence, the rabbi or
the Sh'Hach Tzibbur? Know that if the rabbi is an eminent scholar, there is
no doubt that the study of Torah comes before all else. If, however, the
rabbi is not especially well-versed in the Torah, the Sh'liuch Tzibbur comes
first because it is he who fulfills the obligations of the many."

Those today who insist on turning the synagogue service into a forum for
"congregational singing" would do well to consult the Rosh on the subject
(4: 19). He is highly critical of "those who sing along with the hazzan," for
they are "indulging in frivolous behavior." According to the Rosh, "we are
to scold those who raise their voices during the Shemoneh Esrei and the
Kedushah. " He pronounces emphatically: "The congregation should in-
stead remain silent, and pay close attention to the blessings chanted by the
hazzan so that they may respond properly with 'Amen'." The Rosh
similarly forbids the recitation of the Kaddish together with the hazzan.
"The congregant should rather pay heed to the hazzan in order that he may
then respond A men and Yehei shmei rubbuh. The same applies to the
Kedushuh. The hazzan chants Na'aritzchu by himself until he reaches
Kudosh, and only then does the congregation intone Kadosh. "According
to the Rosh there exists a sharp division of labor between the hazzan and
congregant, and their prescribed roles are not interchangeable. The hazzan
is the Sh'Hach Tzibbur in a quite literal sense. The congregation must have
faith in his ability to represent it, and should therefore not sing along with
him.

While the Rosh forbids the appointment of one "whose beard is not yet
grown" as the congregation's regular Sh'liuch Tzibbur, he does not prohibit
the same youth from leading the service occasionally, "like any member
of the community who leads the service when he is moved to do so, so long
as he has not been officially appointed by the congregation, nor by the
regular Sh'liuch Tzibbur who might assign him these duties for brief
periods in order to lighten his own burden." (4: 19). It is interesting to note
that in the days of the Rosh it was customary for hazzanim to appoint
assistant Sh'liuch Tzibbur to aid them in their duties.

The RESPONSA has recorded for posterity (15:9) an incident in which a
student Sh'liuch Tzibbur was verbally abused by a congregant. Although
the "wicked butcher," as the Rosh describes him, was ostracized by the

29

community, he proved unrepentant. The Rosh decreed his punishment: "A
proclamation is to be made in which this man is declared banned. He must
remove himself from the community for thirty days, after which he must

publicly seek the forgiveness of the Sh'liach Tzibbur. "

An intriguing Halachic problem presented itself in the days of the Rosh.
When a hazzan who is also a shochet is disqualified from practicing one
of these two vocations, does the disqualification necessarily prevent him
from serving in the other capacity? In the RESPONSA (58:4) we have the
case of a man who had betrothed a young woman in the presence of a
hazzan and a second witness, and had properly complied with the Halachic
requirements by saying to his bride: "Behold thou art consecrated unto
me." The young woman later married another man without having ob-
tained a divorce from her husband, who complained that legally she was
still his wife. The young woman's mother then "bribed the Sh'liach
Tzibbur, "in the uncompromising words of the Rosh, to testify falsely that
the marriage ceremony had not, in fact, conformed with the Halachah.
When it was discovered that the hazzan's testimony had been fraudulent,
he was sentenced to suffer thirty-nine strokes of the lash and was fined fifty
gold sovereigns. In addition, the judges ruled that "for five years he may
not slaughter animals in this province, nor act as a Sh'liach Tzibbur. "It was
further decided that if he were afterwards to do true penance for his sin, he
would be permitted to return and resume his former profession.

After just one year the hazzan appeared again before the court, and
informed the judges that since the day of his sentencing he had been
piously fasting on Mondays and Thursdays. He begged the court to
overturn his conviction and permit him to serve as both a Sh'liach Tzibbur
and shochet anywhere in the province.

In his response, the Rosh posits that one who is so obviously "wicked in
the eyes of Heaven and of his fellow creatures," and who had testified
falsely "in order to alter a married woman's status for monetary gain," is

likely still not trustworthy. It is probable that he continues to lie, and has
not fully repented of his sins as ordered by the court.

The Rosh finally determined that while it is permissible for the wayward
hazzan to resume his duties as a Sh'liach Tzibbur "if the congregation

wishes him to be its Sh'liach Tzibbur, " he is prohibited from serving as a

30

shochet. The implication seems to be that the shochet's calling is somehow
more important than the office of hazzan. One who has testified falsely is
disqualified from serving as a shochet under any circumstances, yet if the
congregation elects to have such a man be its representative in prayer
before the Almighty, the Rosh does not forbid it.

31

A "KEEPER OF THE GATES" FOR OUR TIME

Reviewed by HAZZAN Samuel Rosenbaum

Miron, Issachar. of Jewish Holidays and Festivals,

Northvale, NJ: JASON ARONSON, ISBN 0-8766-563-7. Price, $50.
Illustrations by Arthur Szyk. Foreward by Elie Wiesel. Epilogue by Rabbi
Irving Greenberg.

The richness of Issachar Miron' s masterpiece makes it difficult to classify.
His use of the English language is unique in that the variety of meanings
one can take out of his words can be endless to the thoughtful reader, so
multifaceted are they.

Because he is an inspired poet and an acclaimed folk and classical

composer, Miron has beautifully captured the essence, the honey and the
vinegar of the wisdom, the mysticism, the liturgy, the folk culture, the

melodies, the mysteries, the treasures of the Jewish heritage as it evolved
through two millennia, in word and sanctity-evoking song woven around
Israel's ancient and contemporary festivals and holy days.

The concept of capturing the many meanings of Jewish life and traditions
in terms of "Gates" is not unique, but Miron's choice of "Gates" and the
original perspective his words and music cast upon the ancient texts and
teachings, qualify this volume as a valuable addition to the treasure of
Jewish holidays, for he adorns them with flowers:

Like flowers,
our-festivals reflect on earth

the savory splendor

from the scriptural gardens,

renewing your plain-spoken commitment

to others as to yourself.

Then inhale just a tiny,

yet larger-than-life,

puff of their redolent sanctity,

HAZZAN SAMUEL ROSENBAUM is the Executive Vice-President of the Cantors Assem-

bly and the Hazzan Emeritus of Temple Beth El in Rochester, New York

32

making peace with yourself,

keeping in your heart

the promise of our unity, asking yourself:

"Isn't this what I must do every day?"
and following your answer right away
by an even more important question:

'Have I done enough today?"

"The time of singing is come.

Anyone even faintly familiar with Jewish religious literature must know
the fascination that Jews have had for the number 18 and for the popular

ethnic symbol of our days as "gates" through which we all must pass. For
instance, every classic edition of both the Jerusalem and Babylonian
Talmuds has a title page adorned with a drawing of a gate. Its title page is
known as the Sha'ar Blat, Yiddish for "gate-page". Most European-
published prayer books from before the Holocaust likewise adorned their
title pages with a rendering of a gate, and usually used the word "Gate" in
their titles, e.g., "Sha'arey Tefillah" , Gates of Prayer, "Sha'arey Yehudah",
Gates of Judah, etc. Miron facilitates ourjourney by introducing before his
Eighteen Gates two destination-marker gates, "In Front of the Gates", with
an epigraph pinned to it, Lamps and Legends Turning On Your Headlights;
and "On the Threshold to the Gates" gate, again with a road sign: Lord's
Life-Giving Gates, to make sure that we won't misstep from the right
course.

A brief survey of only a few of our older prayer books revealed some
seventy-five prayer phrases referred to as Gates of Wisdom, Gates of
Mercy, Gates of Forgiveness, etc.

A little-known penitential prayer (tehinah) recited at the close of the
Sabbath lists sixty-five "Gates of .,.'1 in alphabetical order: " Gates of
Light", "Gates of God's Beneficence", all the way through the alphabet to
"Gates of Redemption for the Pious Ones". The text is borrowed from the
Jerusalem Talmud. Another prayer, Sha'arey Armon, Gates of the Temple,
composed by the great 16th-century Hebrew poet Eleazar Kallir, is recited
in the early part of the Neilah service, the final service of Yom Kippur,
which in itself refers to the "closing of the gates of prayer" as the last
opportunity for prayers of mercy before the conclusion of the Day of
Atonement.

As one can see. Miron's choice of this work and its title is not casual but

33

rather a rich mother lode of thought and meaning. Each of Miron's Gates
sheds a fresh insight into the possible variety of meaning one can extract
from the cycle of the Jewish festival and holy day calendar with word and
song artfully crafted.

Where there' s's a dream there is a song to awaken

the voice, a melody to restore the will, and a

flame to illuminate the way.

So I believe that jointly we can open the Lord's
life-giving gates, turning the divine streams
light and love onto the salvation-thirsty deserts of
our being.

And although a thoroughly twentieth-century faithful Jew, he is in direct
contact with our sages. Long ago the rabbis of the Midrash (collection of
commentaries of the Torah and Talmud) advised: "If you come to the
house of worship, do not remain standing outside the gate. But enter delet
lifnim delet, gate after gate, until you reach the innermost gate." Miron has
added immeasurably to the variety of gates.

In "Before the Law", one of the great parables of modern literature, Franz
Kafka describes a man who comes to the gate of the Law. The doorkeeper
says that he cannot admit him at the moment. The man waits. The gate of
the law stands open, so the man strains to look inside.

The doorkeeper wants to help. He advises the man:" Try to get in without
permission. But note that I am only the lowest doorkeeper. From hall to

hall, keepers stand at every gate, one more powerful than the other".

The man is puzzled; he thinks the Law should be accessible at all times.

But he decides to wait until he receives permission to enter. He waits for
days and years. During all the long years he watches the doorkeeper
constantly and learns every detail of his appearance. He forgets about all
the other keepers of the other gates. This open gate seems to be the only
barrier between himself and the Law. Finally, his life is about to end.
Before he dies, all that he has experienced forms into one question. He
beckons to the doorkeeper, since he can no longer rise. "Everybody strives
to attain the Law. How is it, then, that in all these years no one has come
seeking admittance but me?"

34

The doorkeeper answers, "No one but you could enter here, since this gate
was reserved for you alone. Now I shall go and close it!"

Must man remain forever outside the gate? Kafka does not give us an
answer. But the Midrash - and somehow, Miron, too - does give us the
answer: "Do not remain standing at the outside gate, but enter delet lifnim
delet, gate after gate, until you reach the innermost gate. In his inimitable
fashion, Miron offers a reminder : At God' s gate there is no keeper. The
gates are always wide open. All there is for man to do is to enter. Miron has
presented us with the gift of "Eighteen Gates", which will now and forever
always remain open to our prayer:

Interactive Grantor

of the gift of life and learning,

restore to us:

the seeds -for love,

the wings -for hope,

the truth -for justice,

the harmony -for soul,

the tears -for happiness,

the equality -for freedom,

the swiftness for compassion,

the perceptive vision -for mind,

the warmth offeeling -for heart,

the outstretched hand -for peace,

the congregational response -for Amens,

the chorale of mixed voices -for Hallelujahs,

the world full of marvels -

for every day of the year,

instantly updating

our covenantal communications

as the sacred hand of equal commitment.

"Eighteen Gates" is a must for anyone concerned with the continuity and
understanding of the unique heritage which is Judaism.

35

BOOK REVIEW

GUGLIELMO EBREO OF PESARO: De PracticaSeu

Arte Tripudii (On The Practice or Art of Dancing)

Edited, translated and introduction by Barbara Spdrti.
Published in (1993 by Cidfendon Press: Oxford University Press. 6BN 0-19-816233-Z. 269 pgs $59.

By Jeffrey NUSSBAUM

This book by OUP is an exquisitely produced publication that offers, for
the first time, a complete English translation of Guglielmo's important
15th Century dance treatise, which is the earliest one extant. The activities
of early Jewish dance masters have been documented by Cecil Roth and
other Jewish historians and here the noted Renaissance dance scholar
Barbara Sparti gives us a more in-depth look at the work and life of the
most famous one, Guglielmo Ebreo of Pesaro.

The large treatise is presented with both a critical edition of the original

Italian as well as in English translation on the facing page. Also included
is a facsimile of the music, in 15th century mensural notation, along with
the modern notation of the music on the same page. These monophonic
tunes reveal themselves to be little gems of Renaissance dance music and,
with an imaginative approach, could greatly augment a program of Jewish
music. In Barbara Sparti's Introduction she presents an extensive biogra-
phy of Guglielmo as well as essays on dance in 15th century Italian society,
a full description and history of the De pructica as well as an analysis of
the music. Also included is the Autobiography which gives further
information on dance, artistic influences in Renaissance Society as well as
the contributions of the patron families such as Sforza, Estes and Gonzaga.
the cultural force of Humanism is demonstrated here to be most influential.
Of course, the examination of Guglielmo's life will be of greatest interest
to readers concerned with Jewish musical and cultural history.

Not only is this publication a thoroughly researched scholarly work but the
design and packaging is beautiful. There are numerous reproductions of
dance images as well as of famous dance and music patrons and maps. The
inclusion of both the original Italian text alongside the English translation
as well as the original music notations along side the modern transciption

JEFFREY NUSSBAUM is the President and founder of the Historic Brass Society and also
has an on-going interest in early Jewish music He performs in numerous ensembles on the
cornetto and natural trumpet and teaches music in the New York City school system

36

results in an important document for the scholar as well as for the reader
who has a more casual interest. Those interested in Jewish studies,
Renaissance studies or dance history owe Barbara Sparti a debt of
gratitude for her excellent book.

37

Music Review

THREE NEW CASSETTES OF CANTOR MOSHE
GANCHOFF:

1. Sabbath Chants

2. Neilah

3. Classic Synagogue Song

A REVIEW BY SHOLOM KALIB

I recall from the days of my youth the great anticipation and thrilling
experience of seeing in the flesh, and hearing in person from the pulpit,
some of the world famous cantors whose names, voices, and renowned
recitatives were known to me only through record discs, which had
become worn from innumerable replays. There was a kind of electricity in
the air, perceived by a synagogue filled with eagerly awaiting lovers and
connoisseurs of the cantorial art, as the choir members would take their
places at the pulpit, followed by the dramatic entrance of a Kwartin,
Pinchik, Vigoda, or Koussevitsky, and their likes.

Young aspiring cantors like myself often fantasized how wonderful it
would be to be able to retain the marvelous renditions of the master,
whether improvised, prepared, or a mixture of both. I doubt whether any
even dared imagine being able to capture an entire service of one of those
cantors.

A feat of exactly that type has been made possible by the release of two
cassettes of the last and only surviving great master of the golden age of
hazzanut - the preeminent Cantor Moshe Ganchoff - by Barry Serota,
organizer and director of Musique Internationale: his Shabbat and Neilah.
On the one hand, they appear too late for either the average contemporary
congregant or aspiring cantor ( and even many practicing cantors) to derive
their full benefit. For today's congregants, from liberal to ultra-orthodox,
no longer have the background to fully understand what a cantor like
Ganchoff is all about, neither intellectually/musically nor religiously/
emotionally. And with the cavernous-size vacuum caused by traditional-
musically imperceptive congregations universally, today's cantors have

Dr.SHOLOM KALIB is Professor of Music Theory at Eastern Michigan University. He has
also served as Hazzan of the Beth Israel Congregation in Flint, Michigan since 1977. Dr.
Kalib is presently in the midst of preparation of a major work "The Music Tradition of the
Eastern European Synagogue", which will ultimately be published in five volumes.

little if any practical use for the compact clusters of jewels of nusach and
hazzanic artistry contained in the Ganchoff cassettes. On the other hand,
their release constitutes the preservation of those specimens of the highest
level of that once great synagogue musical tradition, which inspired
throngs of our Eastern European ancestors for some three and half
centuries. They are on record for the intellectually curious to study, probe,
and derive some measure of that religious aesthetic thrill, which brought
many a spiritual lift to our forebears.

On the Shabbat cassette are: 1.) the Friday Evening Kabbalat Shabbat
Service, from, the very beginning through about half of the text of Psalm
92, Mizmor Shir L'yom Hashabbos; and 2.) the Shabbat Morning Service
from the end of the Shacharit K'dushakh through most of Mi Sheberach
following Yekum Purkon. What a pity the rest of that service is lost; but
what a treasure has been preserved!

Throughout the cassette one hears a sterling-pure presentation of the
basic nusach by an unsurpassed master. In addition, the crowning jewels
in the form of cantorial recitatives include renditions of several texts,
which stand out as models of that genre: these are more than recitatives of
the finest level - they rival the best in all cantorial discography. They
include his Kol Hashem, Mizmor Shir L'yom Hashabbos, Av Horachamim,
and Mi Sheberach. And in between these highlights are ever-new, mean-
ingful, expressive, and interpretive gestures within the general flow of the
nusach. There is never a doldrum word, an uninspired phrase.

Similarly in the Neilah Service, which is almost complete, there isn't
a tired word. Even in the Uv'cheins, every word and phrase brings model
presentation of the nusach, plus an unexpected nuance here or surprise
gesture there, an unexpected brilliant high note here, or a stunning
coloratura there, which continually inspire. Remarkable is the persistent
occurrence of this approach through all the individual nuschaot which
keep coming in the Neilah Service. The crowning jewels here include the
buildup from Hashem, Hashem through the incredibly overpowering
rendition of the Y'hi Rotzon (Shomea Kol Bichyos), the awe-inspiring
rendition of Ato Nosein Yod, followed by A to Hivdalto and Elokeinu
Velokey Avosenu M'chalLaavonosenu. One would think that nocongregant

could dare expect another ounce of emotional/inspirational energy - only
to be dumbfounded by the novel and brilliant rendition of Avinu Malkenu
Z'chor Rachamecho, and still another momentary highlight in the Birkas
Kohanim. It all combines to comprise a Neilah Service beyond any
realistic expectation, even of the well-deserved holder of the title "cantor's
cantor". It is difficult to imagine hearing another rendition of this service
which would rival Ganchoffs level of cantorial mastery on this cassette.

39

In years, nay decades, gone by, there were various fields of expertise
within the cantorial profession: 1.) that of the "zoger", the greatly inspiring
improvisor; 2.) that of the cantor who excelled in bringing out a prepared
recitative, both of which were brilliantly mastered by Cantor Ganchoff; 3.)
that which consisted of the art of "zingen mit a chor", of singing the cantor
solos amid choral compositions, variously accompanied or unaccompa-
nied. Here, also, in the cassette entitled Classic Synagogue Song, Cantor
Ganchoff demonstrates unsurpassed mastery of this art. Included are
Uv'chein Yiskadash by M. Goldstein, and Mimkom'cho by Zeidel Rovner,
both conducted by Abraham Ellstein; Umip'nei Chatoeinu and Ki
K'shim'cho, both by Salomon Kashtan Weintraub, the former conducted
by Morris Barash, and the latter by A.W. Binder; and Ribono Shel Olom
(from S'firah) by Samuel Alman. The Weintraub Ki K'shim'cho as well as
the Alman Ribono Shel Olom are rendered in re- arrangements from the
original mixed choir settings for those of an all-male choir (TTBB). The
other compositions, written originally for mixed choirs of boys and men,
are performed with women singing the soprano and alto voice parts. While
a great deal of the cantor-solo sections are rendered totally unembellished,
as if to say, remaining faithful to the written score, much is considerably
embelished, and in several places Cantor Ganchoff adds and/or replaces
Weintraub's original material with his own. Such liberties, perhaps frowned
upon by some purists, were common and entirely accepted in the Eastern
European synagogue tradition They are within the very nature of impro-
vised chant which, in essence, is the style of the a Capella cantor solos of
these compositions. In all situations, in rendering the original musical text
as well as in the embellished and extended sections, Cantor Ganchoff
interprets masterfully the textual as well as musical content of each
composition. His own interpretations remain close to the spirit of the
original, and he almost always begins and/or ends his solo-section phrases
with those of the composer, thereby leading smoothly into the ensuing
choral responses or sections. Particularly in the Weintraub Umip'nei
Chatoeinu and Ki K'shim'cho, Cantor Ganchoff brings a level musicality,
depth of stylistic perceptivity, and imaginative interpretation - to say
nothing of vocal mastery - which is unparalleled in the discography of this
genre, the cantorial solos of which are the very backbone of these classic
examples of the Eastern European choral composition.

Through these three cassettes, Cantor Ganchoff has etched his imprint
for posterity on all phases of the cantorial art, even far beyond any and all
of his previously-released marvelous recordings. For this, the efforts and
investment of Barry Serota and his Musique Internationale enterprises
richly deserve full acknowledgment and congratulations

40

The Ganchoff Neilah cassette is a part a High Holiday triology,
produced by Barry Serota for the Institute for Jewish Sound Recording.
These tapes, as well as the other Ganchoff tapes reviewed, and numerous
additional recordings of liturgical, folk, and art music are released on the
Musique Internationale label, anddistributeddirectly by Barry Serota. He
can be reached at 3012 West Jarvis Avenue, Chicago, IL 60645, and by
phone at (773) 743-3012.

41

USING ORAL TRADITION TO RECONSTRUCT
BAROQUE SYNAGOGUE MUSIC

By Charles HELLER

The recently released CD / Heard A Voice From Heaven' features Cantor
Louis Danto and violist Rivka Golaniin aprogram that includes liturgical
music of the Spanish and Portuguese community dating from the 1 8th
century. One of the pieces, a setting of Pitchu Li (Psalm 11 8), has such a
fascinating history that it is worth discussing. As the musical arranger, I
challenged myself to take what has come down to us as a short melody and
convert it (back?) into a Da Capo aria in 18th century style (Ex. 1):

The idea for doing this was suggested by the music itself.

This melody is known from an 18th century manuscript from the Ets Haim
library in Amsterdam (the ms. is now at the Hebrew University, which
might recall to suggestible minds the legend that in the days of the Messiah
the dead will roll through the earth and end up in Jerusalem). The ms. bears
the title Alel D' Italia and consists of 16 bars to the text Pitchu Li (Ps. 118:
19-20). It is arranged for 3 voices. This piece is given by Adler2, who also
drew attention to several harmonic clashes which are clearly mistakes.
This is hardly surprising to anyone familiar with synagogue choirs. In
earlier times synagogue musicians usually lacked professional training,
and it is common to find in their music books amateurish part-writing that
is full of mistakes.

This melody has also been preserved through oral tradition. Variants of it
are known in several sephardi communities, where it has been sung to such
texts as Ein Keloheinu and other parts of the HalleU .

1 I Heard A Voice From Heaven; Jewish Devotional Music of the 18th-20th centuries.
Toronto: Cadenza Records 110 (1996). Available from Cadenza Records, Tel (416) 636-
3881.

2 Israel Adler, Musical Life and Traditions of the Portuguese Jewish Community of
Amsterdam in the 18th Century (Jerusalem: the Magnes Press, Hebrew University, 1974),
pp 54-55.

i Adler, op cit. notes 24 and 57 There is a full discussion of these variants given by Edwin
Seroussi: "Hamanginot Ha-atikot", Pe'amim-studies in Oriental Jewry SO (Winter 5752) 99-
131

CHARLES HELLER is Driector of Music at Beth Emeth Bais Yehuduh Synagogue
Toronto, Canada.

42

This melody has also been preserved through oral tradition in a more
"Mozartian" form by the Joel and Lewis families of Canada, from whom
I learned it while preparing my anthology A Testament of Song 4 These
families sing this melody for Shir Hamaalot on Festivals, with other
special melodies on other occasions. Miss Freda Lewis wrote to me in
1990: "Ever since I was a little girl and sat in a high chair next to my Daddy,
I heard these tunes. And now I am a 91 year old lady, I still sing them. My
Father learned them from his father, so they are pretty ancient." (Ex. 2).

It is significant that this melody has been preserved by a family that enjoys
singing and is knowledgeable about music. It is clearly not an easy melody
to sing, since it has a wide range (an octave plus a 4th) and includes a
difficult leap (a major 10th). This again points to its likely origin as an art
song.

I chose to use this outline of Shir Hamaalot in my version of Pitchu Li
because it is the version that most demonstrates artistic vocal technique.
The variants given by Seroussi5 suggest that in the course of passing down
the melody by oral tradition, different solutions have arisen to handle this
difficult melodic outline. For example, in one case the leap to the upper
octave occurs halfway through the melody (bar 9), while another version
simply keeps the whole melody within one octave (compare Ex. 1 bars 12-
13 with the analogous passage in Ex. 2).

The fact that this melody was given the title Alel DTtalia suggests that it
came into the liturgy from Italy. Adler6 has noted its affinity with Baroque
aria style, in particular the well-known aria Pur Dicesti by Lotti (Ex.3).

When we look at all these various sources, we get the impression that, as
Adler suggested, the melody we are discussing began life as an Italian aria.
We can guess that it was taken up by the 18th century Amsterdam
community, which we know supported good music, and gradually the tune
found its way to different texts. In this process, different variants or
'descendants' of the tune evolved. Any polished harmony or counterpoint
that was originally present disappeared, so that by the 20th century we only
had a melody line, except for the one version in the Amsterdam manu-
script'. This version is not of immediate use to performers today, since it

4 Charles Heller, ed., A Testament of Song (Toronto: Beth Emeth Synagogue, 1990). p. 52

5 op. cit. (see n 3), pp. 124-5

i op. cit. (seen 2), n 58. (See for example Twenty-Four Italian Songs and Arias (Schirmer),
pp. 50-5 1).

7 This process has been traced for other pieces of art music which degenerated into a "kind
of popular song" See Adler op. cit. (n. 2). p 24

43

cannot simply be picked up and sung, but it does show us what performers
in the 18th century had in mind, namely a polished art-music style.

The next step in making the Alel D' Italia come to life was to find material
for a B section so as to make a complete ABA aria-form. On looking
through the music section of the London Spanish and Portuguese Siddur8
I found some melodies that seemed to fit musically. I was even more
delighted to find that they were the traditional melodies for those very
verses I needed music for (Even mu l asu, Ps. 1 18: 22-3).
So finally I had the opening verses from one source, and verses 22-23 from
another source. Verse 24 (Zeh hayom) was set to the melody of the A
section, complete with fiorituras and a little tag ending in 18th century Da
Capo style' . It remains to be mentioned that, obviously, the music
recorded on the CD (for voice, viola and keyboard) would not be suitable
for most traditional services: either it would have to be arranged again for
choir (as in the original ms.) or would be performed in a concert. Both these
options would have been acceptable 300 years ago.
Would it not be strange if these really were all parts of an original single
aria, the parts having been separated over the years and now brought back
together again?

8 Book of Prayer, (London: Spanish and Portuguese Synagogue, 199 I ), Vol I (Daily and
Occasional Prayers), pp. 333-4, No. 62

J For a guide to this style, see for example The Art or Ornamentation and Embelishment in
the Renaissance and the Baroque. Vanguard Records VSL I 1044-45 ( 1967 ). See also Robert
Donington, A Performer's Guide to Baroque Music. London: Faber and Faber, 1973.
Updated as Baroque Music: Style and Performance. London, Faber Music. 1982

44

Pit

hu li

I'sha-a-re tse-deq ( a - vo yam o-deh yah

^ ''T'.jji'n iciii

tt=*

! J I i ir lt jft i 1 ^

Pur di - ce -sti