Cantors Assembly Journal of Synagogue Music

J O U R N A L

OF SYNAGOGUE

MUSIC

May 1973/IYAR 5733
VOLUME IV
Number 4

CONTENTS

Understanding the Role of the HAZZAN

Origins and Aspects of

Early American Psalmody

Abraham Lubin 3

Clair Polin-Schaff 9

Using Recordings Creatively in the CLASSROOM Ira Goldberg 13

DEPARTMENTS

Ben Steinberg 23

Reviewof NewMusic

Weiner, ShirUYom Hashabos

Berger, Preserve Me, God

Neumann, Noches, Noches; Cuando El Key Nimrod; Scalerica
de Oro; Los Biblicos

I saacson, Kol Sason

Weiner, Three Biblical Songs: Isaiah, Ezekiel, Ruth
Berlinski, InMemoriam

Music Section

Malkhuyot, Zichronot, Shofarot by Bezalel Brun

28

This issue of the J ournal of Synagogue Music was underwritten
by a gift from Mr. and Mrs. Rubin Potoff of Waterbury, Conn., in
memory of E mi I Mastronunzio, father of Mrs. Potoff.

Joubnal of synagoguemusic ,Volume IV, Number 4

May 1973/Iyar 5733

Published by Cantors Assembly

editor: Morton Shames

managing editor: Samuel Rosenbaum

editorial board: Abraham Lubin, Saul Meisels, Dr. Edgar Mills,
David J. Putterman, Moses J. Silverman, Robert Shapiro, Dr. Max
Wohlberg.

associate members: Ivan E. Perlman, Chairman; Sidney Karpo,
Karl Kritz, Ephraim Rosenberg.

officers of the cantors assembly: Yehuda Mandel, President;
Gregor Shelkan, Vice President; Kurt Silbermann, Treasurer;
Morton Shames, Secretary; Samuel Rosenbaum, Executive Vice

President.

journal of synagogue music is a quarterly publication. The sub-
scription fee is $10.00 per year. Second-class postage paid at New
York, New York. All articles, communications and subscriptions
should be addressed to Journal of Synagogue Music, Cantors Assem-
bly, 150 Fifth Avenue, New York 10011.

Copyright © 1973 7 Cantors Assembly

UNDERSTANDING THE ROLE OF THE HAZZAN

Abraham L u bi n

'The Cantor — An Historic Perspective"
A study of the origin, communal position and function of the
Hazzan — By Leo Landman, Yeshiva University, N. Y.
191 pages.

The role of the Hazzan in the J ewish community is one of the
earliest and most colorful institutions in the entire history of J ewish
communal life. Yet very little is known about the importance and
significance of this institution on the part of the general J ewish com-
munity including many of its lay leaders and synagogue officials. It is
after all they who are often called upon to make judgment upon the
quality and worth of their spiritual leadership and it therefore be-
hooves these people to familiarize themselves with the historic past
and development of the respective roles of the rabbanim and haz-
zan im of their communities.

Although the role and status of the contemporary Hazzan in
the J ewish community has changed drastically since its earliest be-
ginnings almost 2000 years ago, nevertheless, a clearer understanding
and appreciation of the Hazzan's multi-faceted and multi-functional
role can be achieved through a closer investigation of the historic
development of this institution.

Leo Landman, in his recent publication, The Cantor-An Historic
Perspective, sets out to trace the origin of the institution of the
Hazzan in the community during its earliest formative period. Special
emphasis is placed upon the period of the Middle Ages with a some-
what cursory treatment of the contemporary scene.

Although Landman's volume is far from being exhaustive on the
subject in terms of pure research, he, nevertheless, has given us a
fairly thorough examination of the many important sources and
treatises which deal in one way or another with the subject at hand.
Impressive is the list of over 200 sources which are represented in
his bibliography; a fact which only whets our appetite still further
in order to have as clear a description as possible of the many vicis-
situdes of the Hazzan during the two millenia of his existence.

It seems to me that any institution or social experience which
maintains a permanence of its existence over a long period of time is
certainly worthy of serious consideration and close examination. It

Abraham Lubin serves as Hazzan of Rodfei Zedek Congregation of Chicago.
He also holds a degree of Master of Music from DePaul University.

is, therefore, rather astonishing and appalling a fact that we have
to regard Landman's volume as a rare contribution in this field.
Admittedly, many references and even lengthy articles may be found
on the subject of the Hazzan (and/or his hazzanut) in various peri-
odicals and books on J ewish music, this however is the only example
I know when the subject was treated exclusively in one complete
volume. For this the J ewish community must be grateful to Dr.
Leo Landman for undertaking this important task.

What are some of the salient facts of history relating to the
institution of the Hazzan? What lessons are to be learned from these
facts? What meaning, if any, does its history have for us in this
day and age, and what possible steps may we take in order to assure
its continuity in a religiously positive and culturally contributive
fashion?

'The most permanent and continuous synagogue office, one
which underwent relatively few changes after the early Middle Ages,
was that of the Hazzan," wrote SaloW. Baron. It is the remarkable
fact of historic permanence and entrenchment that seems to be the
refrain in the pages of Landman's volume. This is true, perhaps,
because it reflects and mirrors the classic role that prayer has played
in the life of the J ew, from time immemorial. If throughout its
history the prayerbook served the J ewish people as a textbook of
J udaism, then the Hazzan must be credited as being the guardian
and custodian of this sacred and spiritual tract. More than that,
even before the term Hazzan was applied to him, the Talmud often
referred to the H azzan as a Shliach Tzibbur — "messenger" or "emis-
sary of the community" before God, in the sacred act of worship and
prayer. What greater responsibility or more fulfilling an act is there
than to be the representative of the J ewish community during its
most profound and hallowed hour, the period of public worship?

It is, therefore, no wonder that in view of the enormity and
sanctity associated with the traditional tasks of the Hazzan, we
find in as early a source as the Mishnah, various qualifications to
be sought in the ideal Hazzan. Although some of these qualifi-
cations listed may be considered today as somewhat unrealistic,
nevertheless, in large measure they indicate the seriousness that
the Rabbis of the Talmud, as well as the later authorities, attached
to the task of selecting a qualified Hazzan to serve as a Shliach
Tzibbur.

For example, the Mishnah in Taanit lists the foil owing qualities
that are required of the Hazzan. He must be one:

"burdened by labor and heavy family obligations but one

who has not enough to meet them, one who has his labor
invested in the field and who house is empty, whose youth
was unblemished, who is meek and is acceptable to the
people, who is skilled in chanting with a pleasant voice,
and possesses a thorough knowledge of Scripture, the Pro-
phets and the Hagiographa, who is conversant with the
Midrash, Halakhot, and Agadot, and all the Benedictions."

At a glance these requirements are still quite realistic and rele-
vant today as they were when they were first formulated. The pos-
sible exception being the requirement of having to be "burdened
by heavy family obligations" and not having "enough to meet them".
As Tevye would say: "I realize of course that it's no shame to be
poor, but it's no great honor either." Anyhow, today's steady rise
in the cost of living, coupled with the economic inflation, should take
care of this requirement to enable most candidates to qualify.

There is here, however, a much more serious question which I
would like to raise for our consideration.

What are presently the criteria by which are gauged the quali-
fications of a prospective Hazzan in a contemporary American syna-
gogue? What indeed are the requirements to qualify as a bonafide
candidate for a vacant hazzanic post in a modern congregation?
What are the practices of some congregations and what ought to be
our goals with regard to this rather complexing problems?

Before we attempt to answer these thorny questions, let us
review, with the help of our author Leo Landman, what historically
were the qualifications of the Hazzan. Landman writes: "Learned
cantors abounded in medieval times. Their names were famous and
their mere mention apparently was sufficient to bring recognition.
Their names are mentioned in the writings of rabbis and scholars
of different countries and throughout the centuries." The author
also cites Maimonides in a responsa wherein reference is made to a
famous Hazzan Pinkus Shatz, who actually had the authority to
reverse a ritual custom relating to the liturgy that was in practice
in Alexandria. The original custom was first initiated by one Rab-
benu Elazar, prior to the arrival of the Hazzan. There is an abundance
of examples throughout the Middle Ages pointing to a tradition of
scholarship, learning and piety among hazzanim. Landman further
states in his thesis: 'The same situation was prevalent in the
France-German centers. Cantors were referred to as Harav and titles
such as Tzaddik were used to describe some cantors. Others were
even asked to sign Takkanot issued for their communities."

The status of the Hazzan reached a very high level of prominence
during the Geonic period and although today there is a clear dis-
tinction between the function of the Rabbi and the Hazzan, during
the Middle Ages it was quite common for these roles to be inter-
changed. The Rabbi often acted as Hazzan and the Hazzan would be
called upon to preach.

This image of the Hazzan. as has been correctly pointed out by
our author, changed dramatically during the 17th and 18th centuries.
A greater emphasis was placed upon the vocal and musical capacities
of the Hazzan, and although the qualities of scholarship, learning
and piety were still desirable, they were not quite as essential any
more.

I n light of the above observations we begin to see the complexity
of the role of the Hazzan in historic terms. But on the other hand we
can take note of some subtle facts which ought to guide us in our
pursuit of elevating the status of the Hazzan and making his present
position historically relevant, religiously constructive, artistically
creative and communally fulfilling.

We can now proceed to examine the question posed earlier
relative to the role of the Hazzan today. What should be our re-
quirements? What should constitute a Hazzan's qualifications? What
ough we to set as our goals in the future with regard to the sacred
calling of the Hazzan?

It is quite obvious that with the disappearance of J ewish life
in Europe as well as the collapse of many J ewish communities in
Asia and Africa, thej ewish community in America has become almost
the sole heir to the great musical traditions of our past. It was,
therefore, crucial for the American J ewish community to develop
schools for the training of hazzanim within the framework of al-
ready existent major rabbinical seminaries in the United States.
Thus it is gratifying that in 1951 the Cantors Institute and the Sem-
inary College of Jewish Music were founded within the Jewish
Theological Seminary of America. With the help and support of the
Cantors' Assembly, the national organization of hazzanim who serve
Conservative congregations throughout the United States, Canada
and Israel, this school was able to thrive and grow during these past
two decades.

Earlier, in 1947, the School of Sacred Music under the auspices
of the Hebrew Union College, J ewish Institute of Religion was es-
tablished with the support of the Reform movement. At Yeshiva
University, the Cantorial Training Institute was also established in
1951, serving the Orthodox community in America.

With the establishment of these cantorial schools as well as
professional associations of hazzanim, we find that the role of the
Hazzan has become much better understood and greatly enhanced.
Our author suggests that: 'Today, in many respects, the Hazzan
has returned to his former role of the Middle Ages. He is engaged
in a variety of musical and educational programs. The Cantor, always
an integral part of the Jewish community, has in recent years
solidified his status. The cantorate has been and is now a permanent
and vital institution in Jewish life."

Yet despte the progress noted, we find that on too many oc-
casions there is an utter irresponsibility in the procedures of selecting
hazzanim for congregations. Too often, congregations settle for candi-
dates whose qualifications are questionable and whose backgrounds
are totally unsuited for the sacred tasks for which they are engaged.
In some cases, we find that congregations decide to do without the
services of a Hazzan and consider the remuneration saved as ample
reward. This shows a total disregard for the dignity and sanctity
of the office as well as a total neglect of the spiritual needs of the
congregant whose membership in a given congregation entitles him
to the proper "services" and spiritual fulfillment. Now that there
are cantorial schools and recognized professional organizations, it
behooves synagogue leaders to seek candidates for hazzanic positions
through the proper addresses. Gone are the days when store front
synagogue would suddenly open its door for High Holy Days serv-
ices, complete with operatic stars to provide the sensational thrill
of their voices. The title Hazzan must not be lightly designated to
anyone who can simply raise his voice in song. The requirements
must be stringent and many, in view of the fact that it takes from
four to five years to receive the diploma of Hazzan at the various
schools for hazzanim. The qualified Hazzan must then dedicate his
entire life to the sacred tasks of his vocation, pouring out his soul in
behalf of his people and in glory to his God. In the words of Rabbi
Abraham Joshua Heschel of blessed memory, "for the voice of a
person, particularly when in song, is the soul in its full nakedness.
Indeed, a Cantor standing before the Ark reveals all his soul, utters
all his secrets. The art of being a Cantor involves the depth, richness
and integrity of personal existence."

It is this integrity which Heschel refers to, that should be of
great concern to all of us. Too often we are willing to settle for
what is cheap and convenient. In matters of holiness and of the
spirit, we must be careful not to use the same set of scales used in
the market place. Nothing less than ideal is good enough; at least the

8

ideal should be our goal even if we cannot always attain it. In this
respect I must strongly disagree with the author, Leo Landman, who
in the last pages of his book, when he speaks of the future of the
modern cantorate, makes this incredible comment about young
cantors today: "Some are so overtrained that there is neither spon-
taneity nor warmth in their prayers." I cannot conceive of the pos-
sibility of being overtrained in the study of one's craft. To the con-
trary, when it comes to study and training, we ought to adhere to
the dictum in the Haggadah: Vechol hamarbeh harey ze meshubach
-paraphrasing it we might say-the more the training and study,
the more the praise. I also fail to see the connection between being
"overtrained" and spontaneity and warmth in the prayers. Frankly,
I was surprised to read this somewhat careless comment in the midst
of much revealing reading culled from a variety of authoritative and
original sources.

In conclusion it would be fair to state that Leo Landman es-
sentially succeeds in what he sets out to do. That is, to give us "an
historic perspective" to the understanding of the role and status of
the Hazzan. He thus has made a very important contribution towards
a greater appreciation of a hirtherto much misunderstood subject.
Landman quotes the eleventh century payetan Yekutiel B. Moses,
who understood well the true spirit of a dedicated Hazzan, when he
composed this prayer:

"With the trepidation I pour forth my fervent plea as I
rise to beseech Thee, awesome and exalted God. Because
of my insignificant deeds I am seized with apprehension;
lacking wisdom, how dare I hope? My Creator, grant me the
wisdom to transmit my holy inheritance. Strengthen and
fortify me against weakness and vacillation. May my whis-
pered plea be as acceptable to you as rare incense, and may
my sacred utterances be to you sweeter than pure honey.
Accept them as uttered in sincerity and not to deceive.
Let those who have made me their emissary find atonement
and forgiveness."

Indeed, let this be the motto of the modern Hazzan as he looks
to a future of ever greater service to God and to his community.

ORIGINS AND ASPECTS OF EARLY AMERICAN PSALMODY

Clair Polin-Schaff

The earliest American settlers, although diverse in religious and
cultural backgrounds, shared a common high regard for the Old
Testament, in particular, the Book of Psalms. This reverence for the
Bible and desire to perpetuate its study through musical expression
led to the creation of an unusual religious-musical experience we call
psalmody. With the first popular translations of the Bible, musical
devotions were placed within the common man's province.

When the Catholic poet, Clement Marot (d.1544) presented
the first metrical translation of the Book of Psalms to the French
court, little did he foresee the influence which his oeuvre would exert
over European and, later, American religious education. So popular
were his early efforts that composers of note (LeJ eune, J annequin,
Bourgeois, even Lassus) joined the Duphin in composing settings
for them. The Protestants, especially Huguenots, were equally capti-
vated by them, encouraging their children to memorize the metrical
lines by means of anthem-like tunes. Calvin, distrustful of the
"demoralizing" effects of part-singing, still permitted the singing of
simple, melodic lines (without bars or time-signatures) to express the
Divine word in song.

P \ » » * § t j H u * ^ i p n 1 -^

™ w ■ * t n „ , tf^

i i

3d X€<&ee~. #% dfl^vr j tfU r «£ nuit.

EXAMPLE 1 Psalm 130, Calvin's First Psalter, Strasbourg, 1539
Observe how the imposed metricalization attenuates the French trans-
lation from the Hebrew.

•nin? TP*Hi? n"i?9S9B •ni l ?saD t#
rmr\Pt ^ip 1 ? rriawp? *pjtx nftijn ^p? *¥?# I* 1 *?

Clair Polin-Schaff is a flutist, composer, lecturer, teacher and musicologist
who has been a member of the music faculty of Rutgers University since 1958.
She received her doctorate in music from the Philadelphia Conservatory in
1955. She is the recipient of a number of distinguished awards for her compo-
sitions and her articles on music and ethnomusicology have been widely
published. She has been a Special Lecturer on American music in Wales,
England, France and Israel and on early Welsh music in the United States.

10

Music found in various psalters of this period, particularly in
the famed Geneva Psalter (1551), inclines towards modal and minor
tunes. By the following century one can observe a preference for the
major. Interestingly, Sephardi melodies of this era seemed to split
into two styles: the English, Dutch, Italian ones reflecting the
strengthening preference for major modes, while the Mediterranean
and eastern melodies retained the earlier modal flavour.

The Sternhold and Hopkins Psalter, published in 1562, was
brought to America by the Puritans, who soon replaced it with the Ains-
worth version, printed a half-century later in Amsterdam. So ubiquit-
ous was its use in colonial times that Longfellow naturally referred
to it as the Psalter in 'The Courtship of Miles Standish". It con-
tained 39 different melodies of English, French and German origins
to which all 150 psalms could be sung. Rhythmic patterns were de-
termined by the metrical words, and thus organized for the learner's
benefit into short, common and long patterns, comprising groups of
6686, 8686, and 8888 syllables per stanza, respectively. These num-
bers, together with the old fa-sol-la "shape-notes" (each pitch desig-
nated by a circle or triangle, square, etc. to aid the later musically-
illiterate to read music) are still to be found in many hymnals and
psalters in present-day communities of the South.

Stilted meanings and forced rhymes characterize these early
metrical translations. Compare the flowing poetic Hebrew of Psalm
24 with the Ainsworth: DD^KT Dn»tf MW

t ■ t : :

.limn "n^a niti ,D*7iy -nriD istwm

t - I v iv t: t " : ' : T ' :

Lift up, ye gates, your heads and ye
Dores of eternal aye;
Be lifted up so that the King
Of glory enter may."
Or contrast the Hebrew or even classical St. J ames version of Psalm
23 with the 1698 editionof the Bay Psalm Book:
'The Lord to me a shepherd is,
Want therefore shall not I .
He in the fou Ids of tender grass
Doth make me down to ly."
Yet, by the same token, a certain angular strength appears in the
simple musical line to fortify the odd-sounding words.

m$

3=

rrj i t ; j i j . j / j f=f=3=F

Jfc.fco.v«k <>> Ttf sfc*j*4'«ySU J*yAJ t* aJt m ly site $*.«•-*.*.

11

EXAMPLE 2 Psalm 21, Bay Psalm Book. (Note metres from
Ainsworth Psalter.)

^ i I m a ?t o 1 a g j y ^^

^j

0, Btess-*^ mar? +&t twaMr *#t /n f& jj. Vtc * of wiaecJ m*»,

" g !§ r lT 7 J '* I " f ' ; i§ 11 ^

EXAMPLE 3 Psalm 1 Bay Psalm Book (1651 version) quoted
in Tufts "Introduction to Singing Psalm Tunes", 1726.

The publication of the first native psalter in 1640 in the Massa-
chusetts Bay Colony set a pattern for concision and variety. Based
largely upon the Ravenscroft Psalter (London, 1621), only six dif-
ferent metres were shown, capable of suiting the 39 different settings
in four-part harmony. Chiefly based on the music of Tallis, Dowland,
Farnaby and M or ley, these retained the medieval practice of the
tenor carrying the melody. Revised editions followed until a veritable
stream of psalm-tune publication ensued. Noteworthy are the col-
lections of Croft, Tufts, Tans'ur, and particularly, Lyon, whose
"Urania" collection was much favoured. Published in 1761, its 70
psalm settings contained many "fuging" tunes (a popular contrapuntal
device which often followed the anthem-like psalm-tune.). It in-
cluded a setting of the favourite Psalm 100 by the Philadelphia
composer, Francis Hopkinson, who in turn compiled a collection of
psalm-tunes for Christ Church.

Of great significance were the works of William Billings, a Boston
tanner who was musically self-taught. Regarded as the greatest
exponent of the "fuging" technique, his psalm settings are interesting
for their contrapuntal style. Paul Revere printed Billings' "New
England Psalm-Singer" in 1770, a sizeable volume comprising over
260 tunes and anthems on Biblical subjects. His setting of words was
imaginative and witty, far advanced of his day, as is evident in the
unusual division of a single word, "as the hart pants" into a vividly
programmatic "pa-a-ants". A dedicated patriot, he not only wrote
the rousing Revolutionary War march, "Chester", but sorrowfully
recollected the Boston defeat with a parody of Psalm 137:
"By the waters of Watertown, we sat down,
Yea, we wept as we remembered Boston."

Despite the influx of foreign-language groups in the late
eighteenth century, psalmody continued to grow. The German-Bo-

12

hemian immigration to Pennsylvania encouraged independent religious
sects, which relied upon the Bible for devotional materials. The
Moravians and Schwenkfelders considered psalmody a requisite for
religious education and they published superior metrical versions of
the Book of Psalms. At Ephratat Cloisters, a Sabbatarian sect pub-
lished a collection of psalm anthems. Unfortunately, while of intrinsic
value musically, these works left little influence upon the American
scene because they were published exclusively in German.

A second foreign-language group were the colonial Welsh settlers
of Pennsylvania and Ohio who were deeply attached to the Bible.
The Ravenscroft Psalter contains several Welsh hymns although with
English metrical words. By ancient tradition, the Welsh consider
themselves descendants of Noah's grandson, Gomer, and so great, is
their interest in the Bible, that a Welsh scholar-preacher spent a
lifetime writing on the origins of medieval Welsh words which he be-
lieved to be derived from Hebrew. Welsh poetry does demonstrate
alliterative and internal rhyme very similar to Biblical poetry. A
composite hymn in English by the great Welsh poet, Panycelyn,
demonstrates the Bible-orientation, for each verse is derived from a
Psalm-line:

"Guide me. Thou great J ehovah Ps. 31:3
Pilgrim through this barren land, 107: 34

I am weak but Thou art mighty, 6:2

Hold me with Thy powerful hand . . ." 89: 13

In late colonial times, disparate influences caused psalmody to
wane. In the Revivalist period, only the simplest hymns were sung
by a musically semi-literate society whose knowledge of the Bible
had also waned. Creative psalmody was destined to slumber until
momentarily revived by the great turn of the century genius, Charles
Ives, whose creativity extended to unique settings of psalms. It
remains an interesting speculation whether psalmody in America will
ever play as significant a role as it once did in colonial times.

References:

R. A. Gerson, Music in Philadelphia

Marroccoand Gleason, Music in America 1620-1865

Prothero, The Psalms in Human Life

Hawkins, History and Science of Music, vol. 2

H. Foote, Three Centuries of American Hymnody, 1940

H. MacDougall, Early New England Psalmody, 1940

J . Sachse, Music of Ephrata Cloisters, 1903

13
USING RECORDINGS CREATIVELY IN THE CLASSROOM

I RA GOLDBERG

In an age of sound reproduction, wherein music in myriad forms
and timbres reaches our ears, one would imagine the ability to listen
to music would be enhanced by our many experiences with recorded
sound. Unfortunately, such is not true at all. In an era de-
scribed by author Clifton Fadiman as one of a "Decline of Attention,"
our sensitivity to sounds has waned, even while they have increased
in variety and intensity.

It is necessary, therefore, for us to develop the skill of listening
in our students. Even among professionals, there has often been a
failure to listen, as attention has waned only scant minutes after the
music has begun. This discussion presents an approach, whereby it
should be possible to listen to recordings in an organized and satis-
fying manner.

The record discussed is "Silent No More," a recording of freedom
songs of Soviet J ewry, based on tapes smuggled out of the U.S.S.R.'
The record is a moving one, and is especially useful because of cur-
rent concern for the plight of Russian J ews. The first lesson is for
side one of the record, while lesson two is for the second side.

The plan provides a framework for listening. Its supportive
structure makes it possible for the listener to understand the recording
heard. Furthermore, the lesson plan may, with some modifications,
be utilized as a model for other lessons that use recordings in the
classroom.
1. Motivation

In this opening section of the lesson, I "set the stage" for the
recording, by gaining student interest through various devices — a

1. "Silent No More." Sung and narrated by Theodore Bikel; arranged and
conducted by Issachar Miron. A 33% -LP record, produced by Star Record
Co., New York, N.Y. 10036. Available from the American J ewish Congress,
15 East 84th Street, New York, N.Y. 10028. Price: $4.95.

Ira Goldberg is an experienced instructor of instrumental music in the
New York City public school system. He received his B.A. in Music Education
at Brooklyn College and an M.A. in the same subject at Queens College. Mr.
Goldberg, who is a string bass player, has been a member of the Dallas and
Pittsburgh Symphony orchestras as well as the Seventh Army Symphony
during his Army service. He is a. member of the Executive Board of the
National J ewish Music Council for whom he compiled a three volume
"Bibliography of Instrumental Music of J ewish Interest." He has taught music
in several J ewish schools.

14

banner, protest buttons, and a poem about one of the Russian
J ewish writers purged by the Soviet regime.

I first hung on the wall, a Svoboda (Freedom) Banner, a large
flag that symbolizes the struggle of Russian J ews for freedom. The
banner, forty inches by forty-four inches, has, in its center, a nine-
teen-inch high Magen David. Under the Star is the Russian word
Svoboda, meaning freedom. There are two, two-inch-broad stripes
running the length of the flag, one at the top and the other at the
bottom. Each strip is a few inches from the edge of the flag and
the Magen David, the word Svoboda and the two stripes are all
red, against a white background.

I then showed the class various protest buttons, worn on different
occasions, at rallies and parades, protesting the persecution of Soviet-
Je/vry.2

In previous years, Soviet J ews had fallen victim, I explained
to the class, for various reasons. J ews were eliminated from Russian
life for teaching Hebrew, for desiring to settle in Israel. J ews were
persecuted for writing Yiddish poetry. For supporting J ewish culture
in theU.S.S.R., one of those purged, in 1948, was Peretz Markish,
Soviet J ewish poet.

The Yiddish poet, Binem Heller, born in Warsaw, Poland, and
now living in Israel, wrote a poem in memory of Markish, and after
distributing a copy to each student, I read the poem to the class:

The Poet's Death - For Peretz Markish"

They led the singer to his death

With his eyes bandaged, blind

His hands with ropes were pinioned;

So he dropped in the pit behind.

He wanted to ask a question.

For worse than death was not knowing why this wrong.

But this earth was to him now a stranger

It refused to understand his Yiddish tongue.

So he stood with bandaged eyes,

Facing the execution squad.

They levelled at him their rifles

2. The buttons and banner are available from The Student Struggle For

Soviet J ewry, 200 West 72d Street, suites 30-31, New York, N.Y. 10023.
A much smaller Svoboda banner is also available.

3. The Golden Peacock, A Worldwide Treasury of Yiddish Poetry, J oseph

Leftwich, compiler and editor. New York: Thomas Yoseloff, 1961. pages
493-4.

15

And he fell dead, in his blood.
A shudder went right through me
It was more than I could bear.
In the shots I heard him singing
His song rang through the air.

2. Transition.

After having motivated the class, I prepared the students for
the songs of freedom of Russian J ews by explaining that songs were
often the vehicle of protest. Songs were often sung by the oppressed,
against tyranny and slavery, expressing their longing for freedom.
I asked if the students knew songs that spoke of freedom, and many
were familiar with the song of the civil rights movement, We Shall
Overcome; one pupil mentioned the spiritual, Let My People Go.

I concluded this section of the introduction to the recording
by explaining to the pupils that Russian J ews had many songs of
freedom, too. We would be hearing these freedom songs along with
the words of Russian J ews about life in the Soviet Union.

3. Focus.

To give the students a means, whereby they might be enabled
to understand the vital points of the recording, I felt it necessary
to give each of them a guide, listing important points that were
worthy of notice in the recording. In this way, the listening of the
students would be directed and an aimless hearing of the recording,
that frequently leads to no listening at all, would be avoided.

I first listened to the record and jotted down the list of vital
points to be gained from listening. These were then indicated for
the students through a series of questions, which were printed and
distributed to each pupil under the heading, Focus For Listening.
Before listening to the record, we went over the questions together,
enabling me to explain the procedure as well as any points that
were somewhat obscure.

Focus For Listening

1. What languages do you hear on the record?

2. On what holiday do thousands of Russian J ews come out to
celebrate?

3. How do Russian J ews learn of news from Israel?

4. What is one father's comment to the question about his
daughter's knowledge of Yiddish or Hebrew?

16

5. J udging from his comments, would you describe it as easy
or difficult to study Hebrew or Yiddish in the U.S.S.R.?

6. What instruments did you hear in the accompaniments for the
songs?

7. From the songs and the spoken words, of what country do
Russian J ews speak with love and longing?

8. If they were free to do so, what do you think, from this first
side of the record, Russian J ews might do to solve their problems
as J ews living in the Soviet Union?

4. Listening.

Students now listened to side one of the record, with pens or
pencils in hand, answering the eight questions of the Focus For
Listening page.

5. Discussion.

At the conclusion of the listening, we answered the eight Focus
questions together. Most of the students did well in hearing the
salient points of the record, but occasionally, there was some con-
fusion caused by inadequate attention to the recording. Disagree-
ments were easily cleared up, however, and the pupils arrived at a
complete understanding of the record's content, filling in and cor-
recting their answers wherever necessary.

6. Evaluation.

At the end of the class, the final five minutes were set aside
for evaluation of the record itself. A one-page form was distributed,
and each student swiftly filled out the answers, giving his or her
reaction to the record, as determined by answering the question
sheet. This simple questionnaire was then collected, to be evaluated
before the next lesson.

The questions on the evaluation form were:

1 . Did the record help you to understand the problems of Soviet
J ews?

2. Did the record seem accurate and real to you?

3. Did you find the record interesting?

4. Could you hear the record clearly?

5. Were the sound effects and music, appropriate and effective?

6. Were you able to understand the words?

17

7. What parts of the record were especially interesting to you?

a. What parts were especially uninteresting to you?

9. What parts, if any, would you like to hear again?

10. Would you I ike to learn any of the songs, to sing, or play?

In the second, hour-long class meeting, side two of the recording
was heard and presented in a manner similar to that of side one.

1. Motivation.

In this opening section, the Svoboda Banner and protest buttons
were placed on display once again. They were briefly discussed, as
a reminder to the students of their significance in the struggle for
freedom for Soviet J ewry.

I then went on to tell my students that Russian J ewish protest
had become more daring in recent years, as Soviet J ews had taken
up their right to leave the U.S. S.R. for Israel.

One of those who had voiced his desire to leave had been a
hero during World War II, when the Red Army had fought against
the German invaders. Grisha Feigin of Riga, in the Latvian Soviet
Socialist Republic, had participated in the liberation of Warsaw and
Berlin. He had been wounded twice and received seven decorations.

In protest against Soviet treatment of J ews, he returned his
medals to the regime, and was put into an insane asylum. Yet, his
desire to leave persisted and finally, in 1971, he was allowed to leave
Russia.

In writing to the Supreme Soviet, highest Russian legislative
body, he had written: 4

I hereby declare that I do not consider it possible to wear
the distinctions granted to me by a government which does not
honor my rights and which is hostile in its policies towards
my own country. I ask you to deprive me, in accordance with the
relevant procedure, of all the distinctions I have been awarded
and I appeal to you: Let my people go home!

Each student received a copy of the statement, while I read it
aloud to the class, after which the students silently continued to
read his appeal:

4. Cohen, Richard (Ed.) Let My People Co, New York: Popular Library,
page 48.

18

It is the appeal of the blood shed by a free people headed
by Maccabeus who fought for national independence.

It is the appeal of those who revolted against slavery ...
under the leadership of Bar-Kochba ...

It is the appeal of our ancestors who were burned on the
fires of the Inquisition . . .

It is the appeal of women and children who perished at the
hands of the "Black Hundreds" of Czarist Russia.

It is the appeal of millions of J ews whose ashes are scattered
throughout Europe.

It is the call of those who rose in the Warsaw Ghetto.

It is the appeal of my brethren who died on the gallows
in Baghdad.

It is the voice of my people who are building a new life in
their own land.

It is the voice of my mother who calls her son to her.

After explaining some of the references in the statement above,
such as the "Black Hundreds" and others, that were unclear to the
students, I went on to discuss the world-wide protest movement for
Soviet J ewry, that had developed in the past few years. Typical of
the expression of support for Russian J ews was a resolution, adopted
by the Knesset, the Parliament of Israel, after Russia imposed a
head-tax on J ews desiring to emigrate. Every student was given a
copy of the resolution, which each read quietly in class.

1. The Knesset notes that the head-tax imposed by the Soviet
authorities on J ews holding university degrees in the Soviet Union
who desire to emigrate to Israel is an infringement of human rights
and a trampling underfoot of human morals, an attempt to prevent
the immigration of Jews to their historic homeland. This device
aims at cutting off the J ewish community in the Soviet Union from
the J ewish people and from the State of Israel.

2. The Knesset appeals to the Government of the Soviet Union
to repeal this shameful decree which is aimed only at the J ewish
citizens and recalls the czarist, anti-J ewish legislation.

3. The Knesset takes note with deep appreciation of the great
response all over the world amongst peoples, parliaments, govern-
ments, progressive organizations, scientists and religious leaders —
who all raised their voices in protest against the ransom and demanded
its cancellation.

4. The Knesset appeals to all governments, parliaments and
international institutions and organizations as well as to the en-

19

lightened public opinion in all countries, to work towards the abolition
of the head-tax imposed on the J ews in the Soviet Union who wish
to return to their historic homeland.

5. The Knesset calls upon the Jewish people to mobilize its
strength, neither to rest nor to cease their efforts until the "Diploma
Levy" is abolished and the freedom of emigration of J ews from the
Soviet Union is insured in effect.

6. The Knesset calls upon scientists of all nations to rise to the
defence of the human and national rights of their colleagues in the
Soviet Union.

7. The Knesset sends its good wishes and its hope that they
might continue their good fight to our brethren in the Soviet Union,
who are struggling for their human rights and their affinity with our
people. The Knesset declares that the people in Israel as well as the
J ewish nation the whole world over will not rest until the head-tax
is abolished.

8. The Knesset takes note of the Government statement as de-
livered by the Prime Minister at the special session on Wednesday
the 13th of Elul5732 (August 23,1972). 5

2. Transition.

After having motivated my students, I moved to prepare the class
for listening by recalling that songs of protest, and songs of freedom
were part of the heritage of many peoples. We knew of the song,
We Shall Overcome, sung in the United States, and had heard free-
dom songs of Russian J ews. We would hear the other side of the
record, I continued, and in order to listen to the record in an expert
way, would use a series of questions that were concerned with the
highlights of the record.

3. Focus.

Each student received a copy of the list of questions, developed
from the highpoints of the second side of the record. We went over
the questions together, quickly, while I explained any words or ideas
that seemed to present difficulties. The questions were:

Focus For Listening
1. According to one Russian J ew, the Soviet government has
done many things that strike at the very ability of Soviet J ewish

5. The J ewish Frontier (New York), September, 1972, page 9. The reso-
lution is appended to an article on Soviet J ewry, "A Cynical Advice," by
Golda Meir, pages 7-9.

20

culture and J udaism to survive. What are these things?

2. One of the songs we hear on side two is the song, Dayenu
(It Is Enough for Us). It is sung a bit differently from the version
most of us know. Why are songs from the Haggadah especially
appropriate in singing about J ews who live under the Soviet regime?

3. Give the name of the Israeli hero, mentioned in one of the
songs sung by Soviet J ews.

4. To what city, in what country, are these Russian J ews pre-
pared to go?

5. In the songs we hear, one singer sings the words, Bashana
Habaa Birushalayim-The Next Year in J erusalem. We, in America,
read the sentence, L'Shana Habaa Birushalayim-The Next Year in
J erusalem, at the end of a narrative, or story.

Give the name of the narrative from which this sentence is taken.
During what J ewish holiday do we read this narrative?

6. According to the Soviet J ew we heard speaking on the record,
what is the one theme of the songs that Russian J ews sing?

7. In the last song, we hear the phrase, Am Yisrael Chai. What
does this Hebrew phrase mean? Why is it so appropriate for this
recording of the words and songs of Soviet J ews?

4. Listening.

The class now listened to side two of the recording, and answered
the Focus questions distributed to each pupil.

As at the previous lesson, we discussed our answers to the Focus
questions and wrote down the correct answers, making corrections
wherever necessary.

6. Evaluation.

As at the conclusion of the first lesson, a printed evaluation
sheet was given to each student. Pupils were asked to fill out the
sheet, the same as the first one distributed and return it to me. This
time, however, the sheet was filled out early, leaving us time for an
additional activity, not part of the previous lesson.

7. Action.

The struggle for Soviet J ewish rights, I explained, has been
clearly explained in the words and songs heard on the record we have
heard. We better understand, I went on, the world-wide struggle
for the right of J ews to leave the U.S. S.R. and settle in Israel.

6. Available from the Student Struggle for Soviet J ewry.

21

Along with our fellow-J ews throughout the world, we seek means
of helping Russian J ews and, I continued, I am distributing among
you now, a list of activities to aid Soviet Jewry, proposed by the
Student Struggle for Soviet Jewry. Entitled, Action For Soviet
Jewry, 6 the list should be read by you now. Consider three or four
activities you might like to participate in, either as an individual or
together with others in the class, so that we may organize activities
as part of our contribution, to the world-wide campaign for Soviet
J ews. With the organization and discussion of such activities, this
two-part lesson, based on our recording, came to an end.

Guidelines for the use of recordings in the classroom:

1. The teacher must be fully prepared for the lesson. The in-
structor must have heard the recording before playing it for the
students, and prepared printed material wherever appropriate, as well
as explanations and short motivating introductions where necessary.

2. The room must be prepared as well. Outside noises and dis-
tractions should be eliminated as much and as carefully, as possible
so that the recording will be heard to its fullest impact by all listeners.

3. The record playing equipment must, finally, be ready too. The
instructor should have the phonograph set up, at the proper playing
speed and correct volume, ready to play.

4. The record chosen should be appropriate for the situation in
which it is used. It should be chosen with the composition of the
class in mind-age level, attention span of the students, its relation
to the subject being studied, quality of the recording, etc. The record
may be utilized to introduce a subject, conclude the study of a sub-
ject unit, introduce songs, a speaker, or in many other ways, make
classroom study more vital to the students.

5. The lesson should be carefully planned and structured by
the instructor, so that the student is enabled to listen intelligently,
without becoming "lost" as he becomes unable to understand the
recording being played for him. This was done in the sample lesson
through various sections of each lesson part (one and two) :

a. Motivation. Arousing interest in the student through poetry,
song, a picture, button, banner, flag, etc.

b. Transition. Further preparing the students to listen to the
recording by relating the material to be heard to music already
known and understood by them.

c. Focus. Giving the students a printed sheet on which the
highlights of the recording, from near the beginning to the end, are
elicited through questions printed for each pupil. Through answer-

22

ing these questions, each pupil comes to understand the highlights
of the record.

d. Listening. Listening to the recording, with the Focus ques-
tions at hand, so that they may be answered as the record is played.

e. Discussion. Discussion of the Focus questions, with students
answering the questions and making corrections wherever neces-
sary.

f. Evaluation. Consideration of the recording's technical and
content aspects, on a printed sheet. Answered by each pupil, the
sheets form a written evaluation, kept on file by the instructor.

g. Further activities, growing out of the listening experience.
I n this case, the organization of protest activities was appropriate.
In another situation, a totally different activity might be desired.

6. Motivation-see 5a-is especially important in a short re-
cording, as a longer recording tends to build its own motivation, as
the record is played for the class.

7. It is desirable to have classroom discussion-see 5e~di-
rectly after the record is played. Postponing class discussion to a
future meeting of the students almost invariably leads to a decline
in interest, loss of notes, mood, etc. It is far better to get the
students to discuss the record at the moment of greatest interest.

23

REVIEW OF NEW MUSIC

Ben Steinberg

WEINER: Shir L'yom Hashabos, Sabbath Eve Service for Cantor,
Choir and Organ (Piano).
Transcontinental Music Publications, TCL 885.

There are many elements in this Service which make it useful
to the synagogue musician. Chief among these is the organ work,
which this writer finds uniformly practical and effective. A brief
opening prelude moves from a soft beginning to a forte finish, with
sections of open fifths in contrary motion, alternating with a rapid,
single-note melody in a more free cantor ial style. The more linear
fragments of organ work during the silent devotion and just before
theKaddish similarly maintain interest and accompaniments through-
out the work are rarely doublings, but consistently manage to add
their own contribution to the whole.

Much of the Service is simply written, using cantor ial chant alone
(as in the almost purely modal Adonai Moloch or the Oleynu) or
alternating with unison choir (as in the L'Chu N'ran'noh and Vay'-
chulu). Some selections contain more choral work (L'Cho Dodi, Mi
Chomocho, Yih'yu L'rotson) while others are "davened" in a more
traditional manner (V'ne-emar, Chatzi Kaddish) .

Singing congregations will try in vain to join in on much of this
Service. Other than the Adon Olom, which is a good congregational
setting, the Service is largely designed for trained choral, cantor ial
and instrumental forces. It grants the congregation only a token
musical role.

For this writer, it is strange to still find synagogue services pub-
lished in the old Ashkenazic pronunciation. To so many familiar
with modern Hebrew, the words and especially their accentuation now
seem odd. Moreover, if his congregation is knowledgeable in Hebrew,
a musician must often face the choice of tampering with the com-
poser's accentuation or foregoing the work. In the case of a com-
poser of Weiner's calibre, foregoing the use of his work is too great a
price to pay. The pencils come out, therefore, and the music gets
marked up, sometimes with the consequence of rhythmic distortion.

Shir L'yom Hashabos is a soundly written work, containing

Ben Steinberg, born in Winnipeg, Manitoba, a son of the late Cantor
Alexander Steinberg, is presently Music Director of Temple Sinai in Toronto.
He has lectured extensively on J ewish music history and has served as Director
for J ewish Music Programming for the Canadian Broadcasting Company.

24

variety and interest. It will offer rewarding performances to many
synagogues.

BERGER: Preserve Me, God (Psalm 16) for mixed chorus and
soprano (or tenor) solo. (Organ accompaniment optional.)
Transcontinental Music Publications, TCL 634.

Berger has written a fine piece for a good choir. It "sings"
easily and, in understanding hands, can achieve a gratifying choral
chant effect. An optional accompaniment is provided but is not
needed, since the harmony is interesting and full throughout. The
style of the piece is consistent-perhaps so much so that the per-
formers may lose their audience's attention at certain moments during
the piece. The "quasi recitativo", if taken sufficiently freely, offers
a rhythmic change.

At two points the soprano part gives way to a tenor solo which
is accompanied by the rest of the chorus humming or on an open
vowel. This tenor solo, although it is marked "ad lib", is essential.
One gets the impression that without this change of texture the piece
could develop a monotony or a "mother" texture.

There is also the concern that this text is a hymn of joy and that
if a conductor treats the piece literally and metronomically it could
come off rather slowly and pensively at times. Carefully treated
however, it can be most effective.

NEUMANN: Noches, Noches; Cuando El Rey Nimrod; Scalerica de
Oro; Los Bilbilicos Ladino Folksong settings for Voice and
Piano.
Transcontinental Music Publications, WJ 406, WJ 401, WJ 402,
WJ 405.

These melodies are, in a word, delightful. Ladino folksong is
one of the most neglected treasures in the J ewish musical field and it
is good to see an increasing exposure of this charming music. The
unusual wedding of cantorial and Spanish song styles makes this
music highly practical for a cantorially trained voice to negotiate.

Neumann's accompaniments are impressive in that they reflect
the style of the music accurately and do not get in the way of the
melodies. The piano parts are decidedly guitar-like and provide little
running conversation-like comments on the singer's phrases.

All in all, this is a fine, musically sound contribution, but lack-
ing in the background information which would make it so much
more useful for a performer. Translations are desperately needed as
well as a pronunciation guide. For example, few would know that

25

"bilbilicos" is from the Persian word "bulbul"' meaning nightingale.
"Noches, Noches" similar to "La Soledad" (another well-known
Ladinofolk song) describes with great passion the mysterious Iberian
night. Thus, a Spanish melody probably from the Middle Ages, com-
bines flamenco modality with cantorial style and a folk song emerges
which is fraught with meaning but must be interpreted by the singer.
This otherwise tastefully presented set of folk songs which could
add much interest and colour to a singer's program is rendered much
less useful through the lack of translation and background infor-
mation.

ISAACSON: Kol Sason (A Sound of J oy), A Marriage Service.
Transcontinental Music Publications, TCL 695.

Imaginative writing is always rare and to encounter a fresh
sound designed for, of all things, a marriage service is a pleasant
surprise. Isaacson, one of the most gifted young J ewish composers
today, offers his freshness of approach in this work chiefly in the areas
of texture and rhythm.

To the usual combination of cantor (tenor) and organ, he adds a
viola, a recorder and some small percussion instruments. Thus, the
traditional sound of the marriage service is given added colour and
excitement through musical forces which are financially feasible for
many weddings.

The purely instrumental parts (processional, recessional) are
bright. Part of their charm is due to Isaacson's scoring, which avoids
"block" treatment, but passes both melody and rhythm about from
one part to the other. The texture is light and transparent, and the
percussion part is kept delicate and complimentary. There is an
alternating six eight-three four rhythm which is scintillating. Al-
together, there are at least a dozen moments in the processional and
recessional alone when the listener is caught with the charm of the
renaissance-like sound of the ensemble. This is of course, a "chamber
music" approach and an organist would have to be sufficiently
sensitive to this idea in order to balance the ensemble and not over-
power the more important flute and viola parts.

The viola commentary in the benediction is especially interesting
because of the composer's understanding of the cantorial freedom
necessary in a prayer of this type. The organ chords softly while the
viola weaves a melody of responses, either playing along with the
cantor or responding to his phrases, never attempting a complex
counter melody, which would be superfluous in this case.

The readings before the Birchat Erusin and the Seven Blessings

26

were selected by Cantor Samuel Rosenbaum and are both tasteful
and appropriate.

This is a worthwhile work; different, yet easily enjoyed by an
audience; intriguing, yet easily negotiable by musicians.

It deserves much use.

WE I N E R: Three Biblical Songs

Transcontinental Music Publications; Isaiah TV 542, Ezekiel
TV 541, Ruth TV 540.

Lazar Weiner's song accompaniments are rarely mere supports
for a melody, but usually provide a musical character of their own.
The piano parts for these three songs are no exceptions and, while
rhythmically they are solid and compliment the voice part, they pro-
vide a welcome harmonic and melodic contrast to the melody in
each case. The focus is upon the singer nevertheless, and the texts
are treated in a dramatic manner. Rhythm follows words and all the
pieces have many time signature changes, in keeping with this ap-
proach.

Each setting is in English. The first is from Isaiah (1 1 : 2,3,4)
and is for a medium voice range (D - F) with an optional high G
flat. The second is from Ezekiel (37: 1-6) and is written at a slower
tempo. Although the range here is from low C to high G, the
tessitura is decidedly of a medium voice range as well. The third song
is taken from the Book of Ruth ("Entreat me not . . .") and contains
a slightly higher tessitura with a range from E to G, including an
optional high B flat.

These are three fine compositions from the pen of an acknowl-
edged master. That they are all in English renders them more uni-
versally useful but of course also adds the inevitable burden of a
striving for "J ewish" style in what is essentially a foreign language.
The songs are quite accessible to the singer. The piano parts, while
technically not difficult, demand sympathetic treatment in the hands
of an understanding accompanist,

BERLINSKI: In Memoriam, Prelude for Organ.
Transcontinental Music Publications, Tl 198.

This is a tight little piece and, like all of Dr. Berlinski's pieces,
organistically well-written. It will be easily followed by the listener;
an Andante section opens the piece, establishing a steady eighth note
rhythm against which a reed solo is played. There is a longer middle
section built on a sort of sixteenth note figure rising to a minor third

27

which is played and expanded first by one hand, then by the other,
then by the pedal. There follows a variety of harmonic and tonal
colours with rhythmic pauses. The first section then returns with
a few minor changes and a little extension.

This is altogether a well-written and useful piece. Yet, if it is
intended as a memorial, this reviewer finds it a bit bombastic in its
triple forte markings at the close of the middle section.

The synagogue, if it is to make intelligent use of the organ as
an instrument of worship, desperately needs well-written organ ma-
terial which contains, if not many recognizable J ewish motifs, at
least a nod in the direction of our tradition. Nowhere else is this as
essential as in the organ which, whatever may be the case now, was
identified with the church for centuries. Dr. Berlinski's organ compo-
sitions are significant, not merely for their own merit, but because
there is a tremendous dearth of organ writing in synagogue style and
he is almost the only trained J ewish organist consistently writing such
material. If the organ in the synagogue is to survive and to remain
stylistically alive, more of our J ewish composers should be encouraged,
through commissioning and any other available means, to write for
the organ.

28

rntfri vvrh

29

MUSIC SECTION

Bezalel Brun (1860-1918) was born in Zlatopel, the son of a
well known Baal Tefillah, Yitzhak Isaac Brun. After receiving a thor-
ough Hebrew and musical education he served as choir director in
Nikolayev. His collection of high holy day music from which the
following Rosh Hashanah sections are taken show Brun to have been
an extremely fine musician and talented synagogue composer.

The first section of his work was published in the April 1970
issue (Volume II, Number 4) of the Journal of Synagogue Music.

Sopran,

Tenor

j A | Coro

V cil j edei . (Maichtfos.)

A - do . noj z'.wo .6s & . ni ri schAn va a ni a_ch*_

u _ mi.bal o . daj en e _ 16 . him v' ne

. e _ mar.

31

lech

al kol ho . o . rez ba _ j6m ha . hu jh . jo

32

Cant

Reci t. rit.

Vr hi _ no - se al kol ho-0 _ rez bi . ko . re _ cho

Andante assai.

33

agitato

Ten.

zm

al koljrfach

I

^

p p p p r

.we 8e-wel ar ze -

JLUA

a

cho

£f"f

vje

da

£&E

f?vr ' r

A Bass.

quasi allegretto

a - po V'jo mar kol a scherriBchomon'schomob 1 a - po Ado.noj e

fsa.m-che - nu

bi - flchu o - se .

cho

J-

36

p cresc. .

- f

Reestando.
Cantor.

Andante.

y^n i r> pr^ir >P P P/'^rfff fP^tifffwrpi J^j ^

V'ta . her H.bo - nu Y. ow-de.cho b' o - mes ki a - to e. 16_him e. mes

Agritato

e . mes

Lid _wor cho e_mes v' ka _ jom lo _ ad

Ossia.

lech

37

m'ka -dcsch m'ka . desch is. ro

m'ka m , ka.deschis_ ro * el

el Vjom ha si _ ko _ _ rdn.

m'k£L - desch is - ro.et hri si . ko . - rdn.

el rrfka deschis.ro -

el m'ka deschis.ro . el

Coro.
Mode rat o

Haj6m haras olom.

38

v'so~zi cho.or misch po _ te - _ nu

cresc. t 1^ k k I

Vsd-zi cho . <Sr misch po . te - nu

v'sd . zi

39

cho_or misch po- te

O-jom ko . * ddsch.

Cantor.
Molio andante.

Ato socher.

A to so - cher ma- a _ ad 6 lom u>fo . ked kol jo_

moa wa-ha_mdn nis_to _ ros sche mi - bre „ achia.

Coro.

ben sostenuto

kol haj.zur lo ni.ch chedmi.

ha kol go.lu vJ jo.du-a if fo.ne - cho A-dd-noj e- ld.hei.nu
kol ha do- rda u -

u . ma bit ad sof kol ha do - ros u . ma bit ad kol ha do- roe

ki so-wi ckdk fii - ko - ,_ rdn kol ru.ach

vo , no . tescti

kol ru -_ aicli vo- no , fesch

le , hi - po .

if.hi.po.ke'd kol ru . ach to .no* - fcech le-hi-po.

41

ked kol ru . ach vo

chok si ko.rdn

l'hi -poked kol ru _ ach vo.no.fesch

^

fet

^#

32

Tr?.

^FYpppp

Vo
A.

f-EW= g

no .

•A

SFFPy

fesch Ten ia - cha.lie
P

cher ma-a_sim ra

- bim va.ha-mon bri

feza!

jos Fen ta.cha

ae ha jom tchLlas ma a sc.cho

ei - ko - rdn if jom ri.schdn

se ha jom tchi.las ma a se.cho si - ko - rdn 1. jdm ri-schdn

jfcfe = jb=^E^^

gJ JrdL.. " 1 ^F i - yrx= y

" ■ ■ J- i-4-

hdk Tis _ ro . el

ki thok r:.ia-ro_el hu misth-pdtldJdJie ja.a.kdw misch.pot kLld.ht'

h

c

ja . a

kdw

Ja

;L a

;

r^*~~. i * -^F^r~'^~^i

mi

sch - pot

; i f i 1

miech . pot

le - Id

_ he ja

7

. kdw J

~^ k<5

y s -

9 8

misch pot h

Lld.he ja .

a

kdw

S

n

tusch.pot ]c

ae. ja . a

. kow

— °

43

Val jede (sichronos.)

Moderato

Cantor

Sopran

ho . loch v' ko_ro _ so ho _16chvko.ro. so bos.ne je.ruscho

laj . im le

ho . loch

v'koro^o

bos- ne je.ruselio

44

eon anxma

45

j Sopr.

Ha

. wen j.i.kir h

ef.ra.

. im im

i ii ^~^t

TO ^ \ ?'£+

X id#Ti»L — ' irf^

*> Alt. ^P
Ten. > -

led schaa.schu

im ha .

- wen ja.kir li

ef ra -

im ja kir li im|

N Bass.

^ " -

led bcha a.schu im

A

ja kir ef

im im jo. _ ledsehaa-schu _ im ha - wen ja.kir li ef ra

chor es ke re nu

rt^trfp

6d al kenhomu

V p r r

me-aj 16 ra.

r P r p p r

chem avjach.menu ra .

46

11 r t r 1 1 r

N> chem a . rach

Cantor,

um n

£^^^^

um n' _ um A _ do

toE Qfa^PyrtfrtWJ

noj.

Ato nigleso.

Re c i t atido. t ^

Cantor. # ^^^^^^

A.to nig_le_BO ba_a„nan kwode cho al amkodschecho l'.da-ber i _ mom.

Coro.

Moderate

Gamho_6_lom ku _ 16 choLmi po. ne ^ cho u_wri_jos breschischor du mi md _ ko.

47

Cantor.

Vataschmi _ em.eB hod ko.le . cho vdiw.r6skod_Bche.eho mi.la - ha.wos esch.

Core
Maestoso.

le_ hem hi, . fo

ko_suwbs6ro.se

48

J A Sopr. sempre pp

$

Hi

iP^F

B3E

^

: B=F

Iter

hi

i

Alt.
Ten.

f-

Vaj .
sempre pp

r

habo .

TO^

» 1- J. J- * — ^

feSEE

=F=F

Bariton-Solo.
Andante assai quasi recitando

j_ -

Va.je. hi vajom haschli
Bass. sempre pp

S

schi bi . h' _

jos ha_b<5

ker va . je

4-, *-*-

BE

^

c t »

g^EE

y-i, n j,-«L — gg t t I i^ f ; -

49

Cantor.
Andante cantabile.

/ Sopr Va J-h- hi pp k °l ha.scho for ho - tech ho.lech v' chojok me

50

i,

kp==E

hor

schen

rrrS"

Pi

^ .h J* ^

J> i' J i' J>

va _ jar ho

>- » - 5 > = =E

* * * >

"p p r- p r

v'es ho. hor o . schen

,J) J) J. i>

T p r p p

v'es ho _ hor o_ schen

i

va.jo

m wm^^^^^^^

va_jo_nu_u va_jar ho _ om va . jo nu .

j- Ji J «b Ji ^ J) V> J> «h i> «h i>

gfe^

^ u va ja . am du va ja - am du me ro . - chok

va ja _ am .

va ja _ am.du me . ro

chok.

51

Hal?lujO. (Psalm 150)

Moderato quasi Allegretto

Tenor,

Base

S

foi A I Jr*. j | jfe ■ ^rr ^} l j: I .}^ t i ±*

P-P'P P p"

jo F ha.lt.lu

m p p r

jo ha - 1! _ hi

M ' P P P

jo ha_ 1° . lu

f^^fHH^-

f J P * P P 7

jo ha _ 1! _ lu .

I P> Jl p P

f^rViH^-

fm

m-y-h^

N##£

r Mf Mr^ N?

jo ha.l! _ lu . jo

ftj^ fa i> i^ -n

in ha. !• In io Via 1" In in, Via 1» In I in ha 1«

ha _ 1« _ lu .

ha_ 1*_ lu - jo
cresc.

frrf*

ha_l° _ lu L jo

k r f r MP^

¥w

/* j

■Fhrrirtr

52

«Vl. ??AUfH J>

v hale-lu_hu haleiu _ nu

-t j ^ g g g P i j

chol

. hale.Iu . hu bmi nim v u _ gow

=y=i§

Be

^PPP P '"

hale.lu-hu
3

3

hale.Iu . hu

_ naie.iu _ nu

haleJuhu b' sof u mo _

wm $

±^

Pifgil

bmumm v. u . gow

haleJuhu b' sof u mo . chol hale.luJiu

g gw ~ PW=?

j ;);u^)y < § p

^##

^^

hale.Iu . hu

haJeJu.hu

hale-Iu. hu haJeJu_

'J>3>i , j>j>

b' 64$f u mo .

haJeJu , hu fami nim v u

53

•jj>;j>

x& p-p p'pr< upppp* i l ^jtfri | j

54