Full text of "Cantors Assembly Journal of Synagogue Music"

See other formats

J O U R N A L

OF SYNAGOGUE MUSIC

August 1969/ ELUL 5729

Volume II
Number 2

CONTENTS

The Need FOR aNew HISTORY of J ewish

Music: A Preliminary Study Albert Weisser 3

Adventures of a Bibliography

Alfred Sendry 15

Abba Yosef WEISGAL at Eighty
An Appreciation

Joseph Levine 20

DEPARTMENTS

Music Section

Review of New Music

Hal lei VZimrah by Gershon Ephros
L'Chu N'ran'noh by Benjamin Siegel

Moses }. Silverman
Morton Kula

From Our Readers

JOURNALOFSYNAGOCUEMUSIC , VolUTTiell, NUTTlber2

August 1969/Elul 5729
Published by Cantors Assembly

editor: Morton Shames

managing editor: Samuel Rosenbaum

editorial board: Baruch J. Cohort, Michal Hammerman, Gerald H.
Hanig, Arthur Koret, Morris Levinson David J. Putterman, Moses
J. Silverman, George Wagner, Max Wohlberg, Arthur Yolkoff.
associate members: Arthur Yolkoff, Chairman; Harold Brindell,
Saul Z. Hammerman, Louis Klein, Abraham B. Shapiro, Gregor
Shelkan, Harry Weinberg.

officers of the cantors assembly: David J. Leon, P r e s i d e n t ;
Morris Schorr, Vice President; Yehudah Mandel, Treasurer; Solomon
Mendelson, Secretary; SamuelRosenbaum, 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, 150 Fifth Avenue, New York
10011.

NEED FOR A NEW HISTORY OF JEWISH MUSIC:
A PRELIMINARY SIUDY

Albert WEISSER

As I sat here waiting to be introduced to you, I was reminded,
for perhaps some diabolical reason, of a story recently told to me
by an academic friend.

It seems a professor was dreaming that he was lecturing before
a large audience- when suddenly he awoke with a start-and
sure enough, there he was lecturing before that very same audience.

I suppose what reminded me of this story was really that the
subject I have chosen for this afternoon — The Need Fof A New
History of Jewish Music-has, I think, something built into it
that will certainly not allow any sort of somnambulance, real or
imagined, on the part of the speaker or his audience.

I trust the subject itself will not sound outrageous to any of
you for I suspect that even as late as five years ago, were this
subject to be proposed to an audience of J ewish musicologists,
hazzanim, and even those generally knowledgeable persons con-
cerned with J ewish music, there would have been much more
resistance and rancor than I suspect-or rather hope-we will
have today.

Let me say at the outset that I really intend no derisiveness or
pillory of any individual scholar or work. I am primarily concerned
today with bringing to your attention certain inadequacies, omis-
sions, improper historical perspectives and balances, faulty method-
ology, and the sheer outdatedness to be found in our general histories
of J ewish music. You noticed I said general histories of J ewish music
for I am, today, not concerned with articles, monographs or large
works, however extended, which deal only with a particular period
or area of J ewish music, but I stress rather only those works which

ALBERT WEISSER, composer and musicologist, teaches presently at the
Cantors Institute-Seminary College of Jewish Music, The Jewish Theological
Seminary of America, and Brooklyn College, and is the musical editor of the
Congress Bi-Weekly. His musicological works include The Modern Renais-
sance of Jewish Music (1954), the forthcoming Bibliography of Publications
and Other Resources on Jewish Music (1969), and entries on Bel a Bartok,
Charles E. Ives, Giuseppe Verdi, Manuel de Falla, George Bizet, "Musical
Expressionism," among Others, in the "Encyclopedia International" (1963).
His musical works have been played in London, Paris, Brussels, and through-
out the United States. The present essay was adapted from a paper read by
Mr. Weisser in December, 1968, before the Cantors Assembly of America.

attempt some sort of wide panorama of our long musical history.
I assume that you know well which works I am talking about. If not,
let me mention them here so that it will not be necessary for me to
keep referring to them.

By far the last really creative general history of Jewish music
was no doubt A. Z. Idelsohn's volume Jewish Music In Its Historical
Development. '

It was, for its time, a fine synthesis of much valuable individual
investigation on Idelsohn's part, and the work of many splendid
scholars who were his predecessors. Though its inadequacies are quite
glaring, it has not yet been entirely superceded. Since history, we are
continuously reminded, repeats itself, so many Jewish musical
scholars are quite content to merely repeat each other. Therefore,
those coming after Idelsohn — for instance, Peter Gradenwitz's The
Music of Israel, Its Growth Through 5,000 Years' and Aron M arko
Rothmuller's The Music of the Jews 3 are both quite valuable and
capable pieces of work and are, perhaps, stylistically more readable
and even better organized than Idelsohn. Yet both seem to me to
take Idelsohn as their starting and focal point using his basic
materials and methodology, filling in minutae here and there and
stressing their own interests and predictions. With Gradenwitz it is
the music and composers of modern Israel; Rothmuller gives special
weight to what he calls "The New Jewish Music: Nineteenth and
Twentieth Centuries," and though Idelsohn's work continues to be
immeasurably the best of the lot, I suspect principally because of his
work and research in primary resources and his considerable musi-
cological capabilities, all now strike me as being in some particular
area, either obsolete or even irrelevant to our present situation and
outlook.

Let me assure you that I am not arguing fcr an overthrow or a
total abandonment of the entire so-called canon of Jewish music

1. Idelsohn, A. Z. Jewish Music in its Historical Development (New
York, 1929) 535 p. Paperback reprint, Schocken Books (New York, 1967).

2. Gradenwitz, Peter. The Music of Israel. Its Growth Through 5.000
Years (New York. 1949) 334 p. There have been subsequent revisions of this
work, the last being Die Musihgeschichte Israels (Kassel, 1961), 4th Ed.

3. Rothmuller, Aron Marko. The Music of the J ews (New York. 1954)
254 p. New and revised edition 1967.

history as we have now come to know it. I know of no serious J ewish
musical scholar who would posit such a view. But somehow I feel it is
quite imperative for us to recognize that every age must somehow
interpret history to itself in a kind of juxtaposition of its own light
and the light of its forebears. It is easy enough to say with a cocksure
shrug, "Ha, ha-each age always thinks of itself as totally unique
and will always attempt to justify and predicate what it thinks is its
very own singularity." But the truth of the matter is that we, as
J ews, are living in a very special age and J ewish musical scholarship
has today arrived at a point of such sophistication, depth and techni-
cal assurance that it makes a good deal of our general histories, in
comparison, laughably simplistic and lacking in weight and density.
\Neare seeing a burst of new currents that have lighted up areas
in our musical history which for long had been given up as almost
totally imponderable. Let me give you a few examples here of some
scholars and their work which. I suggest, makes an overhaul of our
general histories absolutely necessary.

First, I would say Eric Werner's The Sacred Bridge/ which, as
its subtitle states, attempts to demonstrate "the interdependence
of liturgy and music in the synagogue and the church during the first
millenium." Second, Israel Adler's The Praxis of Art Music in
Various European Jewish Communities During the Seventeenth and
Eighteenth Centuries,5 and J oseph Yasser's monographs The Ma-
grepha of the Herodian Temple , 6 and his References to Hebrew
Music in Russian Medieval Ballads,' I shall mention others later.

The time is now far past when one can write a history of J ewish
music by merely stringing together a series of loosely related articles
-no matter how well packed with information and held afloat by
means of the external strictures of chronology. We are no longer
satisfied, say, with a quick dash through the Tanach and merely
devising a kind of long laundry list showing where music, musical
practices and instruments are mentioned, and to this add a glib or

4. Werner, E. The Sacred Bridge (London — New York 1959) 618 p.

5. Adler, Israel. La Practique Musical Savante dans Quel ques Com-
munautes J uives en Europe aux XVIlIe et XVIIIe Siecles (Pari s-H agues,
1966) 2 vols.

6. Yasser, J oseph. "The Magrrpha of the Herodian Temple," J ournal of
the American Musicological Society, (Philadelphia) 13 (1960) 24-42.

7. Yasser, J oseph. "References to Hebrew Music in Medieval Russian
Ballads," Jewish Social Studies, (New York), 11 (1949) 21-48.

thrice times ten repeated comment that was already old, old news
fifty years ago. This will no longer do. Some key words for the J ewish
musical historians are now "search," "compare," "take nothing for
granted, " "elaborate," "make complex," "make these dry bones to
live." I put it to you that one must now clearly exhibit some sort of
overall plan, vision, philosophy or compelling attitude that can bind
our musical history together into some sort of unity and make
meaningful those areas that have remained so troublesome to the
historian. And I must say that I do miss in the histories I have
mentioned, some capacity for relish and radiance and sense of
adventure which the history of J ewish music certainly has to an
enormous degree. Instead, one is constantly struck in these works
by their pomposity and ponderousness.

May I list for you now some rather general principals that I
think our new J ewish music history might use as guide-posts.

(1) It must be assumed at the outset that there is a discernable
continuum in the history of Jewish music as Dr. Eric Werner has
pointed out.8 This involves both fixed and evolving substances despite
and perhaps because of numerous migrations, wanderings and inner
developments on the part of the Jewish people. It is, therefore,
possible to construct three large concentric historical cycles: The
Biblical Epoch, the period starting with the destruction of the
Second Temple (70 B.C.E.), and the period involving the encounter
of the Jewish people with the culture of Europe. This does not
preclude, of course, certain adjacent contacts such as the Moslem
and Byzantine cultures, nor further divisions within these cycles.
It will also be useful for purposes of polarization, emphasis, and
particularization to use such concepts as 'The Music of the Ghetto
and the Bible" as the composer Lazare Saminsky has done.9

(2) Wherever at all feasible, a history of Jewish music must
relate that music to the social and political conditions of its time,
and to philosophy, literature, and the other arts. (3) Aside from
giving accurate historical data and documentation and a thorough
analysis of styles and techniques, it must demonstrate the temper
and scope of the general music age and show an interaction between
it and Jewish music. It is inconceivable, say, when writing of

8. "The Music of Post-Biblical J udaism" in The New Oxford History of
Music: Ancient and Oriental Music. Vol. I (London, 1957) pp. 314-315.

9. Saminsky, Lazare. The Music of the Ghetto and the Bible (New York,
1934) 320 p. A singular and brave work whose enthusiasms are still contagious.

Salamone Rossi not to write also of Monteverdi, "stile rappresenta-
tivo," Northern Italy, Gastoldi, the Ferrara school of composers and
all the devices, forms and dances of the early Italian baroque. It is
inconceivable in writing of Salomon Sulzer not to write also of the
nature of early German romanticism, the Lutheran chorale, musical
Vienna, the Schubert circle, and the example of Mendelssohn. And
Bloch, how can one intelligently write about his so-called "Jewish
Cycle" without making some contact with the school of musical
impressionism, the orchestra of Richard Strauss and the influence
of 'The Society for J ewish Folk Music" in St. Petersburg? Of course,
not to do so is to write highly insular musical history.

(4) J ewish music must not be viewed as having existed in a
self-contained, self-perpetuating vacuum. We must recognize that
it arose, functioned and developed because of some very vital needs
of the historical J ewish community itself — religious, social, esthetic,
communicative, sportive, intensified speech, ritualistic, etc. — and,
as such, is thus a notable reflection of that community.

(5) In the study of the music of the Bible, it is now first of all,
imperative to decide on a viable chronology which can be readily
agreed upon by musicologists and the Biblical scholars; and, for
goodness sake, let's take a pledge not to think of and analyze music
of the Bible as though it were related to western art forms and
practices. It is now also imperative to intensify our readings of
Midrashic and Rabbinic sources and once and for all shed our
continuous fear of such disciplines as used in the study of primitive
rituals, comparative Biblical studies, comparative mythology, anthro-
pology and archaeology. I might even suggest that psychoanalytical
techniques might very well be pursued and the entire question of the
magical and curative powers of music be applied to certain areas.

(6) It must be fully recognized that oral transmission has played
a decisive and pivotal role in the history of J ewish music. So here the
wide variety of J ewish folk music traditions including their flowering
and deterioration must be examined, compared, given equal weight,
and ethnomusicological methods be applied with imagination and
precision. Of course, I need not stress here that the Yiddish folk
song is not the only one in the J ewish musical community. And yet,
by the same token I must say that I detect in some scholars outside
the Yiddish orbit a certain snobbery and condescension towards the
accomplishments of eastern-European Jewish music (folk and art)
and scholarship.

10. i .e. the Sh' ma, the Shofar. David playing before Saul, etc.

(7) It might be useful also in the analyses of changing styles
and trends to use Curt Sachs' brilliant conception of the twin ideals
that "have alternately acted as magnetic poles" -ethos and
pathos." The first indicating serene calmness of the soul, beauty,
symmetry, coolness, permanence, limitation, perfection, imperson-
ality, essence, etc. Pathos, on the contrary, relating to passion,
character, appearance, excitement, personality, boundlessness, imper-
fection and change. You might even find useful to think of the
history of hazzanut in these terms.

(8) The once difficult problem of the identity of J ewish music,
or as it was posed mainly during the thirties or forties within intel-
lectual circles in the U. S. and other western Jewish communities
with that two-in-one question, "What is Jewish music; does it
exist?", is it seems to me today not nearly as crucial as it was once
made out to be. In the main, this concern was posed seriously
principally by individuals within a particular generation voicing their
own real problems, confusions and doubts of inner identity and
alienation. The question, as I remember, seemed to have been con-
sistently raised and answered with a flippant negative, mostly by
people who had done very little or at most superficial reading in
Jewish music history, or had had meager contact with genuine
J ewish musical elements and resources. How laughable it was to hear
them turn to examples of their experiences with J ewish music and
recall memories of that which many of us immediately recognized
was spurious and in a state of deterioration. Easy, quick and shrill
answers were expected where to be really penetrating meant the use
of infinite musical subtleties and webs of constant influences and
correlations. It is somewhat indicative of the irrelevance of the
formulation of the question that the solutions which were offered
proved almost always frustrating and seemed constantly land-locked
within the temper and the attitudes of the times and never really
seemed to satisfy anybody. At present I don't think there is a dire
need for the contemporary J ewish music historian to agonize and
worry himself sick over this question. He knows quite a great deal
about genuine J ewish musical substances — cantillation, plain and
ornate psalmody, prayer modes, anti phonies, melodicles, hymns,
chants, and those characteristic tunes for each liturgical season. He
must now cast his net wide to include such a principle as Dr. Hugo
Weisgall has proposed in his study of the synagogue music of
Salamone Rossi 12 — that is, that the function or the goal of a piece

11. Sachs, Curt. The Commonwealth of Art. (New York, 1946). pp. 199 f.

of music must now be taken into account to determine whether it
can have any relationship to J ewish music.')

I would include also in our new history all those J ewish com-
posers who had lost contact with or strayed from the J ewish com-
munity, or functioned primarily within the non-Jewish musical
milieu. Their works and personalities must be searched for explicit
or even indirect Jewish characteristics. These so-called "bastard
sons" must now be legitimized and investigated in relation to the
Jewish experience and music. Of course, I am speaking of such
figures as Mendelssohn, '+ Meyerbeer, Anton Rubinstein, Offenbach,
Mahler, among others. We must be sure to include also those gentile
composers who have been especially close to the Jewish musical
community. Their contributions must be recognized, documented
and fully analyzed in depth. I am thinking of Marcello, Handel,
Moussorgsky, Rimski -Korsakoff 15, Elgar, Maurice Ravel, Vaughan
Williams, and others. If your mind is so attuned that you need a
guiding principle for all this, let me suggest that in music, thank
heaven, you don't have to be a J ew to be J ewish.

Let me speak now to some specific areas and problems that I
would like to see incorporated and unriddled in the new history of
J ewish music- a sort of ingathering of different strands.

A. The problem of the origin of music has always been a
fascinating one and has been pursued from the time of primitive
peoples to contemporary sophisticated philosophers. The myths of
the Luiseno Indians teach that such animals as the lion, eagle, frog,
deer were the first musicians. 16 Notice that the personalities of these

12. Weisgall, Hugo. "The Synagogue Music of Solomon de Rossi," Pro-
ceedings of the Sixth Annuel Conference — Conoention of the Cantor's
Assembly of America (New York, 1953) pp. 31-37.

13. First applied in a different context by Stephen S. Kayser, "Defining
Jewish Art" in Mordecai M. Kaplan J ubilee Volume. (New York, 1953).
English section pp. 457-467.

14. A fine example is Eric Werner's Mendelssohn: A New Image of the
Composer and His Age. (New York, 1963) 545 p.

15. See my The Modern Renaissance of J ewish Music. (New York, 1954)
pp. 43-44. See also Rimski 's autobiography My Musical Life. (New York,
1942) p. 6.

16. Du Bois, Constance Goddard. "The Religion of the Luiseno Indians",
University of California Publications in American Archaeology and Ethnology.
Vol. 8 (1908) p. 166.

animals chosen can be easily translated into anthromorphic terms
so as to suit a variety of musical dispositions. In ancient high
civilizations a divinity was associated with music's origins — Thot
in Egypt, Narada in Inda and Apollo in Greece. The Old Testament
makes Jubal (of course not a divinity) the son of Lamech and Adah
"the father of all such as handle the lyre (kinnor) and the pipe
Cugahh)" (Gen. 4:21); and by inference this is taken by J ewish
tradition to mean that he is to he designated as the inventor of
music. Nothing else is said about Jubal and so this passage is often
viewed as one of the most difficult and even enigmatic in the Bible.
Now if you were to look into any of our histories of J ewish music,
as one should expect, for light on this subject one will be sorely
disappointed to find precious little. I think it is possible to fill out
the picture somewhat if we allow ourselves the use of disciplines
sometimes not always taken advantage of by Jewish musical his-
torians. Since this paper is somewhat in the nature of a preliminary
study I will not take this into any depth, but will restrict myself
merely to some suggestions.

First, by looking into the Pentateuch commentary by that
always stimulating Jewish-French exegete, Rashi (1040-1 105), we
find this extraordinary gloss on Jubal- "he took up the lyre and
pipe to sing to idols." One deduces that Rashi comes to this con-
clusion because Midrashic sources say about Jabal, the brother of
Jubal, that "he built houses for idol worship"" and that Naamah,
the half-sister of Jubal, was "the leader of the female players and
singers,"' 8 and "she played sweet music on the timbrel in honor of
idols." Further, she is described as the mother of demons, the
proof being that Naamah is the name of the mother of Ashmedai,
king of the demons. 20 Is Rashi 's gloss and its Midrashic parallels
trying to convey the notion that there has long been a counter
tradition among certain J ews that views music as a dualism -both
as one of the highest of human activities and one that even at its
origin was capable of misuse and debasement? Or is it a mirror of the
Platonic attitude which sees ethical and moral values inherent in
musical art?

17. Gen. R. 21.

18. Targum. Pseudo-Jonathan. 22.

19. Gen. R. 23.

Scrupulous comparisons with other mythologies concerning the
origin of music are needed here. Since Jabalis described in the Old
Testament as "the father of such as dwell in tents and have cattle"
(Gen. 4: 20), and Naamah is often translated as "pleasant,"
"gracious" or "beauty," it becomes quite obvious that there is some
parallel here with the Greek myth of Dyonysos, Aphrodite and
Hephaestos, the divine goat of Greek mythology. It is even possible
to compare Apollo or some wind or nature deity, such as Hermes or
Pan, to Jubal.

I would suggest other sources that will yield parallels — the
fifth century C.E. Ethiopion document The Book of Adam 21 where
the figure Genun seems to be a combination of Jubal and his brothers
Jabal and Tubal-Cain. There is also forceful conjecture that Jabal
might very well have been the name of a Canaanite god of music.**

Yet another parallel is to be found in Arabic tradition. There,
according to Ibn Khurdadhbih (d.c. 300/912) Tubal b. Lamak is
said to have invented the tambourine and drum, his sister Dilal
originated the lyre and Lamak, Tubal 's father, invented the lute 23

I would go further also in the philological contention that the
words Jubal, Jabal and Tubal-Cain, aside from being related to the
Hebrew word for "Ram's horn," is possible to be interpreted through
the verb "yabal" which means "to bring into procession." From here
it is possible to trace the Lamech family perhaps to cultic and pro-
cessional origins. In W. F. Albright's words, 24 "the travelling smiths
or tinkers of modern Arab Asia, whether Sleib or Nawar [Gypsies]
follow more or less regular trade routes with their donkeys and their
tools. These groups depend for their livelihood on their craftsman-
ship, supplemented by music and divination in which women excel.
It is probable that the Kenites of the Bible with a name derived from
Cain meaning "smith" resembled these groups somewhat in their
mode of living." 25

20. Midrash Haneelam, Zohar Hadish 19.

21. The Book of Adam. Das Christliche Adambuch des Morganlandes.
Aus dem Athiopischen mit Bemerkungen. Ubersetz von A. Dillman. (Gottingen,
1853) pp. 92-94.

22. See U. Cassuto's article in Bulletin of the Jewish Palestine Exploration
Society. X (1943) p. 51; also Graves, Robert and Raphael Patai, Hebrew
Myths. (New York. 1963) p. 110.

23. Farmer, H. G. Sources of Arabian Music. (Bearsden, 1940) p. 18.

24. Archaeology and the Religion of Israel. (Baltimore, Md. 1956) p. 98.

25. For further insights along this line see North, Robert "The Cain
Music", Journal of Biblical Literature, Philadelphia (Dec. 1964) pp. 373-389.
An Archaeological Inventory (Tel -Aviv, 1963) 61 p.

Some of these techniques might be used in other parts of the
Tanach. Quite recently I came upon a splendid piece by the Israeli
musicologist, Hanoch Avenary, 26 in which he attempts to throw light
on the expression "umtsiltayim mashmiim" (I Chronicles 15: 16). Of
course, we have always known that the first word meant a pair of
cymbals used only by men, perhaps even priests, the second meaning
"sounding aloud." Avenary now makes out a very good case that
suggests that the entire expression might refer to cymbals having
apotropaic significance.

B. The entire question of instruments in the Bible is not quite
settled and finished as was once thought. Idelsohn's work depends a
great deal on Ambros, Rabbinic sources and on the early pioneering
work of Curt Sachs.27 It is too bad that he could not use Sachs' later
work with its extraordinarily brilliant chapters on the instruments
of antiquity and the Bible. 28 But quite recent work by the musicolo-
gist, Bathja Bayer, 29 is of the very first importance and must be
taken into account from here on in any future J ewish music history.

C. Coming now to the European experience we must have a
place in our history for the recently discovered musical notations of
Obadiah the Proselyte. These are eleventh-twelfth century fragments
which open yet another door that heretofore was supposed to be
thoroughly locked to our view.

D. I would say that the entire Italian period in J ewish music,
because of Israel Adler's splendid work, must now be thoroughly
restudied. In fact, the entire question of Salamone Rossi as a J ewish
composer must now be gone into without any of the hinderances of
prior suppositions which pontificated that there were no J ewish
substances in Rossi. Again let me suggest that a valuable start
has been made by Dr. Hugo Weisgall's article. And I do not doubt
that when the hymns and canticles of the Italian J ews are syste-
matically collected and the old hymnals researched in the Italian
libraries, some startling parallels will be found in Rossi's religious
and instrumental music. I would add, too, that something of a fresh
start must be made with the Spanish J ewish period. Although here
we do not know nearly as much. Medina Azara's notion that there
is a strong analogy between Andalusian cantejondo and the Sephardi

26. Tatzlil. Haifa 6 (J an. 1966) pp. 24-25.

27. See especially, Curt Sachs Reallexikon der Musi kinstru men te (Berlin,
1914).

28. Curt Sachs The History of Musical Instruments (New York, 1940)
pp. 67-114.

29. The Material Relics of Music in Ancient Palestine and its Environs:

synagogical chant should be thoroughly researched, as should also
H. G. Farmer's notice of "J ews as J uglares and J uglaresas in Chris-
tian Spain from the eleventh century onward." 30 But, of course, basic
documents and manuscripts should come first.

E. I would like to see also something of a thorough systemiza-
tion of Nusachot, its musical basis and content, its changing de-
velopment and its function in our ritual life. And here I would say
that the three principal traditions must be treated with equal
weight: Ashkenazi, Sephardic and the near East. And even within
these groupings we must record national characteristics and their
variants. Questions of terminology, folkloristic influence and non-
J ewish penetration await clarification I must say here that fine
work has been done in the areas of the new Israel, Berbers and the
Atlas Mountains by Dr. Edith Gerson-Kiwi, Eastern-European
Nusachot by Professor Max Wohlberg, and invaluable work among
the Samaritans and Yemenites by Dr. J ohanna Spector. Would that
we had as much from the other traditions.

F. I would like to see the entire system of harmony as formu-
lated by Idelsohn in his final chapter chucked out of the window.
For really creative composers today, it is practically useless, irrele-
vant and merely an authoritarian noose around their necks. I am
convinced that this classically based system of harmony is not at all
germane to the principles of monody, modality, and pentatonism.
It should be restricted to such uses as parody, analyses of nineteenth
century harmonic practices, and as a discipline for beginning students
in harmony. In fact, the entire nineteenth century must not be
viewed by the new history as the crowning period of J ewish music —
a kind of Teutonic apotheosis. It is one era, albeit an important one,
in a long process in which consolidations and advances were made
in Jewish music. But Sulzer and Lewandowski, whatever their
particular importance to us, are not to be confused in our fervor with
Beethoven and Schubert, or even Mendelssohn and Schumann. They
are decidedly very minor masters and will become even more so as
time goes on — even in their relationship to future J ewish composers.
There needs to be a much more balanced stress on nineteenth cen-
tury eastern European cantor composers, such as Gerovitch, Schorr
and Belzer. The last, especially, deserves a completely refreshened
look."

30. Historical Facts for the Arabian Musical Influence. (London c. 1929)
pp. 157-158.

31. See some extraordinary examples of his art in Lazare Saminsky's
collection A Song Treasury of Old Israel (New York, 1951) pp. 8-10.

G. I would like to see an investigation in depth of all those
Europan countries where J ewish music and musicians have played
important roles: Italy, Germany, France (especially pre-Naumbourg
and the so-called "Semitic school" as formulated by that virulent
anti-Semite, the composer Vincent D'lndy) , England, Russia,
Poland, Hungary, The Netherlands, Sweden, Austria, United States,
and Latin America. We must remember, also, as has too often not
been done, to investigate and record the history and frequently
dominance of J ewish composers and musicians in the area of popular
music in so many of the countries enumerated above. The United
States is especially fertile ground with such composers as Gershwin,
Kern, Berlin, and Rodgers. In fact, the entire Broadway musical
stage has become the resting place of the Yiddish musical theater
and, as such, deserves correlation and notice. I suspect that such a
figure as Gershwin will, on closer inspection, yield up surprising
Jewish substances — liturgical and folkloristic. It has often been
pointed out that the clarinet opening of his Rhapsody in Blue is very
reminiscent of Yiddish-Roumanian "Doynelach" and wedding tunes.
And his almost lifelong attachment to the Negro blues which is
based in its melodic structure on a major scale with the seventh
degree flatted, is quite remarkable when we remember that it is so
similar to our Adonoy-Moloch mode. And further, the J ewish popular
instrumentalist's encounter with Jazz (which, of course, we must
differentiate from strictly popular music, and in its most authentic
form, is almost totally a Negro musical art), from its early ragtime
period to the big band swing style of the thirties must be an episode
of extraordinary interest to the J ewish musical historian; for here
we can plainly see the Klesmer tradition carried on from the
European continent and the processes of cross-cultivation and accul-
teration working at opposite ends. There was a style of Jewish
J azz, whatever its ultimate worth, and it sorely needs documentation.
And in so many areas we must do it, for no one else will.

So — what then am I really urging for in our new history of
J ewish music? Perhaps that always touching passage in the Hagga-
dah will say it precisely and cogently: 'Though we were all of us
wise men, all of us men of understanding, men of experience, all of us
learned in the Torah, it is still incumbent upon us to retell the tale
of the outgoing from Egypt. And whoever enlarges upon the tale of
the departure, that one merits praise."

What I am for is a retelling and an enlarging upon the remark-
able and fascinating tale of J ewish music.

ADVENTURES OF A BIBLIOGRAPHY

Alfred Sendry

Marco Polo had his adventures, and so did Don Quixote, Gulli-
ver, Huckleberry Finn, and other heroes of literature. But a book, a
bibliography of all things? Can it have adventures? Or should they
not more aptly be termed "Misadventures"?

Such seems to have been the fate of the "Bibliography of J ewish
Music," which encountered a thousand obstacles from its inception
to its completion.

A bibliography is a living, breathing thing. Once the genie
emerges from the bottle, uncorked by an author or compiler, it in-
vades the libraries of both learned and laymen alike, to stay as long
as the subject matter retains its universal interest.

This story may lack suspense, since the work, finally published
in 1951, appears to have been a task "successfully" completed. But
the truth is that the Bibliography was the starting point to a whole
series of misadventures. It must be considered a lighthouse whose
beacon might provide a warning for other hardy and courageous
musicologists who may have the desire to set forth on this sometimes
stormy sea of scholarship.

It all began when I lived in Germany during the birth of the
Nazi movement. This nefarious and evil cult, as Winston Churchill
once called it, threatened to destroy in its entirety not only the
J ewish people, but all evidence of their centuries old culture. I was
one of the fortunate to escape the holocaust. I felt that it was the
duty of every educated J ew to participate in the intellectual struggle
againt Nazism, by utilizing his skills and experiences to the fullest
extent. My field had to be, of course, the domain of music. But at
that time I had not the vaguest idea to what phase of music I could
best apply my abilities, in order to help keep alive the Jewish
heritage.

After much consideration, I decided to devote my research to
the history of Jewish music. From the very start, however, I dis-
covered that there was a woefully inadequate documentation of
reference material. The library of the Alliance Israelite in Paris,
where I started my research and expected to get the most help, was
thread-bare in this area of musical literature. It was only when I

DR. ALFRED SEN DREY is Professor of J ewish music at the University
of Judaism in Los Angeles and the author of thr "Bibliography of dewish
Music."

came to the United States in 1941, and saw the wealth of docu-
mentation available in New York, that I could proceed effectively
to put my plan for making a thorough study of J ewish music into
effect. As to its final form, I had as yet no idea. At first I considered
writing small or extended articles, but this gave way to plans for
treating the history of the music of the J ews as a whole. It was only
when I started to assemble material for the project that I fully
realized the need for creating a reference book listing the sources
of J ewish music. I finally arrived at the decision to provide musi-
cology with a major tool in the form of a comprehensive Biblio-
graphy, which would also serve to stimulate general scholarship in
this somewhat neglected area of J ewish learning.

At that time, I lived in New York, and could not afford clerical
help. I was obliged to write my cards and notes (about 20,000 in
number), in longhand. The entire undertaking, from beginning to
the end, turned out to be a one-man-job. I devoted every waking
hour to scouring public and private libraries with no end in sight,
for each item discovered led to numerous other items which had to
be hunted down.

It was at this crucial point in the midst of ever-mounting diffi-
culties, that three people came to my aid, making it possible for me
to continue and complete my efforts in this field. One was the great
musicologist, Prof. Curt Sachs, the other Salo W. Baron, Professor
at Columbia University, and the third Mrs. Ethel Silbermann-Cohen,
whose ESCO-FUND eventually enabled me to find a publisher.

The "American Academy for J ewish Research," which "morally"
sponsored the work and was supposed to publish it, was of no help
to me, until Curt Sachs took over the presidency of its music com-
mittee. Upon his recommendation, the Hebrew Union College in
Cincinnati invited me to pursue my research there and catalogue
and describe the treasures of their recently acquired "Birnbaum
Collection." I remained in Cincinnati a full month, and was able to
catalogue the entire extensive collection, containing material avail-
able nowhere else in the world. However, many of the most important
items, especially music manuscripts, were still unpacked on the top
shelves, just as they had arrived from Germany. They were inacces-
sible at that time, and a listing of this valuable material is, un-
fortunately, missing from the Bibliography.

The libraries of New York accorded me all the generous help a
bibliographer could ask for; the 42nd Street New York Public
Library extended me stack privileges; its J ewish Division was most

cooperative, as was the Library of the (Protestant) Union Theologi-
cal Seminary, helped me unstintingly. In addition, numerous private
libraries, publishers, composers, and cantors opened their collections
to me and gave me access to many a rare item.

It grieves me to say that one library, with the greatest uncon-
cern, put obstacles in the way of my research. This library was that
of the J ewish Theological Seminary of America.

True, one of its librarians, Mr. Isaac Rivkind, did all he could
in a valiant attempt to be of assistance to me. Aside from this one
man, my work there met with indifference.

The chief librarian, Prof. Alexander Marx, was favorable to my
project and tried to help where he could, but was hindered by a
lack of personnel.

I was limited to taking out not more than three books in any
one week. In most instances, one of the three books I asked for
was out on loan and the other could not be found or traced. Thus
my weekly allowance was that of a single book.

In spite of these problems, the Bibliography was ready in 1943
to be submitted to a publisher. Since the "American Academy for
J ewish Research" was unwilling to publish a work of such propor-
tions, other publishers were contacted. Two of them wanted to cut
and curtail it in such a drastic manner that I was forced to withdraw
the manuscript.

Eventually, thanks to the recommendation of Prof. Salo Baron,
the Columbia University Press became interested in the work,
chiefly because Mrs. Cohen's ESCO-FUND had promised to defray
a sizeable part of the costs of the publication. I can still see in my
mental eye the startled face of the editor when I brought him the
"manuscript": it came in two huge suitcases of foot-locker dimen-
sions. This took place in 1943, as did the reading of the "manuscript"
by several members of the Columbia University Faculty, who gave
me their unanimous approval. The publication, however, took place
only in 1951. What then happened between the cup and the lip?

First, I was asked, nay, ordered, by the publisher to add no
more items to the manuscript, lest publication costs assume astro-
nomical proportions. Second, a lady editor was assigned to me who,
it must be said, was most meticulous in matters of editing and style,
but who had not the foggiest notion of music, its terminology and
its meaning. When, in 1944 I moved to California, it required a
mountainous and time-consuming correspondence between us both
to explain, time and time again, the most basic and elementary
musical terms.

With the establishment of the State of Israel in 1948, there
was an almost instantaneous proliferation of musical matters. New
names, new musical works, and new literature appeared in abun-
dance. According to Rule No. 1, I had to omit from my Bibliography
this valuable body of new material. All I could do was to smuggle
in, during the galley-proofing, a few essential items, with the hope
my "cheating" would not be discovered.

When the printing was under way, the printer of Columbia
University Press went bankrupt. It took a long time to replace him.
Another printer continued the work, but soon he moved to a new
location with all his equipment. During this time, the printing of
the Bibliography was again suspended, resulting in another long
regrettably, been forgotten.

Since almost eight years had now gone by, I felt justified in
asking the Columbia University Press, to insert a short notice ex-
plaining the discrepancy between the acceptance of the work (1943)
and the date of publication (1951). To this they consented. I sub-
mitted the text of this notice to the publisher, but to my utter
consternation, the promised statement was omitted in the finished
volume. When I remonstrated, I was told that the explanation had,
regrettably, been "forgotten."

Ever since the appearance of the Bibliography, I have been
repeatedly blamed for having left out this or that important item
from my collection, items which had been published before my book
had appeared.

No one can be more conscious than I am about the short-
comings of my "comprehensive" Bibliography. In it I tried to as-
semble and describe every book, pamphlet, article, musical work,
published or in manuscript, that I could locate. My alibi will always
be the above mentioned "ukase" of the publisher: Nothing To Be
Added During Publication. No Matter What!

This serious shortcoming of the Bibliography, which I readily
admit to, has even resulted in a dubious compliment conferred upon
me by some of my colleagues, who in their own bibliographical ven-
tures, have coined the sigil: NIS (Not in Sendrey), appending it to
all items not found in my book. I am both honored and chagrined
by this distinction, but then: a pioneer work as this one, can claim
to have earned the right of its existence even though it may have
a few major or minor deficiencies.

Perhaps these deficiencies could have been avoided, had it not
been for the war years (1941-43), during which written inquiries to

foreign countries were made difficult if not impossible through
normal postal channels.

The "misadventures" of the Bibliography did not end with the
omission of the "forgotten" explanatory notice. When, in 1960, I
joined the faculty of the University of J udaism in Los Angeles (the
West Coast Branch of the J ewish Theological Seminary of America),
I taught the history of J ewish music and related subjects. My stu-
dents all wanted to obtain a copy of the Bibliography, and since the
yearly report of Columbia University Press showed the existence of
290 unbound copies, I asked them to order some for binding. The
order was issued for 100 copies, and back came the stunning infor-
mation: the unbound copies could not be found. All search remained
fruitless. I was told that the printer had to move again, with the
result that those unbound copies, lying around, apparently had been
thrown out as trash.

A small consolation was provided by the University Microfilm,
Inc., in Ann Arbor, Mich., who had included my work among its
publications, and therefore is now able to furnish copies of it, though
for a much higher price than the original book, as every copy must
be hand-made.

The University of J udaism had every good intention of continu-
ing and bringing up to date the Bibliography. In 1964 I went to
Israel to solicit the collaboration of my Israeli colleagues, as I realized
that the definitive work could not be brought to a conclusion without
their co-operation. Everywhere 1 went, I met with the expression
of good will and promises of assistance, and thus looked forward
with expectation to expanding the work. The University of J udaism,
however, could not provide the necessary funds for the continuation
of the project. And thus, this is where things stand at the present
time.

Meanwhile, the first result, for myself, of my bibliographical
research, the extensive monograph, MUSIC IN ANCIENT ISRAEL,
is in the process of being published and will appear shortly. Its
sequel, THE MUSIC OF THE JEWS IN THE DIASPORA (up to
1800), will follow in 1969.

Born of my urge to provide fundamental research material in
this neglected field, and with little hope of material gain, I trust
that my efforts may serve future scholarship, ad majorem gloriam
musicae Judaeorum.

ABBA YOSEF V\EISGAL AT EIGHTY- AN APPRECIATION

J OSEPH LEVINE

They say you can tell a Hazzan by who his teachers were. If
we use this yardstick to measure the style of Abba Yosef Weisgal,
we must rank him among the luminaries of the age, for his teachers
were among the most respected names in Central Europe at the turn
of the century. The first of these was Alexander Ersler of Wloclawek
who, together with Boruch Leib Rosowsky, had studied under Hirsch
Wei ntraub.

Weisgal's main purpose in coming to Wloclawek was to study
the art of hazzanut with Ersler; a purpose which he carried out
with characteristic zeal.

Ersler began his instruction of the young Weisgal with a de-
tailed study of his own compositions: Ki K'shimcho ■ Sh' chulo
Achulo • Ato Nigleiso • Min Hameitsar, in that order. Abba Yosef
approached these compositions as a thirsty man approaches water.
He devoured and digested every word, every note, every shade and
nuance of phrasing. When he had gone through and learned every
recitative, Ersler presented him with the first copy of his High
Holiday book. He said, "I am convinced that I cannot put this book
in more worthy hands, for you will make use of it." That was re-
compense for a year's intensive work!

At the beginning of his second year, Abba Yosef was asked by
Ersler to assume leadership of the choir. The first composition he
conducted was Vesiftach Es Seifer Hazichronos. One day at the end
of his second year, while practising a recitative, Weisgal stopped and
resumed from the beginning. Ersler asked him why he had done so.
Weisgal explained that "The production and interpretation were not
correct." Whereupon Ersler replied, "You don't need me anymore.
The Master, whose last pupil had been Gershon Sirota, was satisfied
that Weisgal, at the tender age of 17, had absorbed his style to per-
fection. He now allowed Weisgal to copy selected recitatives of the
great Kashtan. Weisgal was initiated into this rarefied atmosphere
via one of the 31 Av Horachamims and the classic AtoNosein Yod
L'fosh'im. Vocally, Weisgal had not as yet settled into a typical
baritone or tenor pattern. His voice had been given no opportunity
to rest and recoup its strength at puberty, nor had it experienced
any lessening of the constant demands upon it during its change-
period. It therefore exhibited symptoms of strain.

The five years Weisgal later spent as a soldier, during World
War I, away from his cantorial duties, finally allowed the vocal
organs to recuperate and to settle into their optimal mode of output.
At any rate, his natural equipment has carried him, at the time of
his writing, through a unique career that has spanned over 60 years
in the cantorate.

As a reward for his diligence, Ersler made available to Weisgal
his entire apartment for the summer, while he vacationed in the
country. He found it necessary, however, to return hurriedly after
receiving a letter from his city neighbors. It seems that Weisgal had
transferred his normal boundless energy and sustained practice
schedule to the Ersler apartments and the good neighbors politely
but firmly objected to the loud and repeated realization, on the
Ersler keyboard, of figured bass exercises, by one apprentice at 3
o'clock in the morning. At the end of the second year with Ersler,
Weisgal returned to his home.

The tuning fork which Abba Yosef carries with him at all times
is a further reminder of the great Central European hazzanic tradi-
tion which Weisgal represents. It was given by Solomon Sulzer to
Jacob Bauer who, along with Josef Singer and Alois Kaiser, enjoyed
the distinction of having been one of Sulzer's last pupils. Years later,
when Bauer was Oberkantor of the Turkish Synagogue in Vienna,
and the founder of his own Cantorial School, he presented that same
tuning fork to young Weisgal, his pupil. That tuning fork still
vibrates sympathetically in the impressive Responsorial Tradition
of Vienna.

Abba's German must have been halting indeed. Upon carrying
out the instructions given him on the train, he found himself reg-
istered at 25* the night in a hotel on the Novaregasse, the heart
of Vienna's red-light district. Needless to add, the sights and sounds
he experienced that night proved hard to relate to anything in his
parochial background as the son of the Hazzan-Shocheit of Kikol!
In the morning there was a knock on his door, "Herr Weisgal, in
the name of the Law, you are under arrest." The police inspected
his one satchel and requested his passport. As it was only a limited
one, for passage from Dubjinsky to Golun, he was taken to the
station house in custody. On the way, one of the policemen who had
noticed Abba's tallit and teflllin among his belongings, informed
Abba that he, too, was a Polish Jew. He explained that all recent
arrivals from the Eastern districts were suspect at that time, since
the Kultusgemeinde of the Jewish Viennese community had been

burglarized a short while previously. He then let our hero go, after
advising him where he might rent a room at more reasonable weekly
rates and in a more desirable neighborhood.

The next day, Abba found such a room in the Neubaugasse, for
which he paid one gulden per week for the remainder of his stay in
Vienna. He then followed up his letters of recommendation and
embarked upon a long succession of calls for the purpose of securing
a position as chorister in one of Vienna's many synagogues.

Weisgal's first acquaintance in Vienna was a childhood friend
from Kikol who now sang in the choir of a local synagogue. The
hazzan of that synagogue was Zavel Kwartin, and Abba went to see
him. Unfortunately, the season Abba picked to arrive in Vienna was
just before Shavuot, the end of the yearly cycle. It was too late to
join a choir for the imminent festival and too early to gain employ-
ment for the next High Holydays. Kwartin, therefore, as well as
Israel Schnorr and a host of other cantorial luminaries could not offer
Abba a position — his superlative recommendation from Alexander
Ersler notwithstanding.

That Shavuot Abba heard Hazzan Dinman, whose vocal timbre
suited his name. He had a beautiful, lyric tenor. For Abba, it was
the first service he had ever attended at which an organ was used.
The rendition which left the most lasting impression upon him was
Sulzer's Adonoi, Adonoi, sung with choral and organ accompani-
ment. Years later, when Abba had occasion to sing this same com-
position for his father, Shlomo Chayim, the latter said: "All the
rest is uninformed ignorance; THIS is song!" Dinman, then, was
Abba's unknowing initiator into the impressive style of Solomon
Sulzer.

The Jewish Kultusgemeinde subsidized many charitable insti-
tutions, among them the Wolkskiche, for the poor of the Viennese
community. This community-kitchen provided inexpensive meals to
the itinerants from Eastern Europe. One Sabbath, Abba met a man
at the Wolkskiche who knew of a soda-water factory that was look-
ing for able-bodied workers. He followed that chance lead and earned
his keep, at seven gulden a week for filling and delivering soda-water
for the rest of the summer.

Rabbi Kahn urged Abba to become a hazzan, as his father had
done. He offered to arrange for him to eat "teg" in Znojno for the
duration of his apprenticeship, after which he would personally confer
upon him the "Kabbolo", or Shechita license. Abba heeded this
advice and though he completed his season at the Staadtheatre, he

studied Shechita with Rabbi Kahn, travelled each week to Vienna
for his lessons with Professor Lubetski and ate in regular rotation
at countless homes in Znojno, a different home each day of every
week. Further, the Rabbi sent Abba to his father-in-law Jacob
Bauer, then Oberkantor of the Turkish synagogue. Znajno was
several hours ride on each trip in from the Moravian city, and so
Abba studied with both Lubetski and Bauer on each trip in. He
continued this demanding regimen for almost three years with
Cantor Bauer and for slightly less with Professor Lubetski, until the
latter's death. From Jacob Bauer, a proud Hungarian of moderate
vocal endowment, he acquired the full-blown Responsive style in
which the choir reiterates the cantorial line with slight variations.
He elaborated upon the first impression he had received from Din-
man's Shavuot services, of the modern style of cantorial declama-
tion, with choral or instrumental accompaniment.

In addition to Dinman and Bauer, one must mention the highly
individual delivery of one other Viennese cantor of this period, Bela
Gutmann, as an important influence on Abba's development. As
exhibited in his Kiddush, for example, Abba's full-throated treat-
ment of each tone derives from Gutman's overpowering, dramatic
style of singing. Gutman's voice, according to Abba, was so huge
and full that each note he produced could be felt. A baritone, he
retained this uniform quality through E top space. The "Vaani
Sefilosi" which Abba still sings, a short recitative of Gutman's, is
the perfect vehicle for this type of voice. Abba's vocal range, while
wider than Gutman's, could cope with such intensification in its
middle octave and still retain its flexibility and beauty! Abba says,
"Every simple J ew who could carry a tune was my teacher". Some
of those simple J ews during his Viennese period happened to rank
among the leading cantors of the age.

The summer of 1908 witnessed the end of Abba's chorus days.
He had done well as an operetta bit-player and as soloist at nuptial
ceremonies conducted by Hazzan Handgriffe and Rabbi Kahn in
Znojano. He had also furthered his musical and religious studies
and had received Kabbolo in the practice of Shechita. He was clearly
ready for a position of his own. Abba applied to the Moravian towns
of Kamenice and Iveciz, in answer to advertisements for hazzanim,
that were placed in the weekly, ''Die Kantoran Vochenschrift". He
received answers from both during the same week; his candidacy
would be considered after an audition service on the Sabbath pre-
ceeding the Fast of Tisha B'Av. After consulting with Rabbi Kahn,

who quoted the Talmudic dictum, "Expedite the prior matter first
and the subsequent matter afterwards", Abba accepted the offer
of Kamenice, which had arrived first and wrote to Iveciz repuesting
an audition the Sabbath after Tisha B'Av. He arrived in Kamenice
on Thursday and was received by the president of the congregation,
a musical individual who asked him to sing several lieder as a sample
of his formal training. Abba complied with several.

Weisgal's formal style of hazzanut, then, is easily identified. The
set pieces for cantor and choir which appeared a decade ago in
"Shirei Chayim Ve-emunah" and those in his recent series for Mer-
cury, all fall under the long shadow of Sulzer's "Adonoy, Adonoy."
They are available to all and therefore may be subjected to the
closest technical scrutiny at leisure. But there are six days of Choi
to each one of Kodesh and it is in the Daily Chapel rather than the
Main Sanctuary that Weisgal makes his most enduring contribution.
For he is one of the Old School, three-times-a-day hazzanim to whom
Pitum Haktores is as familiar as Ein Keloheinu and who were nur-
tured on Abbayei V'ravo rather than Lerner & Loewe.

His father Shlomo Chayim was hazzan-and-shocheit in the town
of Kikol in North Central Poland. In Abba's early childhood, an
incident occured which throws some light on his father's character.
What appeared to be a more desirable position was advertised as
vacant in the town of Rypin. When Shlomo Chayim travelled there
to apply for the position, he was stopped by an old man who said,
"If you accept this position, my family and I will starve". The in-
cumbent was apparently no longer able to perform his duties satis-
factorily, as Shlomo Chayim realized when they met thus unan-
nounced. Yet, his own need was not as great as the old man's, so
he returned home without another word to anyone in Rypin. His
explanation to Abba, years later, was, "Our hands have not shed
this blood."

It is a long way from Rypin, Poland to Cleveland, U.S.A., but
almost the identical circumstances unfolded before Shlomo Chayim's
first-born, shortly after his arrival in America, a generation later,
a generation later. Predictably, Abba reacted exactly as his father
before him had.

As if to vindicate his decision, Shlomo Chayim was soon given
the chance to broaden his musical knowledge, even in the narrow
environment of Kikol. A young Russian Jew, Wolf Benzen, came
to the town and married one of the local girls. He had been a
meshorer prior to his tour of duty with the Czar's army at the Baltic

seaport of Revel. Now he sought a position as hazzan-shochet in the
vicinity of his bride's hometown.

Wolf Benzen offered to teach Shlomo Chayim the discipline of
solfeggio, in exchange for training in Shechita. This arrangement
worked out satisfactorily, for it equipped Benzen for the post of
hazzan-shochet in the town of Kavoul, nearby, and it enabled Shlomo
Chayim to perfect his musical gifts. Wolf Benzen remained in
Kavoul, while Shlomo Chayim built a solid reputation in Kikol and
attracted many young men to himself for the purpose of learning
Shechita and Hazzanut. He composed elaborate liturgical settings,
which he performed in the tiny town of Kikol, with the assistance
of meshorerim, as a rule.

Abba was born in 1887, the first of Shlomo ChayirrTs eleven
children. Mother Leah also bore Leibish Bunim, Yechiel Yehoshua,
Meyer Wolff, Chaya Soro and Shmuel Yisroeil, in the order given.
Leah died at age 30. Her only daughter, Chaya Soro, who was
Meyer Wolffs twin, died at the age of 18, just before her wedding.
After Leah's death, Shlomo Chayim remarried another Leah-Lodja,
his first wife's niece. She bore him 5 children: Raizel, Mordechai,
Mendel, Yaakov, Esther and Yitzchok. Abba Yosef, the first of
Shlomo Chayim Weisgal's eleven children was born in Kikol, during
his father's Kostage. When Shlomo Chayim entered the haber-
dashery business, the family moved to Sheps. It was during this
period in Sheps that Abba was brought to Cheder; he must have
been around 3 years old. His "Rebbe" was short and hunchbacked
and taught in a cellar. Abba experienced 2 years of Cheder training
in reading and writing, then the family returned to Kikol, where
Shlomo Chayim assumed his duties as hazzan-socheit of the
community.

By the age of five, Abba had sung as alto soloist with his father,
who also instructed him in prayer and in independent part-singing
of choral music. Abba's religious education continued in Cheder with
the study of Talmud, particularly the Sedra Nezikin. As time went
on, Abba attended a regular school where Polish and Russian were
taught. He advanced in his Talmud studies and concentrated on the
tractates whit set forth the laws for such necessary and practical
matters as marriage and slaughter. The latter subject he pursued
further under the guidance of Casriel Shocheit. In his tenth year,
on the last evening of Passover, Abba Yosef was allowed to appear
before the ark as a Sheliah Tsibbur for the first time. That same
year his mother Leah died. Abba was sent to Reb Wolff Benzen in

Kavoul to serve as a meshorer and to learn solfeggio as his father
had done before him. Reb Wolff taught him to read and to count
musical notation among the stalls of the stable where the slaughter-
ing was done. Reb Wolffs singing was as stiff and formal as his
Russian military background. Ht learned and taught every recita-
tive painstakingly. Abba spent almost 2 years with Reb Wolff. Be-
sides his musical duties and studies, he reported faithfully every day
to the synagogue where he continued his Talmudic education in the
Beis Hamedrosh. Nor was Abba permitted to relax his young mind
back home in Kikol. His grandfather, using a system of competitive
incentive, induced Abba and brothers to memorize whole pages of
the Talmud at a stretch. This was the regimen he followed through
his Bar Mitzvah and early teen years.

One summer Abba hitch-hiked to the town of Melave. There
he hoped to obtain a position as meshorer with the Hazzan Cheikel
Melaver. Unfortunately there was no opening and so Abba travelled
on to the town of Puzinitz where Cheikel's brother served as hazzan.
Upon inquiry, he was given the same negative answer. The town of
Zaramin where yet a third brother functioned as hazzan lay on the
route back to Kikol, so Abba having nothing to lose, decided to try
his luck there as well. The story turned out to be the same, but with
a slightly different ending this time. The day happened to be the
17th of Tammuz, a fast day. But Abba had been given a crust of
black bread and water earlier in the day by a farmer with whom
he had ridden. By the time he arrived at the Zaramin brother's home,
it was late in the day and he gave the appearance of having really
fasted straight through. The hazzan, at any rate, assumed as much
and while he had no position to offer Abba, he did feed him and
sent him to the Shtibl of the Alexander Chassidim in town. It was
a dark night outside and pitch black in the Shtibl, one could
almost feel the darkness. Abba groped around for a bench on which
to sleep, finally stumbled onto one and propped his satchel up as
a make shift pillow. Suddenly, from the recesses of the dark room,
a familiar voice boomed out, "Abba, is it you?" The voice thus pro-
jected without warning nearly frightened young Abba out of his
tired wits. He recognized it though as belonging to the "Batim-Yid",
the travelling tefillin salesman who knew him from his father's
house in Kikol. That night Abba's pillow consisted of a soft bundle
of prayer-shawls. Despite the fact that his trip to the towns of the
three brothers proved fruitless, Abba followed what was to become
his life-long pattern; he repaid every friend and relative the coins

they had pressed upon him at the journey's outset.

It is to this long-ago world of his childhood with its haunting
images of his revered father that Weisgal reverts whenever he stands
at the Amud. Like a true son of the shtetl he choreographs his
prayers and resembles in mid-thought, nothing so much as Chagall
chassid floating wistfully across a gaily colored canvas. This uncon-
scious use of body and especially hand movement is typical of the
chassidic approach to prayer. There is something about piety which
creates its own recognizable rythmic pattern; an uneven one. The
intellectual Talmudist will sway back and forth in a regular motion;
not so the chassid. His prayer is spontaneous, emotional and
unpredictable.

In fact, Weisgal's style of unaccomplished chant, at first hear-
ing most frequently evokes the description: chassidic. For, that
caption alone carries with it the aura of pious devotion coupled
with exuberent artistry that is immediately felt whenever this vener-
able Jew leads a congregation in prayer. Moreover, it would be un-
natural for him to sound like anything but a Polish chassid when he
stands, as precentor, before the holy ark. Not for him the mantle of
modernity — but the ageless woolen tall it — as he sings, above
the inspired drone of the worshippers, the basic prayer texts of his
faith.

And sing he does! Each phrase, each word, each syllable is
sculpted out of an underlying musical mode so omnipresent that it
can almost be felt. Texts that he has sung several times daily for
over half a century will not be treated in exactly the same way twice.
Such is his creative capacity that each time he recites even a set
piece, phrases here and there will vary, not haphazardly — but with
the purpose of achieving a specific all-over effect. As with any accom-
plished artist — and a cantor earns that title whenever he succeeds
in transporting a congregation from the world of reality to the
world of emotion — the skills of a lifetime contrive, in Weisgal's
chanting, to fashion an ultimate whole that is far greater than
the sum of its parts.

Chassidic chant, at its most exalted, is such an art, and Abba
Yosef Weisgal is the enlightened son of a hassid, Shlomo Chayim of
Kikol. From his father, Abba acquired that peculiarly hassidic ap-
proach to God of a servant to his master. There is familiarity in the
manner of address, balanced by an awareness of one's own insig-
nificance in the presence of the Creator. Absent is any aloofness, any
intrusion of self; all majesty and praise is to the Almighty. There

is comfort and security in such a relationship; one's future is as-
sured — be it ever so humble. The hassid, in his approach to God,
mirrors the attitude of his less pious co-religionists in their dealings
with earthly rulers; — he would rather be a J ew of the King than
King of the J ews!

Psalm 33, verse I provides the inspiration for the cantor's open-
ing prayer on Sabbath morning, ShocheinAd: "He inhabiteth eter-
nity, exalted and holy is His Name; and it is written, Exult in the
Lord, ye righteous; praise is seemly for the upright. By the mouth
of the upright Thou shalt be praised, by the words of the righteous
Thou shalt be blessed, by the tongue of the pious Thou shalt be
extolled, and in the midst of the holy Thou shalt be hallowed."

Weisgal sings this text more differently than anyone. Most
cantors chant it in the Magen Avot mode; he does it in Ahavah
Rabbah, as did his teacher Alexander Ersler. Illustration 1(a) is
the currently accepted version as given by A. Z. Idelsohn; I (b) is
an approximation of Ersler's style and 1(c) is Weisgal's improvisa-
tion, all for the same text. The most noticeable difference between
Weisgal's setting and his own master's is the sheer number of notes
that he manages to fit to the text without repeating words. Idel-
sohn's melody is essentially that used by most traditional American
cantors today. It states its case simply and directly and uses 75
notes. Ersler's setting is even more sparing, and uses only 67 notes.
Weisgal, though, takes 158 notes to make his point, without repeat-
ing a syllable. He strengthens 14 syllables melismatically, as com-
pared with 5 by Edelsohn and 1 by Ersler. An even more striking
example of Weisgal's musical largesse is offered by a comparison of
his "Yom Uyabasha, a poetic treatment of the ancient crossing
of the Bed Sea, with the source of his inspiration, the tune "Aley
Giva", a shepherd's song composed by Nachum Nardi. The original
contains 115 notes. Weisgal, to cover the same musical ground, uses
183, besides those he adds for a repeated textual refrain; "Shim
Hadasha Shib'hu G'ulim". See illustration 11(a) and (b) .

The uniqueness of Weisgal's style, though, lies not so much in
the density of his printed page as in his own clear and rapid
declamation of same. If we could but hear Idelsohn and Ersler chant
their respective settings for "ShocheinAd" as I have heard Weisgal
chant his, we would probably mark no great difference if any, in the
length of performance time required by all three. This is because
Weisgal's notes, though many in number, are short in duration. His
phrases exhibit a restless tension that does not abate until their

very conclusion. To achieve a contrast between these ornamental
endings and that which came before — Weisgal makes extensive use
of chant-tones in the antecedent part of a phrase. In the Hatzi-
Kaddish of the Weekday Evening Service, (Illustration III), he re-
peats the note "E" 46 times consecutively before moving up to an-
other note. I n the paragraph, "R'faenu," "0 heal us," from the
Amidah of the Weekday Afternoon Service, he moves emphatically
from the chant-tone "A" to its upper neighbor "B" 12 times; (I I lus-
tration IV). Of the 83 notes in this paragraph, 65 are either the
chant-tone or its upper neighbor.

Weisgal, especially in his actual performance, is relentless in his
pursuit of a chant-tone. I n a recorded excerpt from the Rabbinical
section of the Mourner's Kaddish, which he recites publicly every
morning, he settles on the chant-tone "B" for 24 out of 36 notes;
a percentage of 67%. Yet, when I asked him, sometime later at
home, to chant the same phrases for me, he became more adventure-
some, and touched the chant-tone only 15 times or 42%; (I I lustra-
tion V,(a) and (b).

The basic motive force in his phrases, then, is generated by the
following combination: A long, repetitive line of single-syllable notes
which build to a melismatic final syllable. In fact, the overwhelming
majority of all his melismata occur on the last syllables of words.
This is definitely not the case with Idelsohn for example. In "Shochein
Ad" — 4 out of his 5 melisma fall on the penultimate syllable. Weis-
gal's long lines of repeated notes and graceful arches of diatonic
coloratura exist not so much for themselves as for where they lead.
They build inexorably to a series of climaxes, often in the white
heat of on-the-spot inspiration, these curving roulades of syllabic
sound, rising and falling in logical sequence, infinitely varied within
themselves and yet they still hew to the broad sweep of the phrase.
sempre sostenuto.

In Example VI, Kol Adonoi, Weisgal uses twice as many notes
as his own teacher, Ersler, and far more than even the avowedly
Eastern European composer, Chemjo Vinaver. Moreover, he chants
this passage not in the traditional MagenAvot mode or even in the
stark Major of his teacher, but in the mode which he has made
uniquely his own over a lifetime, Ahavah Kabbah. I n actual practise,
he will introduce this passage in the spot normally associated with
the relative minor of that which precedes it. If he has been chanting
the Kabbalat Shabbat in Eb Major, KolAdonoy will begin on "C,"
where we normally expect a minor mode. Consequently, the whole

passage will assume a tonality that is neither major nor minor. It
is, in fact, the most authentic tonality that synagogue chant has
to offer, the modality of our ancestors, microtones and all.

Abba J oseph Weisgal has proven over his four-score years that
East is East and West is West and that the twain SHALL meet.
Born a Polish chosid and trained in Vienna, he brought to the elegance
of the metropolis the warmth of the shtetl. In his person and in his
life-style he has combined East and West and has been remarkably
faithful to both traditions. With Choir on Sabbaths, particularly in
the Torah Service, he is a twentieth-century Sulzer, while in the
long unaccompanied passages of the High Holiday Musaf he is a
throwback to our Polish grandfathers. He has remembered not only
the spot where the Temple stood but he still brings the Daily
Sacrifice. And he has accomplished this worthy feat not by imita-
tion but by being himself. The only phonograph recording of another
Hazzan that he has even owned was the Ovinu Malkeinu of
Yechial Alter Kamiol, whose style he never cared to emulate. His
secret has been an awareness of his work in relation to the past and
a gyroscopic sense of musical balance which has led him to buy only
those folk-goodies which were compatible with HIS style and to
walk away from those which were not.

May God grant that the impeccable taste and refinement that
have characterized Abba Yosef Weisgal's every endeavor, including
his ministry as Hazzan of the Chizuk Amuno Congregation in
Baltimore for half a century, continue to guide this exemplary
hazzan and human being as he enters his ninth decade in good
health.

SHOCHEIN AD

A. Z. IDELSOHN

Sho - chein ad mo-rom v - 'ko-dosh sh'-mo

v* - cho - suv ra - ne-

nu tsa-di-kim ba-do-noy lay-sho-rim no - vo s r -hi - lo;

b' - fi

y'_ sho - rim tis - ha - 101 uv-div- rei

tsa-di-tam tis - bo - rach

u-vil- shon cha - si - dim tis -

Sho - chein ad

mo - rom v'ko - dosh sh' -

noy

la - y'-sho - rim no - vo s' - hi - lor

b' - fi y'-sho-rim tis - ha - 101

uv-div - rei tsa-di-kim

J> JT 1 ft rl J 1 J 1 1 ft J J 1 J 1 J d* ■

tis - bo - rach

u - vil - shon cha - si - dim tis - ro -

u - v' - ke - rev k' - do - shim

(Transcribed by J. L.)

tis - ka - dosh.

A. Y. WEISCAL

b' - fi

y'-sho- rim tis-ha - lol

u - v'-div - rei tsa-di-kim tis -bo- rach

u-vil

rev k'-do-shim tis-ka- dosh.

ALEY GIVA

NACHUM NARDI

fr* O J J I J j TJ~7 J NJ^Qi

A .- ley giv - a sham

ga - lil

t ~kj j J^fe^ s i J o ^T j'^nrm

sheiv - sho - meir u - v' - fiv cha - lil

Hu m'-cha

W E rft-*-f EE &33- * J7fg^

leil shi - rat ro - eh

seh la - g' - di las

yach to - eh;

11 li li Ii li li li

li li li li li li li

YOM L'YABASHA

(Transcribed by J. L.)

A. Y. WEISGAL

Yom V - ya - ba - sha ne - he - f - chu m'-tsu - lim

shi - ra cha - da - sha

shib - chu g' - u

lim

mei shu - la - mut

ya - fu

van - a - lim

shi - ra cha -da - sha

shi-b' -chu g' - u

lim

pf=-f - f^3=?T? y i t^&^^^

v'-chol ro - e i y' - shu - run b' - viet ho

di y'-sho-r'-run

d* - ga - la - kein ta - rim

ha -nish - a -

p ^ ,

«J - — ^

— __ w _— — -"

1 — » — *

L~ * —

rim

ut -

la -

- keit

nif - za -

tJ ^ *^ "~

■^fc— "

rim kim - la - keit

shi-bo - lim

shi - ra cha - da - sha shib - chu

g'-u - lim

MA-ARIV L'CHOL

(Transcribed by J. L.)

A. Y. WEISGAL

B' - yod' - cho af-kid ru-chi po- di - so o - si a- do-noy eil e* me a

yir - u ei-dei-nu v'-yis-mach li - bei - nu v 1 - so-geil naf-shei - mi bis - hu -

os - cho be-e-mes be-mor l ? ' - tsi - yon mo - lach e - lo - ho -

yich a - d o - noy me- lech a - do - noy mo - loch a - do - noy yim -

loch

1' - o-lom ve

ed ki ha - mal-chus chel-cho

hi u- I' -ol-mei ad t i m - 1 o c h b' - cho - vod

ki ein lo - nu

-T=i -i-

^^t = ^^= +-& j - - £ -:±i£ 5z

lech e

o - to ho - ruch a- to a -do-

JBJE^i i-.-jp- ^^-b:^

ha - mc-lcch bich-vo - do

to- mid yim-loch o ■

lei - nu l r - o-lom vo - ed v* - a.1 kol ma - a - sov

^-T-3^ T :?i:>-i; -^^3fe=±±J:^^-J-^^

vis - ga - dal v' - yis - ka-dash sh' - mei ra - bo

b 1 - o - 1'

iSSi

^-J^

e=NtJEe£:

mo di v' - ro chi - m - sei v' - vam-lieh mal - chu - sci b' - cha -

chon uv yom-eich - on uv cha - yci d' - chol beis \is - ro - uil ba - a - go -

v f - hei shmti

lo u - vis-man ko - riv v' - i - m'-ru o - mem

^■$=^=mm

ra bo m' - vo - rach 1' - o - lam ul - ol - mei ol - ma - yo yis

bo - rach V - yish - ta - bach v' - yis - po - ar v' - yis - ro - man v* - yis -

na-sei v' - yis-ha -dar v* -yis - a- leh v' -yis-ha - lal s h m e i o'-kad-sho

so v ? -ne-cho mo -so

da -a-mi-ron b' - o - V -mo

tu o- mein. Yis-ga -dal v'-yis-ka-dash sh'-mei ra - bo b' - o - l'-mo div-

ro chir - u - s e i v'-yam-lich mal-chu-sei b' -cha - yei-chon u - v' -yom ei - chon

u - v' - cha-yei d'-chol beis yis - ro - eil ba - a - go - lo u- viz - man ko

riv v* - I - m' - ru o - mein y* - hei shmei ra - bo m 1 - vo-rach 1' -

o-l am ul'-ol-mei ol- ma - yo yis-bo - rach v'-yish-ta-bach v'-yis-po

ar v'-yis-ro-mam v'-yis-na- sei v'-yis-ha- dar v f - yis-a - leh v'- yis-ha -

lal shmei d' - ku -d'- sho b' - rich hu 1 ' - ei - lo mi-kol bir-cho-so v T - shi - ro -

tush b' - cho - so v'-ne-che-mo-so da - a - mi-rom b'-ol - mo v'-im - ru

o - mein

t i s - ka - bcil ts ' - los - hon u - vo - us - hon d'-chol y i s - ro - el

f^f ^T^T^^i

ko-dom a-vuhon di vish-ma - yo v' - ar - o v* - mi-ru o - mein

MINCHA L'CHOL

(Transcribed by J. L.)

^p^^^^^

A. Y W EISGAL

^EE^EE

STach lo -nu o-vi-nu ki cho - to - nu m' -chal lo - nu mal -

te=

^E ^J^T^^^^^rf^^F^r^^i^^ ^

kei - nu ki fo-sho- nu ki mo- cheil v' -so-lei-ach o - to bo-ruch a -

•5 , ^3^

P_ J i | j -== £T-i"-^ =£^

■ I *

to a - do - noy
3

^}E

cha

nun ha -mar - beh lis - lo - ach

^J=t

^^^

r' ei v 1 - on yei - nu v T - ri - vo re - vei - nu ug' - o -

tefe

p^^^f'^^ B ^^

lei - nu m'-hei - ro l'-ma-an sh'-me - cho ki go- eil cho-zok

A \ l 1 — 3 ' "~~ 3 — ' i ' — a ~ R "IT" 3 '

1»H— ■=— ,h > > > J>=^£ J * J l r ~%^ J ^ 1=

o - te bo-ruch a - to a -do -noy

go - eil yis - ro - eil

^= ^^p^ ^^^^fe^fefe^z-,^^^-^M

r f - fo - ci - nu a - do - noy v' - nei - ro-fei ho - shi - ei - nu v' -

ni - vo shei - a Id s' - hi ~ lo - sei - nu o - to v' - ha - a -

3— ,

ppip^MipE^i

lei r' - fu - o sh' - lei - mo l'-chol ma - ko - sei - nu ki

- _„ 3 „ 3 3

eil me - lech ro - fei ne - e - mon v f -ra-cha - mon

r-3^ r- 3~^ , 3~, r— 3-

^ =f^^ ^ ^^^^3fe^^ _^^i,lJJfc-J,^

o - to bo-ruch a-to a-do - no) ro-fei cho -lei a - mo yis-ro- eil.

^^^^^ j ^b^^E^ ^^fel^iL^

R'fo - pi - nu a - do - noy v'nei-ro - fei

ho-shi -ei-nu v'ni-vo shei - o

ki s'hi-lo - sei -nu o - to v'-ha- a-lei r'-fu - o sh'-lei-mo 1*-

o - to bo-ruch a-to a-do-noy ro- fei cho-lei a - mo yis-ro-eil.

MOURNERS' KADDISH

(INCLUDING RABONON SECTION)

(Transcribed by J. L.)

A. Y.WEISGAL

ro chir-u-sei v'-yam-lich mal-chu-sei, b'-cha-yei-chon uv-yo-mei-

riv V - i- m -ru

^ ^f^j^p p

m^£

rach I'-o-lam ul-ol-mei ol-ma-yo, yis-bo-rach v'-yish-ta-bach

pr^^^ ^^ frT^^F^^jf^

v'-yis-po-ar v'-yis-ro-mam v'-yis-na-sei v*-yis-ha-dar v f -yis-a-le

^^ ^^^^^^j^ ^ ^l p^ ^

v'yis-ha-lal sh'-mei di kud'-sho b'-rich - hu, 1' - ei - lo min

feg^ EE j^ ^pp^ ^jt^-^r r n

kol bir-cho-so v'-shi-ro-so tush-h'-cho-so u'-ne-che-mo-so

w ~~~ r r I r P

da-a-mi-ran b' -o-l'-mo v'-i - m'-ru: o-mein a I yis- ro-

^ ^--p^ff-f "rT4r^T7P n ^ ^^

as-ro ho-dein u' - di b'-chol a-sar va-a-sar, y' -hei l/-hon u - 1'-

O 5 , 3-

^E=£ ^-ff^TTT^V T'TTtT

chon sh' - lo-mo ra-bo, chi -no v f -chis-do v'-ra-cha-ininu'-cha-yim a - ri-

vu-hon di vish-ma - yo v'-ar - o v'-im'-ru: o -mein; y' -hei sh'-lo-

mo ra-bo min sh'-ma- yo v'-cha-yim, To-vim! - lei

lorn o- lei - mt v'-alkolyis-ro-eil

v'-i-m-ru:

i^—- h- J-^^-f 7 TTf~ *Tr gr?^ff

kol tal-mi-dei sal-mi-dei-hon v'-al kol mon d i os-kin b'-o - rai - so

KOL ADONOY

A. S. ERSLER

Kol a-do-noy y'cho - leil a-yo -1

va - ye - che - sof y'-0 ■

:ho - lo

ros

u- v' -hei - cho - lo

ku - lo o - meir ko -

E£E±

? ?±r£r

i» *-

TT-7'T

jfe r

vod

a -do-noy la-ma-bul yo - shov va - yei-shev a - do - noy

-3—1^

TL/T'

noy y' - vo- rcich e s a - m o va - sho - lorn.

C. VINAVER

los va- ye-the-sof y 1 - o - ros uv'-hei-cho- lo ku- lo

mo yi - tein a-do-my y'-vo-reich

(Transcribed by J. L.)

es a - mo va - sho - 1 o m

A. Y. WEISGAL

y' -cho-leil a-yo-lOs
3

shov va-yeis-kev a - do - noy

jj^jLj ~u^ m

a-do-my oz l'-a-mo yi-

a-do-my y'-vo- reich es a - mo va-sho - lorn.

MUSIC SECTION

"Alte Salomonische Gesange" is, insofar as we know, the first
Jewish liturgical music published in Central Europe after World
War II. The four short high holiday pieces were arranged by a non-
J ew, Alois Melichar, who composed the music for the Pabst film of
Hafka's 'The Trial."

Melichar credits the then Chief Cantor of Vienna, Ladislaus
Morgenstern with inspiring him and supplying him with the tradi-
tional melodies on which the pieces are based. He writes:

"Blissful were the hours in which my dear friend Ladislaus
Morgenstern, Chief Cantor of Vienna, sang to me from the precious
treasure of his ancient traditional melodies, many of which I wrote
down, setting them into a metrical and harmonic system.

"I feel convinced that these songs, show a noble naturally flow-
ing melos and an indescribable feeling for musical form; that they
represent, beyond their liturgical significance, a marvelous enrich-
ment of house and concert music."

ALTE

SALOMONISCHE

GESANGE

Textlicke Bcarbci t ung:

Dr. Relly Hermann-Morgenstern
Musikalische Bearbeitung :

ALOIS MELICHAR

ALTE SALOMONISCHE GESANGE

Getungen von L*J»»l«us Alorgeoftern

Otttrk«»tcr Jrr W.rnr. 5t.Jllr«p*1

Textlidi* Bearkritung: Dr. Relly HernLann-M.orgciL*terfi Mu«ik»Ii«J]e Bearbeitung: Aloi* M.eliA*r

iierodio

>eaen

ess

he a vo

Herr, Gotturs-rer
Lcrd, Qod of our

"a
fa

\ — ^

u. Bor

r Denn

r, Witt

chemihab rodiooordte miftab ro cho

drei ■ k-dienSe - tfcn, denn drei I* then Se - fen
W»w. ,'o/^ Messing, with t/tretfo/d blct$tntf

^ ^ r-^

j 4

J— 1-2

\ V-4

h^ft

f *W

"~^~?

y ?

Lt —

— «

► c

^ J

ham"3cfiulesthtfjm«hu!fsdies. Ba to ro taK - su vo

vcr - ho- ict uni der Tho ■ ra hei-h -geScbrift,

promised ty your larr, ** ty law htrattHd fy ,

ol ie dr Mostdiea* de -

dei-nerPta piie ien ho - lifl
w>or prcpfuli — he - $r

cho

Wort

Word.

hu a muro huamuro mi pi Atironu vo nov kAhamtn

Ho- re uw^bit, horun<err]ehn,d*<lwirbe' frie - d c t "on dir £ehn,.
Hide not oh Cfod, thy face fnmme, taw many en. — w,w haut trusted in tittt.

am He du sche cho

tfir bau-enauF didi,
# ft* # at* yield.

po-iuve le - ho vi 1m ■ ne - ko

strah-iend Lidit — Still* unsrer See le Durst.,
hea

pan us Ut shine.

ae nlv peace be -s tout.

i 550 a -do not potiovele ho

jchenKe ihr su-Qe Huh undsflrtihtt-nie - den
u - pen us who dwsUte low,

wio

swihin
qrantut

Unsane tokef VXJir verkunden

.Let us express

T«tl.<ie Be.rUitunj: D». Relly Herman n-Morgeiutertt Mu«k»li«Ae Bwteitun^: AloU MelicW

Vn - c - sa - ne
Wir ver- kun den
Z*t uftfjr - press,

Wiir

us tx

Kef

Wei - he
press :

The

4V.

i LJ J j i ~n%n i ,i J'j^l_4^

Sdiew. _ low

Lie - b* du gs > grun
x'Arcfl* ___ in. orate

he-

ichrtv* -

tv/udt i+jW

be jfa - grun * oft, jnc du s>: * Test u* - rauf zv j* - richt!

c^ JtdJttt at ViritiX i _- u PC* ^ A> d pair /i/d^ ■ ^#** w ^rtt* - hit.

Udom j sodo meofor I Man's origin is butdust
Der Mensch, geboren aus Staub

Tex tl icfie Bearheiiun^: Dr. Relly Hermann- Alorgmstern Musikalisdic Bearhcitunj: Alois Melichar

fflf

U dom j so do me - o - for

Der Uensdly ge-bo ■ ren aus Staub,

Man's O - ri - pin is bat dust,

ve so - fo - Je r o_

zu *Staui> ba]d er wje - demr-

to dust he re ■ turns one

die 1

bnafsdwju - vi

den fJutftt-^en Wol
A -tike the drift

schil

clouds that trail

lach oi a mo

ten gleieft, d;e

ke che res ha niseh

Jend vor - - il ber •

their stl - ver flee - ces

bor

itehn
by.

ke chu ciz_

dem ' Win

like Ute uraw

— ju - vesch

- d« glcjtJi und darn Sand •
/^ wind and Me sund t

kom,

that

Che

Win

bistort

de spur- ;«

fl7irf rar- rted

vel u-che-u- iion hu - - lu ucfi ru no schu

welrt, .so ut dcm Xb. ben, oh
way Such is thy lift, oh

schu_

.Mensdi 1 Bu ja ■ ctsi und raf- fesl, und iu. dh - nest

_manl Uiou hurrtest and graipeth and thou Lay est thy

char^cho - lorn

kur - z*r Traum
trait - stent dream.

Ye cha cho lorn

dem Le - ben,
Viy life,

uf.

Mensch!

Man '

E z en'mfnoz orero
Halt II Ler uns Hold over us

TextEdit- Bc»rlit.tun g : Dr. Relly Hermann-Morgciutern MuMUlutlie Btirkcitung: AloU Mclidiar

Halt
Hold

ez -j- mm oz or e-ro ^ ^

u - ber uns die rtth-is Usr\6, r*[ J

o - Ydr us thy right— hand, \ TL Z

£* ez j mm or or- e ro Or - o re ro Or - o re ro

halt u ber uns die rechte Hdnd, _^ ^ bind uns an dtch, bind uns an didi

/f(7/rf o ver us thy nghz hand, ^n | bind ur to thet, bind. us tQ thee

Bze dek nekad we niscJi chat

Kom - me, uru zv er - Jo - sen
Save us from satxm's nughl,

Te- mu o - ro

und star Ke un
sair* us from sa

o - jij

it -re See - Jen,
Can's miffAt,

Bze-

Join - ::ip, iuv» zu er - Jo - sen und itair ke tins -re

yuidt us on our way, guide US — on —

o - jil Bze dek ne

See - ton, dafl Sifi

<£>az_ atty, lest

p t j -j m uji g^

kad we nisch chat te - mi ro o_
sidi nicht vsr - mah

art may go

Je
stray,

der

REVIEW OF NEW MUSIC

HALLEL V'ZIMRAH, Sabbath
Morning Service, According to the
Union Prayer Book for Cantor
(Baritone or Tenor) Mixed Chorus
and Organ, by Gershon Ephros,
Bloch Publishing Co., New York.

Orchestration:
2 flutes

1 oboe

2 clarinets in Bb (B. C.)
1 bassoon

1 horn in F
1 trumpet
1 trombone
1 timpani
cymbal
triangle
wood block
strings

When asked to review HALLEL
V'ZIMRAH, I accepted most readily.
First, because of my great respect and
admiration for Gershon Ephros as a
wonderful human being, a dedicated
hazzan and an outstanding musician.
Secondly, because most of Ephros'
creativity has been directed towards
the traditional prayerbook and mach-
zor. Ephros, creating for the Reform
Service, was something new to me
and I was rather curious as to how
this very traditional hazzan and com-
poser would write for it. One should
bear in mind that the prayers in the
traditional prayerbook are longer and
consequently can be written for with
more floridity than the short prayers
of the Reform Service. It presents a
greater challenge in that the composer
must create in an interesting and
effective manner for comparatively
short prayers. Hazzan Ephros acquits
himself nobly. I found the Service
vibrant and extremely well written.
There is a splendid contemporary
sound of all musical modes-some old
and some new-and many passages

are treated in a scholarly contra-
puntal style.

In Part I — the Prelude — one is
immediately aware of the Israeli musi-
cal flavor delicately combined with
traditional Nusach. There is no doubt
that the composer was inspired by the
great personality of Rabbi Abba Hillel
Silver to whose sacred memory the
Service is dedicated. Rabbi Silver was
the great Zionist and champion of
Israel, and undoubtedly that tribute
is paid to him musically with the in-
sertion of an Israeli motif which be-
comes part of the entire Service. The
Ma Tchu begins in the traditional
major, but not a Lewandowski major.
It is rather one of a Tefilla motif,
perhaps of P'su key D'zimra. The
Cantor's solo definitely suggests this
and the entire composition, including
the accompaniment, is musically well
constructed. The Anim Z' mi rot is
again an intertwining of Nusach and
the Israeli mood. In addition, there
is the reminiscence of the melodic line
of Shir Hashirim, which adds to the
beauty of the entire composition. The
Shachar Avakeshcha has a wonderful
cohesiveness of ideas put together in
what I would call true "Ephrosian"
style — clearly written, rhythmically
bright and the melody set to the
theme of the opening prelude. The
Bar'chu is the true Shabbat Nusach.
but, once again, the Ephros touch of
originality makes it all the more in-
teresting. The choral response treated
in the spirit of traditional Nusach is
most effective. In the Sh'ma Yisrad
one can readily discern the Tekia
blast. In its arrangement, one can
almost sense the echoes of the Temple
orchestra. The composer gives the
Mi C ha mocha a fascinating treatment.
There is, of course, the "fregish"
mode in keeping with the Shabbat
morning Nusach. With this, the fugue
treatment that is employed makes

this selection quite different. The
monotony of all "fregish" is removed
in the composer's use of the major
one-fourth up, which again is char-
acteristic of the Shabbat Nusach. The
Tzur Y Israel, somewhat suggestive of
Ernest Bloch, still remains Ephros in
style as he approaches the Nusach
much more hazzanically than Bloch.

In Part II, the beginning of the
K'dushah came as a surprise. It is a
definite departure from Nusach and it
is quite possible that the melody is
based on an Israeli pastoral tune.
However, there is a return to Nusach
in this composition. One notable ex-
ception — the Adir Adirenu — takes
on a minor flavor and is strongly
reminiscent of Rosh Hashana. My
feeling is that since the traditional
prayerbook has this particular chant
only on holidays, Ephros was un-
doubtedly influenced by the holiday
spirit and consequently wrote it as he
did. In the Echad Hu Elohenu there
is again a return to tradition and the
Cantor's obligato to the choir move-
ment is lovely, and completely in the
Sabbath mood. The music for Silent
Devotion is music which gives one the
true spirit of devotion. Here is Ephros
at his best. This devotional spirit con-
tinues with "May the Words." To me,
this is symbolic of one of the charac-
teristics of Ephros himself — that of a
spiritual person.

We come to a marked change of
pace in an exciting setting of the
S'u Sh'arim. Once again, it is reminis-
cent of the Temple orchestra. L'cha
Adonai is a very fine development
of a theme inspired by and based
upon the chant of the Torah blessings.
It is treated rhythmically and then
elaborated upon quite cleverly. When
we think in terms of Torat Adonai,
we subconsciously refer to the Lew-
andowski setting of this excerpt from

Psalms. Ephros takes an entirely dif-
ferent approach, and, in his version,
which is most contemporary, he draws
upon motifs suggestive of Yemenite
or Babylonian sources. This, too,
proves to be an effective composition.
Etz Chayim is also based on the
Shir Hashirim mode and is handled
very beautifully. I found the setting
of the 23rd Psalm deeply moving.
Perhaps the image of David, the
sweet singer in Israel, soothing Saul's
troubled spirit, was the motivating
factor in this particular setting. It is
a quiet, tranquil and contemporary
setting with a musically sound accom-
paniment and, again, is Ephros at his
best. The En Kelohenu, set to an
ancient Babylonian melody, is a most
welcome innovation in its charm.
Finally, the Haleluyah (Psalm 150) is
a grand fusion and development of
themes previously used throughout
the Service (Prelude, Shacher Ava-
keshcha, Hodu Al Eretz) but differ-
ently and uniquely treated in the
Haleluyah style. This brings an ex-
cellent and exciting close to the entire
Service.

If I speculated as to whether Haz-
zan Ephros could create as well for
the Reform Service as he has for the
Traditional Service, I must admit that
this speculation was totally unwar-
ranted. He proves to be eminently
successful in writing a splendid Sab-
bath morning Service for The Temple
of Cleveland, Ohio, that will take its
place among the best of musical
liturgy created for the Reform move-
ment. There is no doubt that this
Service dedicated to the memory of
Abba Hillel Silver, who loved haz-
zanut, will help to keep his unforget-
table personality ever present in the
hearts of J ews everywhere.

Moses J . SILVERMAN

L'CHU N'RAN'NOH: A Sabbath
Bve Service in Hassidic style by

Benjamin Siegel. Transcontinental
Music Publications, New York,
N.Y. $3.

• 'L'Chu N'ran'noh" is a Sabbath
evening service for Hazzan, S A T B,
and organ. The arrangement is by
Emil Green berg.

The service contains eight selections
employing melodies which reflect the
Hassidic tradition and spirit. These
prayers may be done on an individual
basis, or as a complete Hassidic
evening.

As a whole, the service is simple
and not very imaginative or creative.
It is unfortunate, because the open-
ing piece, "L'chu N l ran l noh"-( Psalm
95) shows much potential and
promise. It captures the Hassidic
moods of meditation, contemplation,
and rhythmic excitement. The rest of
the service is more or less repetitious
and uninteresting. The accompani-
ment is unimaginative. The Ahavas
Olom reminds one of the Zilberts
composition. The V'shomru shows
signs of a composing talent.

Hazzan Siegel does have the Has-
sidic spirit within him and a flair for
simple melody. There is a sincerity

that does shine through from this
service. All beginnings are painstak-
ing and difficult, and perhaps in the
future, we may look forward to more
and better creations.

HAZZAN Morton Kula

FROM OUR READERS

Dear Cantor Davidson:

It is with no little interest that I
read the J ournal of the Cantors As-
sembly. I offer my congratulations to
you for the excellence of your work as
editor. I am also moved, however, to
point out an apparent omission in
your article, appearing in the current
issue of the J ournal. The Temple has
been actively engaged in commission-
ing liturgical compositions for the
past six years. During this period, the
following works were produced:

Sacred Service (Sabbath Morning),
Howard Boatwright (soli, choir, or-
gan) ms.

Boker Tish'ma Koli (Sabbath
Morning) Lazar Weiner (soli, choir,
organ) ms.

Chemdat Yamin (Sabbath Morn-
ing w/ Torah Serv) Herbert Fromm
(soli, choir, organ) pub. — Transcon-
tinental

Hadrat Kodesh (Sabbath Morning)
Heinrich Schalit (soli, choir, organ)
pub.-H. Schalit

Hallel V'Zimrah (Sabbath Morn-
ing w/ Torah Ser.) Gershon Ephros
(Soli, choir, organ or orch.) pub.-
Bloch

Sacred Service (Sabbath Morning)
Daniel Pinkham (soli, choir, organ)
to be pub.-E. C. Schirmer

Awaiting completion is a service by
Yehudi Wyner for soli, choir, brass
quartet, and string baas. Negotiations
are under way for two more com-
missions. In light of the foregoing,
mightn't we rate a mention for an
already substantial contribution to
J ewish liturgical composition?

No further complaint ... just my
good wishes to you.

Sincerely,

DAVID GOODING
Director of Music
The Temple
Cleveland, Ohio

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Cantors Assembly Journal of Synagogue Music"

See other formats