Cantors Assembly Journal of Synagogue Music

JOURNAL

OF' SYNAGOGUE

MUSIC

1969/SHEVAT 5729
Volume II
Number 1

CONTENTS

A Quarter Century of
SYNAGOGUE Music in America

Disputed Phrasing in the SIDDUR
A J udeo- Spanish Romancero

Charles Davidson 3
A. Mishcon 1 1

Israel /. Katz 45

DE PARTME NTS

Review of New Music Charles Davidst

Songs of Ihe Chassidim by Velvel Pasternak

Hallel and Ihe Three Festivals by Leib Glantz

Miqraey Musira by Shlomo Hofman

The Key of See by Herbert Fromm

Edge of Freedom by Ray and David Smolovrr

And None Shall Make Them Afraid by Issachar Miron

/ Have a Dream by Elie Sie K meister and Edward Mabley

Koehre Voker by Max Wohlberg

El Hay lad im B'Yisrael by Abraham Salkov

Review of New Records

Out of Silence

A Smging of Angels

jOubnal of synagogue music, Volume ZZ, Number 1

February 1969/Shevat 5729

Published by Cantors Assembly of America

editor Charles Davidson

managing editor: Samuel Rosenbaum

editorial board: Gerald Ha nig, Morris Levinson Solomon Mendel-
son, Morton Shames, Morton Shanok, Kurt Silbermann, Hyman
Sky, George Wagner, Max Wohlberg, Arthur Yolkoff.

officers of the cantors assembly: Hazzan Arthur Koret, President;
Hazzan, David J. Leon, Vice President; Hazzan Morris Schorr, Vice
President; Hazzan Yehudah Mandel, Treasurer; Hazzan Solomon
Mendelson, Secretary; Hazzan Samuel Rosenbaum, Executive Vice
President.

journal of synagogue music is a quarterly publication. The sub-
scription fee is $5.00 per year; $10.00 per year for patrons. Second-
class postage paid at New York, New York. All articles, commun-
ications and subscriptions should be addressed to journal of
Synagogue Music, Cantors Assembly of America, 150 Fifth Avenue
New York 10011.

Copyright 01969, Cantors Assembly of America

A QUARTER OF A CENTURY OF
SYNAGOGUE MUSIC IN AMERICA

Charles Davidson

The past three decades have been times of unbelievable change.
Technology has set the pace and the arts have not lagged far behind.
General music has run the gamut from late romanticism, through
atonality, poly-tonality, serialism, "musique-concrete," and folk-rock-
jazz-blues, chance music and non-music. No such revolution has
taken place in the synagogue. But change is evident. For some it
has been more than enough, for others it has been insufficient.

In my opinion, the great impetus for the revival of interest in
writing for the synagogue that was evinced in the early part of the
20th Century, was the generative shadow cast by Ernest Bloch.
A large number of talented and creative Jewish composers hurled
themselves at the liturgy, forsaking more "secular" outlets for their
musical self-expression, following the lead of a giant creative force
who was recognized in general music as a "Jewish composer."

Saminsky, Weinberg, Achron, Silver, Ephros, Zilberts, Jacoby,
Helfman, Binder, Freed, Weiner and many others, who may already
have been predisposed towards the Yiddish N'shama. found en-
couragement in the community and among their peers to mold a
new form in the American Synagogue. It would seem that, commis-
sions notwithstanding, those composers most interested in Judaism
as a way of life, and those with the most intimate knowledge of the
workings of the prayer service, its history and emotional impact, have
created music that still is in use and that is accepted by the
community.

Jacob Weinberg, one of the real pioneers in Jewish music, was
horn in Odessa in 1879 He studied with Teniev, worked with Joel
Engel and helped found the Conservatory of Music in Palestine. He
was one of the first to work with Yemenite Music and with the can-
ti Nations as systemized by Salomo Rosowsky. With Joseph Yasser he
incorporated pentatonic scales as a basis to his work. In 1925, Wein-
berg the Zionist approached these Palestinian melos with a great
eagerness to compose "Jewish Music" for his people, lfeel he was not
always successful. His approach was in a conventional western style,
melodies of the First and Second Aliyot generally handled in the
same manner as Yemenite tunes with their insinuating metrical pat-
terns. In his Sabbath Evening Service, Shabbat B'aretz and his
Sabbath Morning Service, he strove to utilize the pentatonic scales

and harmonies that are Biblical based and he did, indeed, blaze a
trail that was new and different. His services were patterned to fit
Reform congregation ritual, and he defined his works as examples of
utilitarian music that would encourage congregational response and
which would not be too difficult to perform. In all that he did,
Weinberg was a well-schooled and meticulous craftsman.

Lazare Saminsky, a young member of the St. Petersburg Society,
effected a successful bridging between Russia and America. Although
touted as a rival of Bloch and the great hope of synagogue music in
America, he failed to live up to the expectations of the community.
A symphonist in the grand-impressionist style, he was a bulwark
for contemporary music in his position at Temple Emanu El, not
only composing pieces of worth in his newly organized austere and
mostly diatonic manner, and setting standards for performance in the
Service itself through his expert direction of musical forces in his
own Temple, but through the encouragement and befriending of
many young Jewish composers. His Sabbath Evening, Sabbath Morn-
ing, High Holidays, and Music of Ancient Israel publications clearly
marked the path for others to follow. His use of modal harmonics,
particularly, was invaluable as an example to later composers.

Frederick Jacoby, encouraged by Cantor David Putterman and
the Park Avenue Synagogue, wrote two Friday Evening services, the
second of which was published concurrent with the composer's death
in October of 1952. He was a true product of his time. His heritage
as a son of the Impressionists is more than evident in every progres-
sion, unresolved suspension, sudden enharmonic change, purposely
asymetrically arranged lines, and in his motive-cyclic constructions.
He continued his adventures in modality and his works are tasteful,
sensitive and skillful. Jacoby's great contribution was probably the
demonstration of the usefulness of impressionistic techniques in
working with Jewish materials.

Joseph Achron, born in 1886 in Lithuania, an embryonic violinist
at the age of two. He was a student of Leopold Auer and Liadov,
a composer with Steinberg, a self-taught master of counterpoint, and
head of the Violin and Chamber Music Department of the Kharkov
Conservatory in 1913. Achron came to the United States in 1925
and taught at the Julliard School for nine years. He had a successful
life in general music and was recognized by the international com-
posers' organizations with performances of his stirring works. In
addition to almost 80 works for orchestra, strings and piano, he
wrote one Evening Service for the Sabbath (Op. 67). It might seem

capricious to include him in this presentation. He stands, however,
as a perfect example of a great and passionately inspired composer
whose only work for the Service remains as a brief but brilliant flash
that could have illumined a new chapter in American synagogue
music but whose force was diminished through the lack of interest in
his creating for the synagogue. The fault lies with the community
and should remain as a sad symbol of unrealized potential.

The late Dr. Abraham W. Binder, with his great energy and
through the publication of eight major works for the synagogue,
brought an impetus to the works of his organization as he did to the
cause of musical creation for the synagogue. It is my feeling that his
vital efforts in promoting and encouraging young composers and
establishing functioning Jewish music organizations may, in the
eyes of the next generation, be of more vital worth than his creative
output. Binder's great contribution musically was, as he was so fond
of saying, ". to bring nusach hat'filla back into the music of the
synagogue." But, of course, he brought his great devotion to Juda-
ism as a religion to his works, which breathe the essence of our
tradition.

Isadore Freed was a fine, well schooled composer who stood on
musically sound feet. He wrote delicately with good taste and
balance, with the rounded edges of a true craftsman. However, he
did not live up to the great expectations of his first Services. One
feels that he abandoned his original intent of creating true music
which followed the liturgical form of prayer and instead adapted
"Jewish motifs" and nuschaot into semi-melodic patterns. He be-
came more of a functionalist than he might have wished and sub-
liminated his own unique lyric ability. Freed adapted the means and
ends of the French "Six," not always successfully, but his work in
modal tonality and modulation, relating himself to medieval French
modal harmonies and sequences was a great contribution. As a man
who came from Brest-Litovsk in 1903, he was also at the same
moment a product of Philadelphia, the University of Pennsylvania,
the Philadelphia Conservatory, the Mannes School in New York,
Rollo Maitland and Josef Hofman. He was truly a product of
America in its broad sense. Freed's unfortunate early death left a
great void in American-Jewish music, of which he might have become
the leading proponent. His influence was felt in all the places he
taught and lived. He felt that his job as a composer, in the general
sense, was to organize a new language which related modern tech-
niques to the vast bulk of composed music which was written in

those centuries between 1400 and 1900. It was under the guiding
hand of Saminsky that Freed began to write seriously for the syna-
gogue. Again, the Reform movement was the area in which Freed
made his influence most strongly felt.

Max Helfman, a giant of "Jewish emotionalism," was able to
transfer that great warmth so closely identified with our people and
with him as a human being, through his few published pieces. It's a
tragedy of the times that there seems to be so few younger com-
posers qualified and willing to continue in the great outpouring of
human warmth that our music must have, in order to reach the
worshipper, and in order to qualify as music which will elicit the
religious experience from the worshipper. Helfman usually was able
to create music, simple in texture and harmonic language, which was
emotionally tense and was viable at the same time. A product of the
Russian-Polish-lower East Side cultural environment, Helfman left
us with a precious legacy which must continue in our time.

Lazar Weiner and Reuven Kosakoff are disparite and yet similar
composers. Weiner is a Yiddishist and an exemplary composer
whose roots are deep in Jewish life and whose fine technique and
craft have made hi man outstanding creative force. He is the legiti-
mate heir of Achron and a consummate melodist. Kosakoff, on the
other hand, while still exhibiting the same fine craft and techniques
of the finished composer, was introduced to the idea of "Jewish
composition" and is a perfect example of a wonderful composer of
our time, a product of our culture and American schools, who would
have been lost to the synagogue if he had not been encouraged to
participate in the furthering of our musical tradition. These two
wonderful gentlemen and composers are still dynamic forces in the
American synagogue whose tonal pallettes are remarkable in their
lyhicism and color.

Herbert Fromm has contributed much to the craft of synagogue
composition by his fine example as well as by his influence on a
number of contemporary and younger composers. His spiritual heri-
tage has been that of the German Jew with a thorough background
and training in the works of the great romantic masters and the
craft of Hindemith. His work is always music of the highest order
and the stark harmonic and rhythmic approach of his recent works
shows a continued and highly personal evolvement of style. He
is a polyphonist well-versed in Idelsohn and our traditions. Fromm
is a real manipulator of contrapuntal techniques and the dark force-
fulness of his materials is often highly organized.

Heinrich Schalit remains for many an idealized composer's
composer, whose deft hand and fine craft still construct important
works for the Synagogue Service. His early work in Berlin and in
Oriental melos are exceptional. He is one composer whose worth
has not been fully realized today and who deserves to be studied.

Julius Chajes has been a trail-blazer, and he continues to con-
tribute works of a highly characteristic nature that breathe the
flavor of the Mid-East.

Janot Roskin, Herman Schwartz, Moshe Nathanson, Hugo Ch.
Adler, Maurice Goldman, Sholom Secunda, Abraham Ellstein, Zavel
Zilberts, Chemjo Vinaver, Leo Kopf, Mark Silver, Max Janowsky
and others have labored, and some still work, in the vineyard of the
synagogue.

The late Mario Castelnuovo-Tedesco, born in 1895 of an Italian-
Jewish family, was one of the most prolific of our modern composers.
A pupil of Pizzetti in Florence, he found much musical material in
the papers of his maternal grandfather and began, some years ago,
sincere and somewhat fruitful efforts in Sephardi song, which mani-
fested itself in a few settings that have been published and more
which still remain in manuscript. A fine composer, it is our loss that
the Jewish community did not sufficiently encourage him.

Darius Milhaud approaches the liturgy with a devotion of spirit
and a feeling of reverence that, one hopes, will in the future continue
the major effort evinced in his Sacred Service. Milhaud views the
liturgy as a whole, made up of component parts, each with its own
particular essence. The liturgical tradition of Provence, a centuries-
old Sephardi tradition, has occupied Milhaud's attention on more
than several occasions. His continued involvement in the synagogue
will await the passage of time.

Among the newer generation of talented composers, Yehudi
Wyner, Herman Berlinski, Jack Gottlieb and Samuel Adler rank
high. They are all professional musicians, dedicated (each in his
own way), and through great effort manifested concertedly, could
blaze new and meaningful paths in the synagogue. Miriam Gideon,
a wonderful and intelligent creator of exceptional merit, has yet to
be encouraged by the Jewish community to write for religious Serv-
ices. Frederick Piket is becoming known as a fine composer worth
performance and exposure.

Some of the major symphonists of our day, notably Leonard
Bernstein, David Diamond and recently Robert Starer, have lent
their creative powers to the composition of synagogue music, but

only upon commission. Would that a great and outstanding com-
poser of commitment might serve our time, just as Ernest Bloch
lent the great aura of his mystique toward the furthering of Jewish
musical composition. Marvin David Levy's contributions may lie in
the future.

Other fine composers have not written extensively for the syn-
agogue. Perhaps this is because of the communal resistance to their
musical language, and their use of specialized musical materials
which really have been available to general composers for the past
30 years! I think now of both Hugo Weisgal and Stefan Wolpe,
either of whom could evoke a special excitement in the worship
service. Both of them are master craftsmen and both have grown
in their art while keeping their roots in our heritage. Other "com-
poser-conductors" such as Siegfried Landau, whose published Service
has great merit, find that the pressure of their other musical activities
keeps them from composing liturgical music. Still other composers
seem not to be recognized or encouraged by the various Jewish
community "establishments" and thus are neither widely performed,
published or known. I think immediately of Robert Strassberg of
Los Angeles, an exceptional composer with enormous personal
warmth and energy who could, with encouragement, become a pillar
of the American-Jewish synagogue, and who could help fill the void
left by Max Helfman.

The great composer-cantors of the 19th Century became the
ideal fronts for the creation of the synagogue literature of that time.
It comes readily to mind that recent innovations and new attempts
in the field of Jewish music are being made by the cantors of today!
Indeed, Gershon Ephros has long been an exemplary composer and
arranger and has created a unique place for himself in our time.
But more and more cantor-composers are seeking new ways and
new mediums. Arthur Yolkoff, Ray Smolover, Max Wohlberg, Nor-
man Summers, Emanuel Barkan, Abraham Salkov and others are
writing services for children, and rock services, attempting to bring
our youth back to the synagogue.

Yet, the composition of new music will be meaningless indeed
if there exists no means of printing the works or any guarantee that
the wqrks will remain available. In this respect, we stand on the
threshold of a new era in American Jewish music. The publishing
companies that were available to our composers and musicians 25
years ago no longer are interested in publishing Jewish music. There
remains today one publisher alone that continues to print Jewish

music, in the face of rising costs, duplicating machines, unethical
copying and lack of adequate sales. The music industry itself has
changed in our day. Profits are no longer realized through the sale
of sheet music. Recordings now account for almost 80% of the total
income of the publishing business. Unless some means is soon found
to continue the publication of Jewish music, we shall find ourselves
in the position of preparing intimate concert-recitals of new music
which will never be heard in synagogues or distributed to choirs,
cantors or choral groups, and the new music will die unheard, un-
sung — and not missed, for it will no longer be viable and living
but a lifeless and meaningless sterility.

The fine specialized schools for the training of cantors estab-
lished at the School of Sacred Music, The Cantors Institute of the
Jewish Theological Seminary and at Yeshiva University, as well as
the West Coast University of Judaism School of Fine Arts, do all
that they can to continue and to extend the scope of synagogue
music at the present time.

Throughout this brief exposition of the past twenty-five years
of American synagogue music, reference has been made to the "Com-
munity" and its responsibilities. It would be incorrect to assume that
groups within the community have not assumed the yoke and burden
of responsibility. The leaders of many congregations stand out as
examples of encouraging patronage, and of providing critical per-
formance opportunities. Over many years the Park Avenue Syna-
gogue of New York and Hazzan David Putterman, Temple Emanu-El
of New York, Temple on the Heights of Cleveland and Hazzan Saul
Meisels, Temple Beth El of Rochester, New York, and Hazzan Sam-
uel Rosenbaum, the Jewish Community Center of White Plains, New
York, and Hazzan Raymond Smolover, and recently, Beth Sholom
of Long Beach, New York and Hazzan Solomon Mend&on, Beth
El of Akron, Ohio and Hazzan Jerome Kepmar, Mishkan Israel
of Hamden, Conn, and Hazzan Arthur Yolkoff and the Jewish
Welfare Board have acted as stimuli toward the creation of new
works, commissioning many significant new liturgical works.

In this manner, we have also invited Israeli composers to con-
tribute to the literature of our services in America. Recently, Paul
Ben-Haim was commissioned by the Union of American Hebrew
Congregations to write a major service. In this manner he joined a
growing number of his fellow Israeli-composers (Miron, Braun,
Cohen- Melamed, Amiran, Bar Am and others) in being stimulated
by the American Jewish community to create for the synagogue.

One area, in particular, vies with the problem of publication as
being one of the most sensitive and distressing facing us all. That
it the means of attracting young composers from within the American
J ewish community, composers who are knowledgeable and eager for
Jewish identification, composers who will feel impelled to express
themselves as Jews, in their own time, in their own manner, as
artisans of the synagogue.

If one were to assess the impact of the now defunct Brandeis
Fine Arts Institute of Santa Susannah, California, upon the current
functioning Jewish musical scene, I suspect that the powerful and
emotionally charged J ewish musical experience of that great institu-
tion could literally be responsible for the present continuance of our
creative J ewish musical experience. What efforts are being made now
by the J ewish Theological Seminary and the Hebrew Union College-
J IR School of Sacred Music to seek out and find those young, com-
mitted J ews with musical skills or their potential? I know of only
one beginning attempt, The National Hagigah and Masters Program
of the National Federation of Temple Youth, headed by Rabbi Henry
Skirboll and Cantor Ray Smolover. We ought to steep youngsters
in our musical traditions and give them emotional impulse while they
are still on the edge of life's experience, and expose them in a
generative manner to the splendor and excitement of our own musical
heritage.

DISPUTED PHRASING S IN THE SDDUR

A. MlSHCON

THE line of demarcation which Judaism so persistently
preserves between the human and the divine is brought
into outstanding relief by a comparison of the Prayer Book
with the Bible. In point of antiquity the 'two are placed
by tradition practically on a par. The foundation and
framework of the Siddur are attributed to the Patriarchs.
Its main structure is said to have been raised by some of
the prophets.' So that the liturgy may well claim some
of the biblical writers as its authors. Yet the very tradition
which advances that claim has not allowed the Siddur to
be placed on a level with any part of the Torah. The
position it holds in the Jew's affection may indeed be
second to none; it has rightly been pointed out that the
Siddur is as a rule never absent even from those homes
where you would look in vain for a Bible. Why then
has it been denied the authority, the sanctity of the sacred
writings ?

The answer is not far to seek. The Torah contains the
divine word, or the product of the human mind under
divine inspiration. The Siddur is the record of Israel's
meditations. It is purely human ; and Israel's genius which

1 ]pn 3psr . . . nmB nban fpn pnv s . , , mnc rtan |pn nrraN
anyo rtan (Ber. 26 b).

{ibid. 3 3 a) ni^srii rna-D bmvrb orb upn nbrm riDja -eon
TiDn bv Mi3"ia mnr roec iipn owa: nou crai d^pt ct^vi n«o

(Meg. 17 b).

■. Vol. VII, No. 4. April

will ever regard as three-fourths of its mission to maintain
a boundary line between the human and the divine, has
advisedly kept it beneath this line.

In some respects this inferior position has proved rather
advantageous to the Siddur ; it has placed it beyond that
fixed finality which i s the natural characteristic of the divine.
The Bible was definitely closed with the inclusion of its
last book; the committing of the Talmud to writing has
meant the arrest of its growth ; but the Prayer Book after
close upon two and a half millenniums of continuous cultiva-
tion still remains an open book. To this day its binding
is, so to say, flexible enough to admit an unlimited number
of fresh leaves. But the loose-leaf method of binding has
its failings as well as its facilities. It freely accommodates
new sheets, but it is not proof against tampering with those
it already contains. The Prayer Book partook of the
facilities, but it also suffered the disadvantages. It has
retained its developing capacity, but only at the cost of its
uniformity. Not only have divergent minhagim parted off
from the main stream, the original Temple service, but
variations crept into each minhag. And whereas in the
case of Holy Writ the slightest discrepancy was promptly
adjusted, 2 no such zeal was displayed in the case of the less
sacred liturgy. The prayer livy and the Book of Joshua
are both ascribed by tradition to Moses' successor. Yet,
while the retention of the slightest textual variation between
two editions of the biblical book would be simply unthink-
able, the liturgical piece ascribed to the same author does

* Not only was a standard copy of the Pentateuch kept in the 'Azarah
for purposes of rectification, but expert revisers were employed, at public
cost, to whom any individual could bring his copy of Scripture for (
without direct payment_

contain a number of divergencies which have to this day
remai ned unrectified. 3

Nor are these variations confined to textual readings.
They also affect that part of the text with which this
article is chiefly concemed-the phrasing. The latter, in
fact, has suffered the more. For it remained uninfluenced
by those unifying forces which did make for textual
uniformity. There was the mystic. Advisedly or otherwise,
he was a great unifying factor. By fixing the number of
words which comprised the various prayers, and placing
each within the safe custody of a'-ma', he has undoubtedly
helped to standardize many a liturgical text. But only as
far as the wording in its strictest sense is concerned. The
grouping of the words into phrases was beyond his scope
or object. Vocalization, too, was naturally conducive to
textual correctness. But many of those who set themselves
the task of supplying the liturgical texts with vowels left
the phrasing of the words to take care of itself. Even in
manuscripts which are vocalized the divisions of chapters
only are as a rule marked, and these too only by spaces,
while the sentences run on in close succession without any
break.

When later compilers found it necessary to set the
phrases of the Siddur within bounds, it was not always easy
for them to trace the boundary lines. Nor did they always
trouble about tracing them. Phrasing in the Torah must
perforce be governed by the rigid rule nvDaubnupiDa^a
rb p'pDD ab pt< rrc'D. In the Siddur'every compiler placed
the dividing double-points and the sub-dividing single ones

3 Sephardi, which almost accords with Vitry, has, for example,

m-m" ansa in3i: csxf. . . ins *iiy rn~ i^n nvi; while idnji

is missing, and Q^JJTO is bracketed.

VOL. VII. m m

according to his own sweet will. And a mere cursory
glance will suffice to prove how indiscriminately these are
used. The few critical editors of the Siddur were more
cautious, but they were not always able to decide in whose
favour to give the casting vote when opinions are equally
divided.

In this article some typical examples are collected and
discussed; they are grouped, in some cases, according to
the features they present in common, rather than the order
in which they occur in the Prayer Book.

The Disputed Phrasingsof the Shema 1 (Singer's edition
of the Prayer Book, p. 40), the earliest part of our liturgy,
may well betaken as our first example.

While the first of the phrasings given here is the one
generally accepted, the second is said to have been adopted
by the Jews of Jericho (Pesahim 56 a), thus:

lizb *>y 1 tivn Tixo ^:x lex rbxn tm:nri vm (a)
"12J? bs nvn | iixa ^:a *itw rban cinnn vm ( 6 )

(a) And these words which I command thee this day,
shall be upon thy heart.

(b) And these words which I command thee, shall this
day be upon thy heart.

The deviation from the general practice may have
resulted from the fact that the 'men of Jericho' recited the
Shema' in the manner of n:mo(? instead of none).* The
matter, however, has no practical bearing, as both this mode
of reciting and the phrasing which is supposed to have
resulted therefrom have long passed into disuse.

4 For the precise meaning of these terms see Elbogen's Dtr Judische
Gottesdienst, 25 sq., and notes, p. 515.

Three different phrasings are mentioned in the Talmud
(Berakot 14 a seq.) for the words which form the junction
between the Shema' and the prayer immediately following
it (Singer, 42) :

. . . aw noN | cyrbn 'n ^h (a)

, . . aw nox 1 not? cynbtt 'n *ok ( 6 )

. . . aw | rrax Da^nta 'n ^n (c)

This dispute has its origin in the opinion expressed by
R. Judah (cir. 150) that no interruption of any kind is
permissible between the concluding section of the Shema'
and 'the blessing which follows it ', so that the two liturgical
pieces should be inseparably linked together. 6 *idn*ip
p , DD' , Ni>2'':nnDN^(Mishnah Ber. 2, i). Somehow, in the
discussion of theTanna's opinion, his words are cited so as
to convey the idea that the concluding word of the last
section of the Shema' should be closely followed by the
opening word of the next prayer; in other words, that
the net* should adjoin the Da\-r?x, so as to conform to the
biblical phrase of Jer. io.io — p"DB<K!>awriDt6ca\-ii>Kf'a
'ncKOM^N'nnTiai (Ber. 14 a ; Jer. Ber. 2, 5).

The Talmud accepts R. Judah's opinion as the general
law, to be followed whenever the Shema' is recited, and
even records the fact that in those places in Palestine where

5 The object of joining these two prayers so closely is, no doubt, to
prevent ' the prayer following the Shema' ' being regarded as unessentail

which was also applied to the Evening Service, is the passage: J^t? bs

inain *t «y t6 m*w nncxi ncx nnnt? aw ncx icx.

The immense importance attached by the Rabbis to n?Er6 Tlbm fia'-DD

the third section of the Evening Shema' was dispensed
with (since irysre!*>6 ~W) and substituted by a brief
epitome of it, consisting of its opening and closing words,
these closing words were supplemented by nns s o that it be
not separated from cr.-£x. 7

In deference to this Rabbi's opinion as interpreted in
theGemara, phrasing (a), however commendable it may
have appeared, had to be abandoned. The dispute now
lay between (b) and (c) the point in question being whether
ncx should be doubled, the one to be joined to D2v6k, and
the other to join rv as required by the context. The
decision was against a repetition. It is even recorded that
Rabba r«r. 300), on bearing a y"v pronounce ncs twice,
administered him a nild censure in the witty remark:
' This man is suffering from an excess of " truth ".'

The decision was therfore given in favour of (c). But
the matter was not allowed to rest there. The word-
counting mystics discovered that the words of the Shema'
(including lyio^v 'zrz~*a cr"i"a) very nearly amounted
to the favoured number 248 which is the reputed total of
both the affirmative commandments of theTorah and the
members of the human body. Three more words were
needed to make the total complete. For that purpose
;ex:i-]^n was added to the beginning. 8 The words may
have been readily supplied even suggested, by the 'Amen '

1 'n -js tjrri>N ttcvt. rur^ ^ b» -in /i"-j Ranyoi nctt

nrN D3'r6x (Ber. 14b).

8 Amram has no mentinr
this number by adding J^tZ ~~ ,X ia
only in the case of TiT- Se= Ebog-en.
JCK3 -(?£> b& and TICK ~K '" were be:
by the congregation and At zihez by the ]
founded. See also Weiss,. Zur. IV, iii_

('j'd'n = JBNJ "]^D ba) which was there as the response after
the preceding Benediction. Sephardi authorities were averse
to this practice on account of the objectionable interception
it formed between the Benediction and the Shema'. They
therefore supplemented the three, at the other end, by
repeating nyrbtt 'n 'ON .

Subsequently, on reputed zoharic authority, and evidently
with a view to the double object, of completing the desired
total and linking of D3\"f?N to nns, the three words to be
repeated at the end by the Hazan were ncKOa'rrJtt'n.

This was by no means allowed to go unopposed.
Rashba, R. Simeon Duran, and some of his distinguished
kinsmen strongly deprecated the annexation of the non-
biblical word nDN. Rashal shared this view. 'When I act
as Hazan on the occasion of my father's jahrzeit--he
states in a responsum-I make a point of repeating aloud
cyrbtt 'n ">m' 9

But the French school prevailed. Phrasing (c) with the
repetition of JiCK tnTi^N 'n is now the universally accepted
practice. 10

3.
The decision quoted above against repeating ftEK, as
well as the talmudic objection to the doubling of the word
jjCU', led Ibn Jarhi to object to the repetition of *inK in the
Sabbath Musaph Kedushah (Singer, leo-iei). Isaac Luria
(''"-iNn "ana) who is followed by many others, particularly

9 See pm, ii. 236; TV131 p3\ ii. 2; "ISID Dnn, Or. Hayim 10;

'!>'n 'en, 64.

by Minhag Poland, for the same reason denounces the
phrasing :

u\-£n Nin nnx | ins 'n . . . (a)
and insists on :

irn?K ton | inx 'n . . . (*)

The commentary ^pcn JVVrtD to Orah Haim, 286, however,
advocates (a), pointing out that this is not a case of
repetition since the second iriN opens a new paragraph.
We can go further and say that this ins is essential,
being the catchword for the poetical embellishment of the
phrase which concludes with it, in the same way as the final
words of the other biblical kedushah phrases — 1TD3 and
IDlpcc — serve for the other elaborations.

In the first Benediction preceeding the Shema' the p r a y e r

TOfin (Singer, 38) apparently opens with a parallelism :
| D'UTlp NIO 137KW 1337B mix -pann ( a )

I a'mro nw U37D ny7 loc ron^

'Be thou blessed, our Rock, our King and Redeemer,

Creator of holy beings ;
Praised be thy name for ever, our King,
Creator of ministering spirits ;'
which is however missed in our phrasing :

*rj)7 "pc nin'^ D^np ann ] vhxm mbo ijiiv -pann (b)
l . . d s mtro "W 1 1»?D

'Be thou blessed, our Rock, our King and Redeemer,
Creator of holy beings, praised be thy name for ever, our
King; Creator of ministering spirits ...'

The 12 73 TflD has actually the former punctuation !

5-

Rut in any case it is erroneous to punctuate the phrase
immediately following :

. . . anciy chi | vrnirD irxi cm^o -iw {a)
instead of

, . . a^Diy a/i vm-^D Tew | n-m^D ni'v (b)

This misphrasing is fairly old, for the traditional tune
to which these words arc chanted by Hazanim is divided
according to (n) and must have been jarring upon the cars
of countless worshippers for many a decade. Cantor A.
Baer in his Baal T'fillah even places a crochet rest after
Vmu'D both in the Week-day, Sabbath, and Festival Services
(PP. 9, 124,228).

Hazanim could best avoid this error by commencing
their chanting with D^inxD^.

6.
Singer's device to avoid a misphrasing which has been
similarly perpetuated by the tune to which it is set, has
not been made quite clear by him; hence it is generally
disregarded. I am alluding to the seventh verse of ?"W
(p. 3) which Singer, deviating from all other Sidurim,
phrases

: in:isn nx cam | xa: ivj .-cm tx-ira Dp xi> (a)
in preference to

: in;icn nx cam x^3 1 iiy rem isx-ca cp *6 {6)
His intention undoubtedly was not so much to join the
word N^3 to the foregoing, as to separate it from the
following word, since phrasing (b), coupled with the
traditional melody, gives the imperfect setting of

: '.nMEn nx | can xa; | iiy rrw ^x-c>a op n!j (r)
What, evidently, Singer rightly desired is :
: •,n;i , ;n nx ua?n | xaj | t-v nrca ^xTra Dp xi> (tf )

7-
Lower in the same hymn the phrase

i!>j?3D3 nort | vrvb baa (a)
is punctuated by some

1^203 | ion v*t6 baa ( 6 )
which makes u^n a construct of ion. But here we may best
be guided by the parallelism, which points unmistakably
to (a), thus:

feea ion | wxb boa
■\r\vv-a jn | ytnb jnu

The variant phrasings in the paragraph next following
of the Shema' Benedictions depend on the vocalization of
the word ncnp. If it bewhp the phrasing must be
n^iy insa n^2 | n^-np ncpai mro nsaa (a)

'With pure speech and holy melody they all respond
in unison' (Singer, 39).

If nfip then:

D^u? "tnN3 D^a nunp | ncjcni mm nst?3 (3)

'With pure speech and with melody they all respond
the " sanctifi cation " in unison.'

The first reading seems by far preferable Not only
does it make for syntactical correctness-the sentence is
distorted according to (b)-but authoritative evidence is
overwhelmingly on its side. Amram, presumably also Vitry,
Abudraham, and Abarbanel all have nKnip; Abudraham
mentions the other reading only to denounce it as incorrect.
These are followed by Baer (68) (who also cites other
authorities), Sachs, Singer, and others. Yet those who read
^sT!?, among whom is Landshuth (43), may claim the support
of Tosaphot Hagigah 13 b, s.v.]nyiD.

Whichever of the two alternatives one may choose, he
should be on his guard against coupling the reading of the
one with the phrasing of the other, a pitfall which is not
escaped by many a Hazan

9-

On all fours with this is an instance from nUNJJO
(Singer, i20).

Elsewhere, in an article devoted to this prayer, I suggested
the reading of nirnzn Jiyo instead of JTcnan ]<yD. u The
altered reading, which is actually contained in old liturgies
in that prayer and has since been found in DWll'f which
the phrase in nOX j;0 epitomized, would naturally change
the phrasing from :

niNTinn i>x | nu-nn pyc Yen di s bn icrb mui (a)

'And daily and constantly we will give thanks unto
him in the fitting form of blessings. The God to whom
thanksgivings are due. ..."

to
niNT,r;n bx ma-en jiyo | Trn ci> ^33 i»e£ mui (6,)
'And daily and constantly we will give thanks unto his
name. He is the dwelling-place of blessings, the God to
whom thanksgivings are due.

The divergency in the phrasing in the second of the
Blessings preceding the Shema' lies between the Ashkenazi
and Sephardi minhagim. The former has:

11 See 'Study in Liturgy', by A. Mishcon, in Jewish Review, London,
1910. I,35 8 SQ-; also Elbogen, p, m, and note. The writer's suggestion has
been remarkably corroborated by the author of n?r::n fTT.n to Deut.26. 15.

vinoa tnum ?nan "pip duo ^ i nyi npiy? t^n: t6\ . , , (a)
.■jnyv^a nnotwi .17 '«

... SO that we be never put to shame. Because we
have trusted in thy great and revered name, we shall be
glad and rejoice in thy salvation ' (Singer, 40).
While in the latter it is:

Kium . . S'njn-jciptm^iyici'ij;!', , . ciaj t6 , , . (6)
.injntpa nnnuw n?»u| unco

. . . that we be never . . . put to shame because we
have trusted in thy great . . . and revered name. Let as be
glad and rejoice in thy salvation. . . . '

So that the words D'^'3''D,&c., while disconnected from
the foregoing in (a), are closely connected with it according
to (b). This point is further discussed under no. 15.

Ji ■

In the Benediction following the Shane? there does not
seem to be room for a break in the phrase

D^nnxn bvn awNin by yiay bmw m» nnn 73 7jn (a)

which appears, indeed, undivided in Vitry, but which we
divide between two paragraphs (Singer, 42) :

:"p3y btrap ptwin f >3 W* (*)
D"jnnsn bin DWKin by

The wording seems continuous-hence the Hazan's
passing over this break in silence-for 'nan ^jn 't'Nin 73? is
obviously the extension of nnn. The division here may
have been occasioned by the branching off, at this point, of
the two variants of DWNnn ?y which Minhag Poland uses
respectively for ordinary occasions, and when ophan-piyut
is said.

12.
This is also the case with

ad) a-\ J irpi *n bx i?tb (a)

which is divided by a double-point even by Landshuth and
Baer, while Hagigah 13 a has the phrase

{nn-bv pvy) nmi dt a*pi Ti ^K -£o ( b )
unbroken. Sachs has done well in omitting the dividing

mark.

'3-

Of the following two (Singer, 44) :
. . . obs ~irv | avi nsr» by iwb n^ixa lroc win nw (<*)
. . . cb in* t^n nee 5>y | iob£ d^inj mas? w i n .tv?? <*)
the former seems preferable.

14-

Which is also the case with

bx-\v v)i? | let? mtov 'n \ibti)i (a)
ban* enp icy I mnax 'n ubav ( 6 )

i5-

The Shemoneh Esreh has a parallel to the disputed
phrasing of i:nu3 — piaJiO mentioned above. The following
passage in the thirteenth Benediction is variously phrased :

onDV upbn D'fi nt:Na i^a cnunn ^ am *w jni (a)
l:nu3 13 '3 c-Ui t&i | nbtyb
' . . . grant a good reward unto all who faithfully trust
in thy name; set our portion with them for ever, so that
we may not be put to shame; for we have trusted in thee.'

I Dn::y i;p7n bti ncx3 nceo D'nurcn 737 3id natf ;m {l>)
1! .i;na2 "p "a mi N7 nbiyS

. . . grant a good reward unto all who faithfully trust
in thy name; set our portion with them; and may we
never be put to shame, for we have trusted in thee.'

In both cases, it will be noted, tyi3JN7 and unwp
go together, in accordance with the biblical phrase iftnWp
fitiax^X (Ps. 25. 2), which proves that the Sephardi phras-
ing of the passage in ruinnns is the more correct one.

As regards the passage from the Amidah, Amram, and
Vitry both have (b), which is also preferred by Baer (95)
and Berliner (Ran&cm., I, 62) who cite the phrase C13JK7!?
*11'1 ETiy? D733 N71 from Grace after Meals, in its support.
It is somewhat strange that Singer (48) in face of all this
evidence, chooses to connect the i with C133N7 — as in (a)-
rather than with D71JJ7.

16.
By transferring the conjunctive 1, as in the foregoing
example, a difficulty is removed in the fourth benediction
of the Kiddush in the Marriage Service (Singer, 299). The
reading, taken from Ketubbot 8 a, is

1? j»pnm .nvoan men 07x3 .107*3 cinh m nv icx (a)
.ny ny pa not:

As Berliner (Randbem., II, 20) justly remarks, the term
mi3rt which seems here to refer to God is a gross anthropo-
morphism, even if used in a figurative sense, since it is only
applicable to corporeal bodies. Saadya Gaon, however-
as appears from a citation in Vd'd, ed. 1488-by transferring
the 1 makes the words irMan HIDl D7V3 refer to Adam, thus:
17 rpnn in s :3n mm D?xai .107x3 Dixn ns nv> irs ( b )
.ny *ny pa wdd

H This is also the version given in Amram and Vitry.

*7-

If in the preceding instances the variations are governed

by the transference of the 1, it is the omission of this

conjunction which has evidently affected' the phrasing as

well as the sense of the following passage in the 'long

Tahanun '.

The fourth section of that meditation, in the Ashkcnazi
minhag, based on Vitry (69) begins:
nN-im | nnnan p nnzb d:hi tot .Din-ii ji:n -\ba mk (a)

, , . u:n i32^n irax ] bay*" \^rb Trv rnpj) t:dS>
of which Singer (60) gives the following rendering, including
the bracketing :

'We beseech thee, gracious and merciful King,
remember and give heed to the covenant between the pieces
(with Abraham) and let the binding (upon the altar) of
(Isaac) an only son appear before thee, to the welfare of
Israel. Our Father, our King, be gracious unto us '

The question naturally suggests itself, Why is there no
allusion to Jacob in connesion with the other Patriarchs?
The answer is ; The allusion is there. Only it is obscured
by the altered phrasing. This is how the Sephardi minhag
has it (Gaster, I, 42) :

nx-i™|E'-iront/i n'T^> uzr» Tor .timi ;i:n -]bc n;k ( b)
",,,,, irrx bai-" 1 ;y»bi| Trr mpj) y:zb

' We beseech thee, gracious and merciful King,
remember and give heed to the covenant between the
pieces (with Abraham and let the binding (upon the altar)
of (Isaac) an only son appear before thee, and for the sake
of Israel (Jacob) our father, our King, be gracious
unto us , . .'

15 Amram's version, ed. Warsaw, bears a resemblance to both ; it lacks
the 1, and stops after irox ; thus: ^NYJ'> \y:b TT mpi) y:tb nNTJT)

18.
Other variations in the same paragraph are:
. . . Wivn ba | imv "■pi'^o ins rba vb px ' 3 (a)
For we have no other God beside thee, our Rock.
Forsake us not . . .' (Singer, 60),

which is the phrasing generally accepted. Yet XI. Sachs
(SxTJ"n^n, 3rd edition, p. 86) has it:

untim ba "imv j "pitao -i-x rbx ub px ■ 3 i b)

1 Denn wir haben keinen Gott ausser Dir. Unser Hort,
verlass uns nicht. . . .'

19.

So also further in the same paragraph :

General phrasing (Singer, 60) :
uWn J pn mv bm najon "imci wci 3inD mxp wai ^
inp ib '3

'For our soul is shrunken by reason of the sword and
captivity and pestilence and plague, and of every trouble
and sorrow. Deliver us, for we hope in thee . . .'

Sachs (ibid.) :
u^vn \m mx bm | ":cci ~aici wdi 3.-1 no mvp irj'M '3

Wip ^ '3
Denn unsere Seele ist gebeugt durch Schwert und
Gefangenschaft und Pest und Seuche. von aller Noth
und jeglichem Kummer rette uns, denn auf Dich harren wir.'

The opening phrase of a subsequent paragraph of the
same supplication (Singer, 61),

G'xcm a'yns bipb 1 nmtrm r nnien (a)
presents a generally felt difficulty inasmuch as its first
part, the words n3VJ70*l , ruVl£n, hardly makes any sense.

Commentators, as a rule, leave this phrase alone; and
translators, who are denied this very present refuge, usually
resort for safety to paraphrasing. Thus Sachs's rendering
runs : ' Der Du die Hand, die Riickkehr bietend, offen
haltst', while that of Singer is: '0 thou who openest thy
hand to repentance '.

Emden sees in this phrase an allusion to the talmudic
passage (Sanhedrin 103 a) :

roiuna ibzpb "na ypia mnro pea 'n'a'pn it> ne>y
and renders t nman ' who openest a place ' so as to
correspond to the rabbinic idea that ' God created a
special opening in heaven to receive the repentant' to
whom the attribute of justice would deny admission.

But the interpretation would not suffer even if *r be
given its ordinary meaning, with the phrasing altered to :
D'Num ffir^is bipb Havana j t nnion (3)

' thou who openest the hand, to receive transgressors
and sinners in repentance.'

It is true that Tfina usually conveys the idea of liberal
bestowal rather than welcome receptivity ; still a liturgical
poet employs this term in this very sense when he sings in
his Rosh-Hashanah piyuf :

:it nnina ton:? d';*ono bai .navj'na "pai-6 *w nman
He openeth his gate unto them that knock in repen-
tance; And all believe that his hand is ever open to receive
then' (Mahzor Abodath Ohel Moed, 150).

21.

A similar solution of a textual difficulty, namely, the
shifting of the pause, is suggested in connexion with the
passage in the Sabbath Amidah (Singer, 139) :

nwzb ~Q) nxip mis cc men | m^ip"! 13 n'sn 'y'rj'm (a)

Thou didst find pleasure in the seventh day, and didst
hallow it ; thou didst call it the desirable of days, a remem-
brance of the creation.'

Where, it is generally asked, did God call the Sabbath
' a desirable of days ' ? The standard answer to this question
is well known. The word b^ in Gen. 2. 2 is said to be
rendered Tom by Targum Yerushalmi. But the famous
HazanR. Meir, the contemporary of Rashi, found a solution
of his own in altering the phrasing thus : 14
.Tj-yob -Dt ncop win ] ms mm rw7pi 13 n's7 iy^cm ( b )

Thou didst find pleasure in the seventh day and didst
hallow it as a desirable of days; thou didst call it a
remembrance of the creation.'

The solution is admittedly forced ; but the original
answer is hardly less so.

22.

Another obscure allusion to the Sabbath is disposed of
in a very similar manner. Says the Kiddush (Singer, 124) :
onvD nx'S'!' *tti I unp \shpd!> r&nn cv Kin 'a <q>

'For it is the first of the holy convocations, a remem-
brance of the departure from Egypt.'

Some commentators, indeed, make out a case for the
Sabbath as a commemoration of the Exodus. But Moses
ben Ma'hir, inDvnTiD, suggests an altered phrasing of the
text :

tinvs ns'S'S *«T cnp 'x-ip»!> r&nn &v ion ^ (b)

1 For it is the first of the holy convocations, which area
remembrance of the departure from Egypt.'

l" See Vitry 82; Tan. Rab., §15.

The Festivals, the three rejoicing ones at all events,
certainly answer to that designation better than does the
Sabbath.

23.

To return to the Amidah-the prayer ivnSx'nnvT,
which is the nucleus of the Eighteen Benedictions, is one
of the three blessings which accompanied the sacrificial
offerings in the Temple. When these ceased, with its
destruction, the prayer was not abolished-for who ever
doubted its coming into use again with Israel's imminent re-
storation ?-but adapted to the changed conditions. Among
the modifications effected were the insertion of fix 2cm
"]rV2 *V3i? iTTftyn (which may have substituted the suggested
original wording lira -varn riTDyn nyini), 15 and of the word
mra — found both in Amram and Vitry-before Jiyo^apn.
In this manner the prayer was not only shorn of its obsolete
parts, but was turned to good account as an appropriate
supplication for the restoration of the Temple ritual.

But then some French kabbalist stepped in, and made
it a sine qua n on that the prayer should only consist of
thirty-four words |n *y~ivb JJlTn isDcn niN^c!?. Some
Ashkenazi congregations accordingly omitted nx and others
dropped mnD. In the latter case an alteration in the
phrasing was made to serve the purpose of the omitted
word, namely to give it a prospective application.

Instead of
(mn») nrtani Sxt^ ^'ki I "irva -\<2-b mnj?n ns atsrn (a)
pro bpn tarwa

' Restore the service to the Sanctuary of thy house i
and Israel's fire-offerings receive Thou in love and favour ',
they adopted

15 Rashi to Yoma 68 b, and to Ber. j i b.
VOL. VII. N n

nanta arbsnt | httyp ^ni irva n<ai^ miayn nx atwn (*)
.pxna !>apn

'Restore the service to the Sanctuary of thy house and
Israel's fire-offerings and their prayers receive Thou in
love and favour.

The alteration is however unwarranted, and spoils the
diction unnecessarily. 16 Even without the mriD the words
may well be taken to have a future application which,
moreover, is suggested by acm. That phrasing (b) is
nevertheless so often heard is largely due to its being
adopted, injudiciously, by the ia-f>ani*iD which is extensively
used by Hazanim

24.

A plausible remark is made by Berliner, Randbem., I, 63,
in reference to the next Benediction. The generally accepted
phrasing

mrrai npai iiv nv fcas? Tmawsi ynt6s3 hn . . . (a)
he declares, is erroneous. There should be a break before
ttvm npai any since-analogous to firm* ttnrenpai any,
Ps. 55. 18-these words are not the extension of ny ^oac
but of ybrm nawi.

Thus :

onrrci npai any— ny feap i»naim Ynis£w ^>jn , , . (b)

Not,

'We will give thanks unto Thee and declare thy praise
for our lives . . . and for thy wonders and thy benefits
which are wrought at all times, evening-, morn and noon'
(Singer, 51).

But,

1 We will give thanks unto Thee and thy praise

. . ■ evening morn and noon.'

16 t»q to Or. H ayim, cb. 5a ; Landsbutb's statement that Sepb. has the
pause before Qn^SlTl is not borne out by reference to better editions.

25-

Another deviation from the generally accepted phrasing,
in the same paragraph, is prescribed by Jacob Emden.
Instead of

-]S wp dVijjd I inon ion t6 "3 (a)
he would have

~]b mp | oVijjd y\on ion n^> *a (£)

But Amram's wording nhyoi and Vitry's a^iyD^ both
point to the fact that D?lyo should adjoin the following, not
the preceding words.

26.
The COro fiana (Singer, 53) has the following version in
the modern Karaitic rite :

v:ai pnx *ao miCNn | imim nainan | ns^nn nanaa iwna
imina ainaa J Tana

Our own version-identical both in Sephardi and
Ashkenazi-which is not as clear, lends itself to the following
alternative phrasing :

. . . "pay niro <**v by nainan mina ] n^pcri naiaa tuna (~2)
, , , iiajj wd <t b nainan | mina ni^con naian uaia {b)

It is difficult to say which of these was favoured by our
early authorities, since, as a rule, they do not mark these
words by any division at all. Of modem liturgists, Baer
(10 2) and Berliner (Randbem., I, 62) prefer the former, while
Sachs, as well as Singer, prefers-to judge by his transla-
tion-the latter. But neither is free from defects. Against
(b) the objection is raised by Berliner that mina riB^tfDn
can only mean ' the blessing thrice mentioned in the Law'
instead of, what is evidently intended, ' threefold blessing'."

" Rabbi Avigdor Chaikin, Dayan of London, in a marginal note shown
to the writer, actually interprets this phrase: ' BleSS US with the Benediction
thrice mentioned in thy Law '. Fur three times, indeed, the learned Dayan

But (a), which he commends, has certainly not less grave
a fault, naironmim presents a decidedly faulty diction.
The words would have to be reversed if they are to mean
'which is written in the Law'. Singer, disregarding the
phrasing he adopts in the Hebrew, steers a middle course
in his English translation which he gives as:

Bless us with the three-fold blessing of thy Law
written by the hand of Moses thy servant, which was
spoken by Aaron and his sons . . .'

But however smoothly this rendering may run, it can
hardly be reconciled with the original. Moreover, if the
words ' written by the hand of Moses thy servant' are to
be regarded as qualifying the noun * Law ', as is here
implied, then we are faced by the grammatical discrepancy
of unrelated participles : miron referring to min, and miDKn
to ro~D. In Gaster's rendering (I, 36):

'Bless us with that three-fold blessing mentioned in the
Law, written by the hand of thy servant Moses, and which
is to be pronounced . . .'

the latter difficulty is avoided apparently by making both
participles refer to the ' blessing'. But the former difficulty
remains, mirn does not naturally mean ' mentioned in the
Law '.

Were it possible for the two words Hainan nlira to
change places, as in the Karaite version, all objections
would at once disappear, and we would get the perfect
phrase

•pay HM3 H' by mvn roiron ] nzbvvn ram waia

asserts, does the priesuj function of blessing the people occur in the Torah
as an injunction, namely, Num. 6. 27 7X"C< '33 JIN 1i"13n il3 ; Deut. 10. 8

"icm-pita; Deut. 21. 5 'n dco yoS.

As it now stands, it seems best to follow neither (a) nor
(6) but read the disputed part without a break, as it is put
-perhaps not inadvertently-in early liturgies.

27.
In the first paragraph of the Ma'arib Service (Singer, 96)
the phrasing of the following passage is now generally
accepted ;
, , , , trpi m ba J iDtf mtos 'n rb'h pi dv p i»"un (a)

but it is as generally divergent in our earliest liturgies.
Vitry has

. . . . wp\ ti /« ioc nisav 'n | nWi dv> pa Snaoi ibi
and this divergence is even more marked in Amram whose
version is D<p1Yi iccnisax'n.

28.
In the same paragraph, several Prayer Books, as well as
2D*n *1K3 to Orah Hayim 236, cite ro*tt poy D who
emphasizes the break after 131VD:

. . . r6^i bv n-iu | wru jrpna Dn>nn»trc3 . , . (a)

in contradistinction to what was apparently preferred by
some,

, . . r&^i qv n-iu uiro | ir?"0 BirnnctPM . . , (6)

»9.

Is the familiar phrase 11'1 O^ilS Ton eligible? The
answer can only be against employing this tautology.
All that can be advanced in its favour is its occurrence in
so many and various parts of the liturgy as (a) the
Amidah : — lyl cM> Ten . . . d!>3 ^5J1, ( b) Birkat Hamazon:-

-tyi n^jji> Yen . . . bzn by\, (c) Maphtir:— Yon , , , bin %

IJTID^V^. But on tracing them to earlier sources we find
all these supports tumble one by one. In the Amidah
passage Amram has only *11?1 DPiy? and Vitry has the two
participles widely apart. So also in Birkat Hamazon
Amram has *iyi dSij& why YDn "pp *p2n\ While the earliest
wording of the Maphtir passage, in Mas. Sopherim 13,14, is :

, '' 'i« '3

There is, therefore, but little doubt that originally some
versions had only Ton and others only *TW a?)))b, and that
our combination of the two is merely the result of fusing
the different versions together, and like many another
grammatical impropriety, has been made legitimate by
common use.

Is there, however, any justification for employing it where
it can be avoided? There can only be one answer; and this
will help us to decide the following two disputed phrasings.

The one is in the first paragraph of the Evening Service .'

ijn tbyb i^y iita | Yen D s pi "n bx (a)
lyi ab)]h why "pta Ten | trpi *n b» (6)

Both in early and modern Prayer Books the phrase is
marked by no division at all. It is, however, evident that
Amram and Mahzor Romi-both of which have IVty Kin
i:^y — adopted the former. Baer leaves it practically an open
question, and Sachs, to judge by his translation, adopts the
latter. Singer's rendering (96) 'a God living and enduring
continually mayest Thou reign over us for ever and ever'
is so equivocal that it is not easy to say which of the two
he favours, but the more explicit rendering of the Mahzor
Abodath Ohel Moed (Davis-Adler) ' God living and
enduring continually, who wilt reign over us for ever and
ever ' obviously follows (a).

30-

The other example occurs in a later part of the same
Service :

isn d^u!> u^y i>& | Ten 111333 *jtai (a)
"iw n5>ii£ i^y ita *i^n 1 111333 ^on <<5)

Baer, indeed, treats both this and the preceding as
analogous. The analogy, however, breaks down on one
important point. The common version of this passage
contains a deviation from the original in the reading, which
has a slight bearing on the phrasing. Amram, the Sephardi
rites, and even Rokeah, all, consistently, adopt (a). But
their reading is . . . TDH 111333 ^IBn." With our wording
of ^Brt {p) would give a better sense. Still, as a com-
mentator remarks, even I'Dtt 111333 7]J13n is not a bad
grouping when the biblical phrase of Ps. 24 rbo 1133PI "]bo KV1
is borne in mind.

Now, even if the evidence had been equal, we should
have been justified, on the ground of orthography, in giving
our casting vote in favour of separating T'Dfl from IJrtQ^lV^
in the last two instances ; as the evidence of early authorities
is also preponderatingly on its side, there should be no
question at all as to the preference of such phrasing. 19

3»-

It is evidently with a view to avoiding a similar tautology
that Singer phrases the opening words of the dirge for the
martyrs (155) :

. , . D'orm iips' Kin | tmvtyn vema b»diid pis? tfbmn 3tt (a)

IS Maimonides has: U^Jf fbV' TOft Q'pi ^ 111333 "]!>1Dn.
IS Against the argument which may be advanced to the contrary, that
G'pVn^N usually appears as a fixed phrase without any participle, such
s D^iy^D'plTI (Nekilta Jetro 6) may be cited.

'May the Father of mercies, who dwelleth on high in
his mighty compassion, remember (mercifully) .
though Baer prefers:

... D'cnnaiips^int^DivjjnvDirtt ] a<ono pitr can-in 2« {&)

'May the Father of mercies who dwelleth on high, in
his mighty compassion remember mercifully

Singer, however, is not alone in this divergency. He has
Emden and Landshuth on his side.

32.

Dr. Berliner's remark in regard to a similar phrase may
here be cited :

The introduction to the )an (Singer's new editions, 238 a)
which is so often read as

. . . -]r\yyo ivn | D<:nn yvrra mm wx (a)
is a misphrasing, and should be :

33-

Pauses caused by interpolations, verbal and otherwise,
are often the cause of irregular phrasings,

Thus the kissing of the ' fringes ' each time the word
JViPS is mentioned has inadvertently broken up the opening
sentences of the third section of the Shema' as follows :
I rwv by »n;i nnmi» nnn;2 <s,n by | rwx nnb ltrjn (a)

: rtan S>Tia span
instead of:

*];an nw ^y un:i | crmi» emu 13:3 i>y rv^x cr6 i^jn (£)
lsa :n!5:n ^ns

19* No wonder the Gaon of Wilna (31 rVJ'l'O 'D) is against the practice
of kissing the Zizit.

34.
So also in the opening passage of the Kaddish (Singer,
75) the Amen response after N21 is obviously responsible
for a misplaced break in consequence of which the general
phrasing has become :

| nnnba yb&i nnma toa n Ncl>jn | ndi not? tnprvi ^lan' (a)

Now some commentators make nmjno refer to N")3 %
' which he created according to his will', while others-
among whom is the Gaon of Wilna who cites in support
the parallel passage (Singer, 145 sq.) . , . UHpIVl ^i:rv> Ssn ?J>
. . . lm'-D — prefer to connect nmy*tt with KHprvi ^sn»
' Magnified and Sanctified . . according to his will ', But in
any case the phrase must close with it, viz. :

. . , nni^D jhm j nmj>*u a-n n s«d5>j« m*i net? t^iprn hw (o)

'Magnified and sanctified be his great name in the
world which he created according to his will. May he
establish his kingdom during your life and during your
days . . .'

35.
The extent of the next Kaddish response is a matter of
dispute. Maimonides and Tur (Or. H. 56) limit it to:

tocby ^jta a^vb -pro toi noy urn ( a ) "

Emden, who insists on this response, has even a '1323'
to correspond numerically with its words. The Gaon of
Wilna assumes that Amram includes also "pan* in the
response, since he has JCN after "pari'. 21 He therefore
advocates the response

■parv tcvbv *cbyb\ cbyb -pao toi nce> Nfi< ( b )

50 The Hazan continues with "P3TV according to Maimonides; according
o Tur he is to repeat 'Y vi> D / VC'\

21 This is, however, no criterion ] for itl Maimonides, where the response
iistinctly closes with »"d?T}, t her is also JCN after TOJT,

which is also favoured by DmsXJJO and is the Minhag
Sephardi.

ID^JYa, however, followed by 'tVc, extends the response
to ND^jniTEXT and states in Shulhan Aruk (Or. H. 563)-
where, strangely, it does not seem to extend beyond TUTV —
that those who conclude it with K'Djy are in error, as no
pDSn is allowed between it and Tmn\ 22 That (b) is used in
general practice contrary to the phrasing even of such
commonly used Prayer Books as D^finyn, not to mention
the more critical ones, is perhaps accounted for by the fact
that it is particularly favoured by choirs on account of the
cadence supplied by "p2JY, without which the musical
rhythm would be greatly marred.

Opinions are also divided on the point whether KlfTpS
is to go with the preceding words:

srona^pNW' | wn ya turn? ' 1 now , , . {a)

... the name of the Holy One blessed be he above
all the blessings . . .
or with the following:

Nnana53 jDNi>j£NirtTi3|NEnip n not? , .'(b)

... the name of the Holy One. Blessed be he above
all the blessings . . .'

Those in favour of (a) include Saadya Gaon (cited by
Abudraham) Maimonides-though only inferentially-and
Minhag Sephardi.

Among those for (b) are linfiiN who strongly opposes
the other alternative, and n'oi (Or. H. 56).

« See Tan. Rabb., ch. 2. The author of in^TTplJ, Or. Hay., ch, 564,

jusih points out that this refers onh to interruption In talking.

The acceptance of the one or the other of the alternatives
would seem to depend largely on the point whether Kin - ]"") 3
is part of the text or merely a response. If the former,
(a) would be more correct ; if the latter, then (b). And the
analogy employed by the Gaon of Wilna in another con-
nexion, namely a comparison with the text of the prayer
72n?jf certainly points to the former, thus :

| ton fra Enipn , . . bv ide> . , . ixarvi ranKn :ion by
| Nin T"o vxnp *i net? , . . isam naw>i : tvnp

It may be noted that among modern liturgists Baer (130)
is practically the only one who has a pause before Nin"V"l3,
which is also advocated by Berliner (Randbem., I, 62).
They were evidently both influenced by the opinion of
|vl2 n^ti^ 'T whom the latter cites in this connexion.

37.
The N*3D deprecates 'the practice of many Hazanim '
who in intoning the following words of the Kaddish phrase
it, evidently in order to meet the exigencies of the melody,

nti-wi wirna I bs jd vbyb (a)

instead of

srnw wo-d bs p]t6yb{l>)

A misphrasing, far more commonly used, in the con-
cluding passages of the prayer is :

i>toti» bi by\ I wby ob& , , , .bx'w bi bin \ why D*m , . , (a)

instead of

^n-ib» bs bin wby \ vbv . , , 3n-ib» bi bw ir^y | D"m , , , (b)

38.

Polyphonic R endering or the alternate reading by Hazan
and Congregation, has in the same way left its mark on the
phrasing.

In some synagogues the custom has still survived of
chanting the latter parts of the moTVplDD in alternate verses
by the ?nio and the congregation on the occasion of a rV*i3.
In some congregations this elaborate rendering commences
with the suggestive sentence (Singer, 32) fijnn S>N nicon
DV3 1W2D 3"im ' High praises of God are in their throat,
and a two-edged s-woid intheir hand', more generally it
begins with the even more appropriate verse (34) icynrol
fi'ian 'And thou madest a covenant with him'. The break
thus made at this juncture has led to the beginning of
a new paragraph with nnai — quite regardless of the fact
that it forms the middle of a verse— whereby the biblical
verse Neh. g. 6:

. . . rv-on icj? nnai T^ ]axi ian> nx nsvoi (a)
is divided between two paragraphs :

:j:sh ;cx: mS nx nxi-ci {6)
, mm toji nnai

Heidenheim, Sachs, and Landshuth have bridged the
gap by entirely removing this division, while Baer, and
accordingly Singer, merely omits the double-point after
yitb ]CN3. But these are obviously of little avail while the
practice still prevails of the Hazan concluding the paragraph
with these words.

39-

R. Eliezer of Worms (Rokeah, § 320) records that his
brother Hezekiah regarded with disfavour the practice of
dividing the biblical verse of Ps. 148. 13 :

: dwi pN ^v 11m na!" icc> ax M 3 'o 'n at? ns ii&rp (a)
between Hazan and Congregation-as is still being done--
on returning the Torah to the Ark (Singer, io), as if the
text were

Hazan-- : minct? aico »a 'n oi? jik iW>rf» (b)

Congregation- twsen pK ^j> flW

40.
And the only argument the Rokeah could advance in
defence of the practice is that it is not the only one of its
kind. Is not Isa. 6. 3

. . . mp crtp cnp -icto nr bn n? nip> (a)
rendered by Hazan and Congregation in the kedushah as if
it were

*: . . cnp cnp crip :ibni nt ^n nr topi (i»

te not the biblical verse

vtDnohy!> '3 am^'n^ nin ( a)
divided at the circumcision ceremony (Singer, 305) by
Mohel and Congregation, thus

Mohel- : aia '3 '.-£ vnn (£)

Congregation--24 : lion ohyi> '3

42.
There is, of course, also the example of Ps. 1 1 8. 24 :
: kj nn"$>xn 'n n:k n j niwirt 'n n:x (a)
being rendered in the Hal lei (Singer, 223) as

H azan and Congregation : k: njpcnn 'n t«s ( b )
Hazan and Congregation : ni nn'f»vn 'n wk

)9 T7?e division was less marked in the Rokeah's time, when the con-
gregation did not say U'lpJto "1CX1, hut simpl; joined the Hazan at Clip.

24 our custom is to repeat the whole verse after the Mohei.

43.

The appearance in all Prayer Books of a double "1*1N?K
C'SN (Singer, 65 sq.), the verbal difference between which is so
slight, always seemed puzzling to liturgists, who, however,
ascribed them to different minhagim, and even labelled
them accordingly. In face of these the directions of Kol-BO
and Abudraham that both were to be said (which was upheld
by Baer and followed by Singer) seemed anomalous.

This, however, is quite borne out by Vitry (71), according
to whose text the theory that the two originated in different
minhagim falls to the ground. Both, it is asserted, existed
simultaneously-as they are indeed found-in each minhag

'The Hazan says'-

, . . urvoin lEso ba , , , cds TiN^N(a)

And the Congregation respond ' -

. . . i:dd T3D iron ta . . . d<bk -px bn {6)

44-
Some Miscellaneous Examples may finally be mentioned.
In nCNC"in3 (Singer, 17), Emden and some Sephardic
Prayer Books have

•\bbru | v^v th , W3i v*n$n won jiirb inbdi race (a)
. . . -firm I nnom mm-jo us-i^k 'n

Lauded and glorified by the tongue of his loving ones
and his servants and by the songs of David thy servant,
We shall praise thee, Lord our God, with praises and
with psalms ; we will magnify . . .'
instead of the generally accepted phrasing :

•ty™ liny -m nwi ] main vtdh p^b ixstti mm (b)

' Lauded and magnified by the tongue of his loving ones
and his servants. We will also praise thee, Lord our
God, with the songs of David thy servant; with praises
and with psalms we will magnify . . .'

Either is eligible as far as the meaning goes. But
syntactical evidence is in favour of (b). The person changes
from the third to the second with TM), which points to a
break before that word. 25

45.
Another variation in the same prayer is:

, . . li>D D'nbiyn in Trv 1 ot6n v&q -p'tai (a)
. . . i?n j ambwri v\ Trv wrbn uJ>o ^dh (6)

authoritative opinion being on the side of (6).

46.
Vitry (148 sq.) refutes at some length the erroneous
phrasing in J1DS?J of

, ,, nniun tfcya | nmvaii (a)

which should, of course, be

, , , nmun | D*eya nmi uii ( b)
47-

One cannot very well deviate from the biblical phrasing
(Ps. 98. 3)

runs* m \ y~f "oa« ^ 1N "> ^" IB " n ^ wiDNiviDm3T(a)

in the fOC n?2p. Yet the parallelism and sense point
unmistakably to:

nine* n« ps ^zx 53 in-i | ^ntjh ;v^ voidm non lit (6)

: Wlfo
76Dnl:"3"l, however, used in connexion with Hallel, the phrase!

Tiay in nta isiedi natro, vitry, 192.

In the concluding paragraph of the Hallel,

. . . D'pnx yvam \ two Sa m-ta 'n -jM.t (a)

is correct, not

D s p^v | yrom yvyo i>3 irr6x 'n *]Mn» (p)

A number of other instances which are of less academic
interest, though of considerable practical importance, must
be held over for a popular treatise on the present subject
which the writer has in preparation. A list of common
errors in phrasing will likewise be more fittingly included
there than in this article. The completion of this article
has been unduly protracted as it is, owing to the closing of
some sections of the British Museum on account of the War.

It may seem strange that the large majority of the
variances quoted occur in one and the same m/'/l/iag where
more harmony, if not absolute unanimity, might have
been expected. Yet, considering that the earliest com-
pilation of the Siddur, which properly consolidated the
liturgy for the first time, was only made as late as the
latter half of the ninth century, and that for some centuries
afterwards the prayers continued to be read from memory
by Hazanim who exercised their licence to the full, the
remarkable thing is that the divergencies are not far more
numerous than they really are.

Still, would it be too much to expect that in the near
future an authoritative council may do for the Siddur what
the Masoretes have done for the more sacred Bible. The
bringing into unison of the liturgical tests even of each
of the two parent rites-the Ashkenazi and Sephardi-
would greatly improve the shape of one of the greatest
monuments of the Hebrew genius, and be a good step
towards repairing the breaches in the House of Israel.

A J UDEO- SPANISH ROMANCERO

Israel J . Katz

The Spanish romancero-Spanish balladry-has maintained an
equal if not greater existence alongside such parallel ballad traditions
as the Anglo-American folksongs, the German Volkslieder, the Dan-
ish Folkeviser, and the Russian Byliny. Yet oddly enough, it is some-
what difficult to understand the omission of the romancero or of the
romance-the generic term for a Spanish ballad-from such standard
mid-twentieth-century English language music reference works as
Grove's Dictionary of Music and Musicians (5th edition, 1954) and
Thompson's International Cyclopedia of Music (8th edition, 1964).
The definition for romancero in Apel's Harvard Dictionary of Music
(1944:648) is far from correct. Here romancero is defined as "the
Spanish word for troubadour," and also as a "designation for a col-
lection of songs, such as might have been sung by a romancero."
Even the subject index in Kunst's Ethnomusicology (3rd edition,
1959) and its 1960 supplement would render a great service if a
breakdown of the varied ballad traditions were included, especially
in view of its rich bibliography. With regard to the scope and prom-
inence of the romancero in Spanish literary and musical history as
well as its diffusion throughout the Hispanic world, such omissions
seem to indicate a neglect of an important area of folk music and
poetry.?

On the other hand one has only to turn to the numerous works
of the renowned Spanish scholar Ramon Menendez Pidal, for excel-
lent surveys of the romancero in any of its manifestations be they
historical, literary, or philological.' On the musicological side one may
look at the recent contributions by such scholars as the late Vicente
T. Mendoza (1939) ,4 Gonzalo Menendez Pidal (1953), Miguel Querol
(1953, 1955), and Daniel Devoto (1955). Moreover, while the Span-
ish Diccionario de la musica Labor (Pena and Angles 1954: II, 1905)
contains material under the headings romance and romancer which
is both brief and somewhat nebulous, one may turn to an informative
article on the romance by Miguel Querol in volume eleven of Die
Musik in Geschichte und Gegenwart ( 1963 : 845-48).

However, a stimulating area of research-the Judeo-Spanish
romancero-under present investigation at the University of Cali-
fornia, Los Angeles, deserves particular mention, not only because
of its unique position within Hispanic balladry, but also for the
methods currently being applied which involve close interdisciplinary
collaboration.

46

The Judeo-Spanish or Sephardic romancero was much neglected
until the turn of the present century when Spanish scholars first took
notice of the folkloristic heritage of the Spanish-speaking Jews of
North Africa and the eastern Mediterranean. Here indeed a substan-
tial portion of the romancero was still preserved in oral tradition in
a spoken idiom dating back to fifteen-century Spain, if not earlier.

Substantial documentation on the living Sephardic ballad tradi-
tion was first made available in manuscript form to R. Menendez
Pidal by collectors and colleagues who had travelled in North Africa
and the Balkans during the early years of this century. In 1906
Menendez Pidal published his "Catalogo del romancero judio-es-
panol" which listed over 140 ballad incipits (texts only ) and classified
them thematically according to the categories of the pan-Hispanic
romancero (1906-07). It was Menendez Pidal's hope that this catalog
would facilitate a search for additional variants. Thus, a kind of
"Child Canon" emerged for Sephardic balladry and stimulated a
new surge of interest in exploring hitherto untouched areas. It is not
possible here to go into the details of these subsequent endeavours.
However, the Israel scholar, Moshe Attias, discussed them in detail
in the introduction to his Romancero Serfardi (1956:3-88; 1961:
247-85). While Attias was concerned mainly with the texts, a musical
survey of the Judeo-Spanish romancero is discussed in chapter two
of my dissertation, "Judeo-Spanish Traditional Ballads from Jeru-
salem" (1967).

In the spring of 1957, Samuel G. Armistead and Joseph H. Sil-
verman, of the Department of Spanish and Portuguese at the Uni-
versity of California, Los Angeles, initiated a joint project aimed at
recording and editing the rich folkloric tradtions of the eastern Med-
terranean Sephardim residing in Los Angeles, San Francisco, Seattle,
and New York. Among the numerous materials collected since their
first encounter with the Sephardim of these communities are some
550 ballad texts, of which approximately 75 percent were sung. In
their words:

the language and folk literature of thr Sephardic Jews of today
reflect with extraordinary fidelity thr linguistic, and literary circum-
stances of pre sixteenth century Spain. Sephardic, culture offers to
the Hispanist a living archive the unique and fascinating opportunity
of experiencing at first hand an archaic stage in the developement ot
the Spanish language and the oral manifestation of its folk literature
The speech of the twentieth-century Sephardim allows us as i t by
enchantment, to bridge centuries of history and lo hear Spanish almost
as it was spoken four centuries ago. (1960:230)

In the spring of 1959 I met both Armistead and Silverman and,
having had the opportunity to hear a portion of their recorded mater-

ials, I became intensely interested in doing a musicological study of
the Sephardic ballad tradition. During 1960-62 I traveled in Israel
and carried out field work among the many groups of Sephardim
residing there. Among the items collected were 250 texts of ballads
representing both the eastern Mediterranean and Moroccan tradi-
tions. Ninety-five percent of these were sung (1962:83-91).

At the same time, Professors Armistead and Silverman had col-
lected a number of important unedited ballad manuscripts (texts
only) from Cynthia Crews, who collected in Greece and Yugoslavia
in 1929, and from the late William Milwitzky, whose collection, made
in the Balkans in 1895, was made available to us by the YIVO Insti-
tute of Jewish Studies in New York. By April 1961 our collection was
further enriched by manuscript copies of seventy ballads (texts only)
from the Sephardim of Tetuan and Xauen (Morocco) which were
collected by Americo Castro in 1922.

With full knowledge of the political upheavals in North Africa
and their implications for Moroccan Sephardic communities, we felt
a strong need to record that tradition which was already in a most
percarious situation. Therefore, in the summer of 1962 the three of
us embarked on a field trip to Morocco which took us to the com-
munities of Tangier, Tetuan, Larache, Alcazarquivir, Arcila, and
Casablanca. Here, we recorded more than 550 ballads together with
a variety of items representing other branches of Sephardic folklore. 6

At present, our entire collection of ballads numbers more than
1350 variant texts (including more than 1000 melodies) representing
over 200 different narrative themes, from such countries as Greece,
Turkey, Yugoslavia, Bulgaria, Rumania, Israel, and Morocco. It con-
titutes the largest and most important extant collection of Judeo-
Spanish ballads.

Musically speaking, the Sephardic ballad repertoire represents
two-Moroccan and Turkish (or possibly three with Greek)-musi-
cal style traditions located at opposite ends of the Mediterranean
basin. The major division in Sephardic balladry is between the east-
Greece, Turkey, and the Balkans-and the west-Morocco and other
settlements in North Africa. However, we must not forget that this
7-LEVIN-Synagogue Music

repertoire forms only a special branch of the vast ballad tradition
which originated in fifteenth- and sixteenth-century Castile and dif-
fused to all areas of the Hispanic world.

A good number of traditional text-types employing octosyllabic,
and in some cases hexasyllabic hemistichs, with rhyme in assonance
on every distich, are common to all areas of Sephardic balladry. The
stylistic components, or parameters, which are musically constant
are:

sung i

monic for the We
tradition.
2. The strophic form

4. The

5. Dyn£

paramount fo

sion predomi
stanzas adh.
generally fall;

within the octa^
fter the melodic
part of the performer's pract

repetition.

6. Tremolc

Those parameters which differ in the western and
iterranean traditions can be compared in the following manner:

Western Eastern

I. Melodic stanza Is modal (including major Adheres to the class

in movement. Some bal- tem of Turkish-Ar£

2. Pitch

3. Tempo

Varies from an underlying
pulsating lactus to a par-
lando-rubato rendition.

d by the additii
of syllables i
fication.

7. Ornamentat

S I i a h i degree of \<

Medium to high register
A great amount of vocal

8. Tone quality Typical of indigenous Typical of Middle-East-

Spanish balladry. ern vocal practices.

To illustrate these comments, we have included the following
musical transcriptions.' The first example, representing the western
Mediterranean (Moroccan) tradition, is the ballad "Gerineldo,"
whose first three verses are transcribed with the melodic quatrain
strophe AA'BC.8

Example 1. "Gerineldo" (R. Menendez Pidal 1906: No. 101)
(-Girineldo, Girineldo, my fine knight,
Oh, who could have you tonight for
these three hours at my service!
-Since I am not but your servant, my lady,
you must be mocking me .)

V.3 H Co- mo soy vue - slro en - a - do, —

Example 2 is a brief selection consisting of the first two verses
from the eastern Mediterranean ballad, "La adultera," in a-a asson-
ances.' Notice the tripartite phrase structure, AA'B and the repeti-
tion of the second textual vase 17

Example 2. "La addltera" (R. Menendez Pidal 1906: No. 80)
(Early on a Monday morning,
I took my bow and my arrow
in my right hand .)

An example of a Sephardic romance in the Greek style can be
found in Katz (1962:90), which is a version of "Las hermanas reina
y cautiva" (R. Menendez Pidal 1906:No. 48) from Salonika. 13

When Silverman returned from Spain in February 1962, he
brought with him microfilm copies of approximately 250 manuscript
notations from the vast collection of Manuel Manrique de Lara (d.
1929), which are in the possession of Ramon Menendez Pidal. Each
notation consists primarily of the first melodic stanza with text un-
derlay, including the name and age of each informant plus the locale
where obtained. Among these precious notations were fifteen melodies
transcribed by Manrique de Lara in 1915, while he was serving as
a colonel of a marine infantry battalion in Larache On these notations
he identified the informant as Donna Ayach.

During our Moroccan expedition, in the summer of 1962, we
were fortunate in locating the same informant, now sixty-two years
of age, residing in Casablanca. Mrs. Ayach recalled singing for the
"masked Colonel," as she described him, who wore a wide handker-
chief across his face as a precautionary measure during a typhoid
epidemic. She sang and repeated a good portion of her repertoire of
romances to enable him to notate them with "meticulous care." In
1962, almost two generations later, we were able to record nine of
the fifteen items preserved in Manrique de Lara's manuscripts.

Musical examples 3 and 4 collate versions collected by Manrique
de Lara with their singing by the same informant recorded by us in
1962 While Manrique de Lara's transcriptions consist of a melodic
stanza comprising two verses, I have aligned under his examples the
1962 variants from which I have transcribed two melodic stanzas
plus two additional verses.

A comparison of the 1915 and 1962 renditions leave no doubt
concerning their similarity. Cadences and textual stresses are in full
agreement. The range of Example 3 agrees except for ornamental
notes which extend the 1962 version, with the db' functioning as an
upper auxiliary and d as a lower auxiliary. Both examples are based
on the quatrain form, the first indicated as A BCD and the second as
AA'BA" or A (x+y> A '(x'+«)B<v+w>A"(xMwi :

Example 3. "La Infantina" (R. Henendez Pidal 1906: No. 114) 14
(The knight goes out hunting as he was
accustomed to do. His dogs went a hunting
and he had lost his falcon (or boat [sic!]).
Where did night overtake him? On a dark mountain,
where no one lived, not even a living creature.)

jirlque de Liro 191 5

A Allegretto

V.3^Don-de le co - gio la no - cher.

■» J' r , | JuJ* p p. I r rr^

o co - sar co - mo so- if o

V4: don - de

hay mo - ro ni mo - fa,

1915 q

1962

bar - <

per

di -

■ do ho

- bi'

°—

y~el

hoi - <

=6n_

per

di ■

- do

'

bo.

. "Conde Marcos" (R. Menendez Pidal 1906: No. 64) 16
(The princess was sad, sad rather than happy,
for the king has not arranged her marriage
and would not marry her off. She sent for
the king, her father, with honor and courtesy.
Her father was well attired, he did not delay
in arriving. "Good day, princess .")

' v5:MBue-nos di - as- la _ in - fen - la.,

What I have presented here are but four examples from our
collection of more than 1000 melodies. For a reconstruction of the
romancero musical tradition emanating from Spain we must under-
take a comparative study of the now moribund Judeo-Spanish ballad
repertoire preserved by Sephardim from eastern and western Medi-
terranean communities. And, ultimately, we must work backwards

55

toward a further comparative study with the known musical sources
of fifteenth- and sixteenth-century Spain. Only through such a major
undertaking can we resolve the questions of the Spanish inheritance
as found in such ballads and clarify those extraneous influences which
have altered their performance in oral tradition. 19

During the period of my collaboration with Armistead and
Silverman we have gained a better understanding of each other's
specialties, and through an exchange of ideas we have been able to
evaluate and improve our own methods and techniques. With the
documentation now at hand we plan to complete a series of studies
on the music, poetry, folklore, and language of the Sephardic
romancero. 20

FOOTNOTES

1. This is a revised version of a paper read at the Eleventh Annual
Meeting of the Society for Ethnomusicology in New Orleans, Louisiana,
December 26-29. 1966.

2. A glance at Merle E. Simmons Bibliography of the Romance and Re-
lated Forms in Spanish America (1963) will reveal the popularity of the
romancero throughout Spanish-speaking America. Important omissions are
discussed in a review of this work by S. G. Armistead and J. H. Silverman
(1965).

3. See the bibliography of Mentndez Pidal's contributions on the
romancero (Webbrr 1951).

4. Mendoza's study, Lirica narrativa de Mexico: El romance, which was
to be published by the Universidad Nacional Autbnoma deMexico, was left,
unfinished at his death, October 27. 1964.

5. Among their first publications concerning Sephardic balladry arc "Dos
romances fronterizos en la tradicion sefardi oriental" (1959), Neuva Revista
de Filologia Hispanica XIII (1959), 88-98. and "Hispanic Balladry Among the
Sepharic Jews of the West Coast" (1960).

6. See Bulletin of the International Folk Music Council. No. 23 (April
1963). p 15.

7. I shall not cite the vast bibliography of textual and musical ballad
analogs for each example but will limit my references only to the melodies
existing in known Sephardic ballad sources-in their versions and variants.

8. Sung by Bela Alpaz. an emigrant from Tangier (Jerusalem, February
27. 19613. This melody hears a close resemblance to that given in Benichou
(1944: 375. No. IV) Cf. also Larrea Palacin (1952: II. M. 152-64).

9. Note the consistency of the hemiola effect in the cadential measure of
each phrase.

10. Although the 6/8 time signature appears suitable for the rendering,

the 9/8 scheme which falls at the end of each A' phrase has been maintained
throughout the performance.

11. Sung by Ester Maimara, Sabra (Jerusalem, June 29, 1960). Cf. Hemsi
(1934: No. XVII); S[an] S[ebastian] (1945: No. 7); Algazi (1958: No. 62);
and l,evy (1959: Nos. 25, 27. and 85). Our melody bears the characteristics of
the Si kha maquam.

12. Manriyue de Lara explained these verse repetitions in the following

Drbo advertir una particularidad esencial y caracteristica, adver-
tida por mi lo mismo entre los judios de M arruecos que entre los de
Oriente Esta particularidad determina quecada dos octosilaboscorre-
spondientes a la segunda mitad de la melodia. se repitan siemprevol-
viendolos acantarcon la primera mitad de la melodia misma. Asi
resultan repetidos todos I os versos, excepto I os dos primeros con que
el romance comienza, y asi, sea par eimpar el numero de versos
que contiene el asonante, siempre coincide el final del romance con el
final de la tonada. (1916: No. 1285)

13. An additional musical variant can he found in Algazi (195X: No. 47).
Algazi's example cited as Partos trocados, was recorded on a 10" 78 rpm
disc (No. 9AI 6162) issued by theUnesco International Archives of Popular
Music.

14. Casablanca. August 28,1962. In my transcription I have respected
Manrique de Lara's key signatures and have transcribed accordingly Further
variants can be found in Ortega (1919: 261); Benichou (1944: 374. No. I):
Larrea Palacin (1952: 11. M. 178-80); and Gonzalo Menendez Pidal (1953: I.
399) where the incipit is given as "De Francia Partio la nina."

i extra pulse in both melodic stanzas of thr

16. Casablanca, August 27, 1962. A copy of the manuscript appears in
Gonzalo Menendez Pidal (1953: I. 400). Ct. Larrea Palacin ( 1952: I. Rl. 86).

17. The first hemistich was lost in our field recording

18. Notice the irregular 5 8 measures which are rendered constitently in
the following verses.

19. From the textual side the salient features which distinguish thejew-
ish romances from those in the purely Hispanic tradition are concisely discussed
by R. Menendez Pidal (1906-07: Intro.: 1953: II. 330-41 ) and Moshe Attias
(1956:14-23: 1961: 14-23,334-42).

20. We have already begun work on thefirst of a series of volumes

entitled Judeo-Spanish Traditional Ballads From the Eastern Mediterranean

This first volume will comprise some 180 texts and approximately 140 melodies
The thirty text-types included in this volume parallel many of those listed in
Menendez Pidal's "Catalogo" (1906) and cover such categories as Carolingian,
Biblical, and Classical themes plus narratives concerning the Spanish epic,

Spanish history. Many new text-types can now be adde
I's classification.

REFERENCES CITED

1958 Chants sephardis London: World Sephardi Fe(

tary of music. Cambridge: Harvard University Press.
Joseph H. Silverman

idicion scfardi oriental," Nueva

1960 "Hispanic balladry among the Sephardic Jews of the West Coast."
Western Folklore 19(4) : 229-44.

1965 Review of A Bibliography of the Romance and Related Forms in
Spanish America, by Merle E. Simmons (1963). in Western Folk-
lore 24(3) : 136-40.

Attias, Moshe

1965 Romancero sefaradi: romanzas y cantos populares en judeoespanol.
In Hebrew. Jerusalem: Kiryat-Sefer.

1961 Second edition. Jerusalem: Kiryat-Sefer. Con-
tains a Spanish translation of the introduction.

Benichou, Paul

1944 "Romances judco espanolcs de Marruccos." Revista de Filologia
Hispanica 6:36-76. 105-38,255-79,313-81

Devoto, Daniel

1955 "Sobre el estudio folklorico del romancero espanol," Bullestin H i s -
panique 57: 233-91.

Hemsi Alberto

1934 Coplas sefardies (Chansons judeo-espagnoles) Alesandria. Egypt:
Edition Orientale de Musique. (Op. 13. Ill serie).

Katz. Israel J.

1962 "Toward a musicological study of the Judeo-Spanish romancero,"
Western Folklore 21( 1) ! 83-91.

1967 "Judeo-Spanish traditional ballads from Jerusalem." Doctoral dis-
sity of Caliturnia. Los Angeles.

Irid: Instituto de Estudios Africanos. 2

London: World Sephar

nrique de Lara. Ma

1916 "Romance

January 2.

Mendoza, Vicente T.

1939 El romance espanol y el c
Mexico City: Ediciones d

Menendez Pidal, Gonzalo

1953 "lllustracionrs musicales." Appendix to vol. I nf R. Menendez
Pidal's Romancero hispanico.

Menendez Pidal, Ramon

1906 "Catalogodel romancero judio-espanol." Cultura Espanola 4: 1045-

1907 77: 5: 161-99 Reprinted in El romancero: teorias einvestigaciones
(Madrid, 1928). 101-83: and in Los romances de America y otros
estudios (Buenos Aires, Mexico City, 1948),121-88.

1953 Romancero hispanico (hispano-portutues, americano y sefardi)

Madrid: Espasa-Calpe. 2 vols.

Ortega, Manuel L.

1919 Los hebreos en Marruecos. estudio hi storico, politico y social
Madrid: Editorial Hispano Africana.

Pena Joaquin and Higinio Angles

1954 Diccionario de la musica Labor. Barcelona: Talleres Graficos
Ibero-Americanos. S. A. 2 vols.

Querol. Miguel

1953 "Importance historique et national du romance." in Musique et
Poesie au XVIesiecle (Paris: Editions du Centre National de la
Recherche Scientifique) . pp. 299-327.

1955 "El Romance polifonico en el siglo XVII." Anuario Muiscal 10: III-
20.

1963 "Romanze," Die Mus/k in Geschichte und Cegi-mi-nrt 11 : 845-48

S [an] S[ebastian]. P. Jose A. de

1945 Cancionrs sefardies para canto y piano. Tolosa. Spain: Graficas
Laborde y Lahayrn.

Simmons. Merle E.

1963 A bibliography of the romance and related forms in Spanish Amer-
ica. Bloomington: Indiana University Press.

Webber. Ruth House

1951 "Ramon Menendez Pidal and the romancero." Romance Philology
5(1): 15-25.

REVIEW OF NEW MUSIC

SONGS OF THE CHASSIDIM: An
Anthology compiled, edited and ar-
ranged by Velvel Pasternak. Bloch
Publishing Co.. New York, N. Y.
$10.

A handsome, beautifully bound,
substantial volume that will find a
place on every music library shelf.
"Songs of the Chassidim" joins "Sefer
Hanigunim" and the Vinaver Anthol-
ogy in making available many of the
beautiful nigunim that have been re-
corded in the past decade under the
aegis of the notable Chassidic dynas-
ties. This fine collection is presented
with some arrangements and chord
markings hy Pasternak, in transliter-
ation, with a very useful discography
as well as the original Hebrew and
its meaning. Divided into several
larger sections (Liturgy. Z'miros.
Melave Malke, Festivals, High Holi-
days and Wedding Songs) the tunes
have been drawn mostly from Mod-
zitzer sources with a lesser number
from Bobov. Lubavitch Boston and
other Chassidic enclaves. M r. Pas-
ternak adds to the worth of the hook
with a short introduction to the
"Chassidic Movement."

HALLEL AND THE THHEE FES-
TIVALS: Selected Works by Leib
Glantz. Edited by David Loeb. Tel-
Aviv Institute of Jewish Liturgical
Music in Conjunction with the
Israel Music Institute. Distributed
in the United States by Boosey &
Hawkes. Inc., New York, N.Y.
Prepared for publication by Mr.

Mr. Yehoshua Zohar, this addition to
the published works of Glantz gives
further insight into the remarkable
poetic soul of this man who used
nusah and hazzanut as vehicles for

tonal exploration into areas untouched
by his predecessors. Dissonance, vocal
angularities, special glissandi and
other effects, long recognized and
used in general music by contempor-
ary composers, are presented here
within the framework of tradition and
are used in consonance with the spirit
of the Near-Eastern maqam by
Glantz, who will be remembered as
much for the extraordinary influence
he has exerted in the music of Israel
as for his unique vocal interpreta-
tions of t'fillot.

This collection of selected works is
accompanied by a 'recording of Glantz
the subject of "Hallel" and "Tal" in
Hebrew. It can be followed in the
Hebrew, it can be followed by the
text of the talk in both Hebrew and
in English as printed in the Introduc-
tion to this book, and will lend to the
charisma surrounding this exceptional

MIQRA'EY MUSICA: A Selection
of Biblical References to Music by

Shlomo Hofman. Mif'am Publica-
tions. Tel-Aviv, Israel. "Yessod"
Ltd. Publishing House, 16. Maze
Street, Tel-Aviv.

A comprehensive listing of Biblical
references to music and to musical
instruments with source, Hebrew text,
vowels and tropal signs, this little
booklet should prove invaluable.

THE KEY OF SEE: TravelJour-
neys of a Composer by Herbert

Fromm. The Plowshare Press, Inc..

It will (

) surprise to s

that Mr. Fromm. in addition to his
well known abilities as a composer,
teacher and organist is also a writer
and port. One might have felt from

his writings on music and his critical

corporated mixed-media ideas.

comments on newly published works.

Hooray! Some of our congre;

Rations

that he had a fine flair for the written

are giving evidence of living

in the

word. As it evolves, he has more than

20th century.

a "flair" for writing.

The moot point will be mi

ide five

This small and charming book is in

or ten years from now when we

have

the form of a "travel journal" cover-

a chance to stop, catch our

breath

ing three trips experienced by the

and regroup. What has last.

ed and

author; to California in 1952, to Israel

been saved? What has "caug

ht on"

and Europe in 1960 and to Germany

and what has not? In what d.

3 es the

in 1962. The title is more than a cute

congregation (be it youth or

adult)

play on word meanings. Mr. Fromm

find a religious feeling that

is com-

has the ability to describe his return

mo n to us as a people and th

,at can

to familiar childhood places and

help us in our pursuit of pra)

friends in such a manner that in-

our identification with it?

stantly involve the reader and per-

In these two worthwhile app:

roaches

mit you to "see" with him.

to the use of folk and rock

in the

Filled with musical anecdotes and

Service we see reflected signs

of our

displaying much of Mr. Fromm's

times.

slightly acrid and nftimes wry sense

The Miron work is skillful

. tune-

of humor, the hook is worth reading

ful and clever Smolover's i

s fresh

FOLK ROCK AND ROCK N' REST
EDGE OF FREEDOM (AL SAF
H A C H E YR U T) ; A Folk Rock
Service for the Sabbath by Cantor
Ray Smolover and David Smolover.
The National Federation of Temple
Youth. 838 Fifth Avenue. New
York, N.Y
AND NONESH ALL MAKE
THEM AFRAID: Sabbath Rock « '
Rest Service by Issachar Miron.
English lyrics by Tsipora Miron.
SFM Music, Inc. 520 Fifth Avenue
New York. N.Y.

This past year saw a burgeoning of
wonderfully different, inventive ap-
proaches to the traditional liturgy.

melso, youth services with now pray-
ers compiled by children services
with traditional music- played on con-
temporary instruments services with
jazz, blues and folk rock as the basis
of musical expression services mixing
these elements a

wholeso

pletely original in concept. It might
be an oversimplicfication to say that
on the basis of the obvious intent of
the two composers and their commis-
sioning bodies (that of writing a serv-

young people one that instantly
communicates the spirituality of the

music, before these same young peo-
ple "turn off") Smolover's is "of the
kids and for the kids" while Miron's
service perhaps because of its exper-
tise will not "make thr scene". "Edge
o f Freedom" really moves "None
Shall Make Them Afraid" rarely

It would be easy for this reviewer

declare that the difference in the
backgrounds of the composers ac-
counts for the difference in what the
reviewer feels makes one "with i t "
and the other "without." Rut Mr.

Mir

l to bei

made the transition from Israeli folk
composer to successful American pop
practitioner painlessly. I feel that the
forces for which each man wrote ac-
count for the authentic feel of folk-
rock in one and the impression of
artifice in the other.

"Edge of Freedom," printed in lead
sheet form with instrumental chord-
ings and directions, contains 14 set
pieces that can easily be done by high
school kids of the same wonderful
calihre and with the same wonderful
abilities as any of the thousands of
folk-rock groups now functioning in
our communities. The rantorial part
is not within the reach of every young
man and it could he sung by some
one with special abilities. All the
music seems to be written in a very
lyric style and is the product of a
singer with excellent taste and a
"feel" for the right phrase. It will
prove instantly popular, and serves as
a fine vehicle for the expressiveness
and intenseness of Jewish ideals and
moralities. Cantor Smolover's son,
David makes a forthright contribu-
tion as co-composer, and may help
account for its American "feel". The
Service will be meaningful and con-
tribute toward a youthful understand-
ing and expression of prayer.

Miron's "And None Shall Make
Them Afraid" was commissioned by
Cantor Arthur Yolkoff and Congrega-
tion Mishkan Israel of Hamden
Connecticut, and is written for a
much larger group of varied abilities:
Cantor, Soloists, SATB Choir and a
Children's Chorus which can besub-
divided. As a work for performance I
think that it offers an exceptional
range of experiences. Large choruses
of children will find their metier in
this work as will cantors and music
directors looking for a novel and fresh
approach for presenting new forms of
synagogue music to their congrega-

61
tions. "L'cha Dodi" and "If You
Want Peace" are especially felicitous
while the concept of broken phrases
and spoken text in "Vaanarhnu" will
be an exciting experience. The "Hal-
lelujah" is an outstanding and rousing
choral number which, one hopes, will
he made available with other selec-
tions from this Service in single,
octavo form. Both Miron and Yolkoff
are to be commended and encouraged
in continuing their efforts in this new
direction. Would that their efforts
serve as an example to US all. Ex-
pertly scored for instruments it could
be done with varied combinations as

I HAVE A DREAM: Cantata for
Mixed Chorus (SATB), Baritone
Solo, Narrator and Orchestra (or
Piano) by Elie Siegmeister, text by
Edward Mabley based upon a
speech by Martin Luther King, Jr,
MCA Music, Inc., New York, N.Y.
$2.50.

"I have a dream that one day this
nation will rise up and live out the
true meaning of its creed: We hold
these truths to be self evident that
all men are created equal." "Now
many are still enslaved: next year
may all men be free."

These two quotations brought to-
gether the idea that was conceived by
Cantor Solomon Mendelson to pre-
miere a work which embodied the
Jewish concept of the freedom of man
with the late Martin Luther King's
impassioned "I Have a Dream"
speech delivered in August, 1963 he-
fore the Lincoln Memorial in Wash-
ington, before almost a quarter of a
million people (negro, white, Chris-
tian and Jew) and which has, in this
published work, been forcefully weld-
ed together by Elie Siegmeister and
Edward Mabley.
An outstanding piece of music,

62

written for contemporary ears in a
contemporary language with a driving
force tha cannot be denied, "I Have
A Dream" needs professional atten-
tion in both chorus and accompani-
ment as well as dedicated performers.
A "natural" for community as well
as college forums for the continuation
of meaningful dialogue, this short and
rewarding dramatic-musical work is
well conceived, extraordinarily appro-
priate and superbly executed Or-
chestral parts, if required, are avail-
able from the publisher.

YOUTH SERVICES
KOCHVE VOKER (Morning Stars)
by Max Wohlberg. Transcontin-
ental Music Publications. 1968.
$2.50.
EL HAY'LADIM B'YISRAEL by
Abraham Salkov. Transeintinental
Music Publications. 1967. $2.50.
Two fine- works for children or

reble

work (

Arthur Yolkof

Max Wohlberg's substantial Morn
ing Service begins at "En Kamoha"
completes the Torah Service and von
lures into the Musaf K'duslui belort
concluding with En Kclohcm, an<
Yism-fui. It is a Sabbath Mnrnim
Service commissioned by the Beth E
Junior Choral Society of Akron. Ohii
and its energetic Hawaii, Jeronn
Kopmar.

Written mostly with a cappellf
chorus in mind, Wohlberg has sue
cessfullv blended his long years o.

choral singing in the "old si

i.s«/i

setting, for an unparalleled gift for
melody. He has surpassed himself in
writing this angelic service which is
deserving of much use in our time.

The Service indues cantorial par-
ticipation in a well placed baritone
range. Of particular interest is the
ingratiating "K'dusha". Hazzan Kop-
mar is to be thanked for his interest
in commissioning Max Wohlberg and
for their joint efforts in behalf of
music for today's Synagogue.

Abraham Salkov's charming service
is scored for Cantor, two or three part

• Wot

i Choi

Pi am

Organ and Pe

rcussion. It

sli.

ould prove

to be a
group of

Hi

citing proj
)t and tie;

fc

t. Tht

rhythms

are i

•asy to peri

nd th.

melodic 1

lines

are natural

ai

id i

lot toi

difficult,
much ol

Haz
:' tht

zan Salko\
■ vocal wc

.< i
>rk

has

baser
i trcii.

(Shir H<

ish iri

m in l.lm

Ih.

><!)}

nusah

haffilluh

and

his own i

nvi

enti

veness

The han

monii

■ language

is

chi

.rniatii

and fore.

Tul.

Some sectii

ins

an

e dilTi-

cult (Va

Imvtc

i) and besp.

■ak

■ a \

■enera

comment

that

the sopran
cated more

i a

might

rather than 1

ligher tessi

tui

ra.

Salkos

NEW RECORDS
)CT OK THE SILENCE: .'
Russian Jewry. Reuven

American J ewry a living and organic
recollection of the rich Yiddish-
speaking civilization of that vanished
world through which the vast major-
ity of us received our heritage of
J ewishness."

The album is dedicated to the sav-
ing remnant of the great J ewry of
Russia in the hope that the voice of
Jewish songs will once again be
heard among their youth.

Weiner adds to the clear and ex-
pressive voice of Reuven Frankel in
"Tzu Eins Tvei Drai," "Shir Hama-
alas" (Fromm), "In Cheder," "Shir
Hashirim" (Saminsky). "Zog Maran,"
(Bugatch). "Omar Adoshem L'-
Yaakov" (Ellstein) and 'Tzur Yis-
rael" (Weiner) among others.

63

The combination of soloist and ac-
companist is an obviously natural one,
both lending their fine interpretive
powers to the artistic, integrity of the
record. More please!

A SINGING OF ANGELS: Beth El

Choral Society. J erome B. Kopmar,

Director. Produced by Beth El

Records. Akron, Ohio.

A delightful, enchanting sound by

the 60 voice children's choir lends its

own particular magic to 11 folk-songs

arranged by Charles Davidson with

witty lyrics by Samuel Rosenbaum.

This recording, already in its third

pressing, has a place in every school

music library.

C. D.