JOURNAL
OF SYNAGOGUE
MUSIC
November 1976/Heshvan 5737
Volume VII
Number 1
CONTE NTS
A Unique Chapter In The History Of
The American Cantorate
Theological Reflections On Music
In Prayer
Records In The J ewish School:
A Lesson And Approach
The Phenomenon Of Non-Acceptance
Of The Unfamiliar
The Concept Of Mode In European
Synagogue Chant: An Analysis Of
The ADOSHEM Malak Shtej ger
Max Wohlberg 3
Elliot B. Gertel 26
Zra Goldberg 35
A braham Lubin 44
Hanoch Avenary 47
DE PARTME NTS
From OUR Readers
journal of synagogue music, Volume VI I, Number 1
November 1976 / Heshvan 5131
editor : Morton Shames
managing editor : Samuel Rosenbaum
editorial board: Saul Meisels, David Myers, Marshall Portnoy,
David J. Putterman, Gregor Shelkan, Moses J. Silverman, Pinchas
Spiro, David Til man, Dr. Max Wohlberg.
business manager: Yehuda M andel
officers of the cantors assembly: Michal Hammerman, Pres-
ident; Kurt Silberman, Vice President; Ivan Perlman, Treasurer;
Jacob Barkin, Secretary; Samuel Rosenbaum, Executive Vice
President.
sic is a quarterly publication. The sub-
scription fee is $12.50 per year. All articles, communications and
subscriptions should be addressed to Journal of Synagogue Music,
Cantors Assembly, 150 Fifth Avenue, New York 10011.
Copyright © 1976, Cantors Assembly
A UNIQUE CHAPTER IN THE HISTORY OF
THE AMERICAN CANTORA1E
MaxWohlberg
I hope that in the not too distant future an exhaustive history
of hazzanut will be complied. In the meantime the significant role
of the American cantor awaits its chronicler.
What follows here is an attempt to recall and to describe events
relating to the early efforts of a few cantors who wished to refashion
the character of the cantorate in America and to divert its course
into new channels.
Notwithstanding the small number of pioneers, the result was
a vibrant, though short-lived, organization with which both David
Putterman and I (later, also Saul Meisels) had become associated.
Since I had served as its recording secretary I have preserved
the minutes of its sessions. David Putterman had been asked to
organize for our study sessions and I am indebted to him for copies
of his correspondence with a number of well-known educators. David
and I had been serving neighboring congregations. His was in
Washington Heights, mine in Inwood.
In lieu of a preface, it seems proper to state that during the
thirties the preponderant number of cantors in New York and its
environs were members of the Farband. Unfortunately, the Farband
saw fit to open its ranks to even such as were but remotely related
to hazzanut, so long as they were willing to pay dues. As a result our
colleagues included shamoshim, shochtim, metamdim, mashgichim,
mohelim, kosher-delicatessen clerks and whoever functioned or
aspired to function as a hazzan for as few as three days a year.
J acob Rapaport, an eminently able man, presided over the des-
tinies of the Farband. He ruled with an iron fist and in a dictatorial
manner. Some of us pointed out the needs for cultural and musical
activities. Our suggestions, however, were, as a rule, met with con-
descending derision. "After all," we were repeatedly reminded, "all
one needs is the ability to 'der/ang' (deliver) ". But slowly the circle
of the dissatisfied grew and thus was laid the foundation for the
cantors cultural organization.
Note should also be taken of several other factors: The nation
was suffering from the effects of a severe economic depression. The
"Chazanim Farband," through the "Gewerkshaften" (Hebrew
Trades Union) joined the American Federation of Labor. Finally,
the need for a school for the training of cantors acquired an ever
greater number of proponents.
The final meeting of the Farband before joining the American
Federation of Labor was indeed a stormy standing-room only affair.
Only two spoke against joining the union: Glantz and this writer.
When the votes (taken by secret ballot) were counted there was only
one vote "against". Glantz abstained.
Incidentally, the future historian of the cantorate in America
should try to obtain minutes of the Farband. When I became its re-
cording secretary I found no recorded minutes. My first act was to
purchase two large, cloth-bound volumes in which I recorded, in
Yiddish, the proceedings of the general as well as board meetings.
Years later, my successor, N. Saravaisky, continued to record faith-
fully all that transpired at these sessions.
The fact of the matter was that progressively the cantors ceased
to look to the Farband for the solutions to their problems. Thus, I
was not surprised to receive the following frantic letter, dated
October 28, 1938:
"Dear Colleague :
We have just received information that the J ewish Council has
engaged a prominent rabbi to place all refugee cantors in America.
Therefore, we are calling this conference to find ways and means to
solve our problems as we are all in danger of losing our positions.
Are you interested in protecting the cantorate? You know that
in the last few years our position has deteriorated more and more.
The Conference will be held on Monday, October 31, 8 p.m. at
the Community House, 270 West 89th Street, New York City.
It is very urgent that you attend to protect yourself and the
Cantor profession.
The Committee :
P.J assinowsky, E.J . Kritchmar, A. Katchko, A. Friedman, D. Roit-
man, J . Schwartz."
I have no recollection of the results of this conference. No doubt,
during discussion in a calmer atmosphere, the threats disappeared
and the positions were saved. I do, however, recall a number of tele-
phone calls and a few informal, social get-togethers. Turning to my
notebook I read :
A meeting of the Board of Directors of the Chazanim Ministers
Alliance-K'neset Hachazanim D'New York took place on December
7, 1938 at 12 noon, at Temple Anshei Chesed, West 100th Street in
New York City.
Glantz presided and the following were present : Kwartin, Roit-
man, Friedman, Schwartz, Goldenberg, Hershman, Ringel, Katchko,
B. Kwartin, Brodsky, Kritchmar and Wohlberg.
The first item on the agenda was the election of officers. The
following were elected, all unanimously :
Glantz, Hershman and Katchko as members of a Presidium.
Schwartz -Treasurer
Friedman — Financial Secretary
Wohlberg — Recording Secretary
Ringel- Corresponding Secretary
Subsequent to a motion made by Wohlberg, seconded by Roit-
man, an Examination and Acceptance Committee was appointed to
pass on and to approve all candidates for membership in our organi-
zation. The committee is to consist of: Goldenberg, Glantz, Hersh-
man, Katchko and Schwartz.
Upon motion made by B. Kwartin, seconded by Goldenberg, it
was decided that all present members are subject to ratification by
the examination committee.
After a lengthy discussion, it was agreed to permit each member
to decide for himself whether he wishes to belong to any other can-
torial organization or not.
Glantz is requested and agrees to submit a paper outlining a
cultural, social and ethical program for general discussion at our
next meeting.
The Board, by majority vote, submits for approval the propo-
sition that our dues be eight dollars per annum.
A Culture and Music Committee was appointed to prepare lec-
tures, musicales, debates and discussions, open to the lay public as
well as members. The Committee consists of: Goldenberg, Katchko,
Glantz, B. Kwartin, Schwartz and Wohlberg.
Our next general meeting will take place on Wednesday, Decem-
ber 14 at Steinway Hall, New York City, when Glantz will read a
paper on a subject relating to our profession. Meeting adjourned at
3 :20 p.m.
Max Wohlberg,
Recording Secretary
General Meeting, December 14, 1938 at Steinway Hall.
Glantz presiding. Minutes of Board of Directors accepted. Mo-
tion made by Levitt, seconded by Erstling, to approve election of all
officers.
Examination and Acceptance Committee is ratified and aug-
mented by additional of Ephros and B. Kwartin. It is decided that a
majority (4) of this committee (of 7) is empowered to accept candi-
dates subject to ratification by the board. Members objecting to any
candidate are to voice their objection at a meeting of the board.
Ephros is added to the Cultural Committee.
After a lengthy debate in which the following participated:
Schwartz, Erstling, Wohlberg, Friedman, Lange, Weisfield, Kat-
chko, Z. Kwartin, Brodsky and Glantz, the body, by majority vote of
2, reaffirms its previous decision not to interfere with any of our
members who wish to continue their affiliation with other cantorial
organizations.
It is decided, by unanimous vote, that no officer of our organiza-
tion is to accept office in another such organization, nor is his name
to appear on its stationery.
Annual dues of eight dollars ratified.
After a short recess the date for our next meeting is set for
December 28, at which time the previously scheduled lecture by
Glantz will be delivered.
Meeting adjourned at 5 p.m.
Board of Directors Meeting, December 21, 1938 at Anshei Chesed.
Present : Hershman, Ringel, Glantz, Lange, Friedman, Schwartz,
Kwartin, Goldenberg, Roitman, Kritchmar and Wohlberg.
After a comprehensive discussion concerning the future of our
organization, Glantz suggests that it be named: American Cantors
Cultural Organization. Schwartz proposes : Chazan Ministers Cul-
tural Organization.
By majority vote the Board decides to submit for approval the
name of Cantors Minister's Cultural Organization.
Glantz submits a minimum and a maximum program. The first
(fraternal, social and cultural) to be adopted at once. The latter to
strive for and to pursue in the immediate future.
The first part consists of eight points :
1. Monthly musicales where new compositions of our members
be performed, discussed and analyzed.
2. Occasional forums, lectures and discussions on the history of
the Cantorate (including biographies) covering both the orthodox
and the reform factions of our profession.
3. Improvement of the ethical standards in our profession and
the formation of an Arbitration Committee.
4. Refining the forums of publicity employed by our members.
5. Establishing a semi-annual concourse for new liturgical com-
positions and to sponsor half-yearly chamber concerts for the per-
formance of new compositions.
6. Endeavor to control and extend the musical education of our
children in Talmud Torahs and to supervise the nuschaot taught
them.
7. Social and fraternal help for our colleagues in need.
8. Grant scholarship in advanced musical institutions for ta-
lented composers among our members.
The maximum program consists of five parts :
1. Group insurance.
2. A cantors seminary for talented applicants.
3. Erection or purchase of a cantor's old-age home in Eretz
Yisrael.
4. Publication of a monthly bulletin.
5. Organization of a society to be known as: "Friends of the
Cantorate" — Chovevei Chazanim BeAmerika.
Friedman would abolish the singing of prayers on the radio.
Schwartz would immediately inaugurate the publication of a
bulletin and the organization of an ensemble.
Roitman opposes, Katchko favors a cantors' ensemble.
Lange is in favor of sponsoring a radio program.
Schwartz and Friedman are appointed to serve in a Finance
Committee under the chairmanship of Z. Kwartin.
It is decided that Hershman is to preside at our next general
meeting until the scheduled lecture, when Katchko is to take over the
chair.
General Cultural Meeting, December 28, 1938 at Steinway Hall
Hershman presiding. Minutes accepted.
Schwartz greets Walter Davidson (for many years, president of
reform cantors), Kahn (from Liverpool), P. J assinowsky and all
assembled.
Chairman introduces Miss Weiss, cellist and Dr. Yokel, her
accompanist, who render a short musical program consisting of
works by Mendelssohn, Kodaly and Mozart.
Chairman thanks artists and introduces Glantz who delivers a
scholarly and instructive discourse on 'The Definition of the Can-
torate."
A discussion follows, with Katchko presiding, in which the
following participate : Wohlberg, Roitman, Oppenheim, Schwartz,
J assinowsky, Goldenberg, Brodsky, Kwartin, Steinberg, Katchko
and Ephros.
The latter proposes an evening devoted to the memory of Idel-
sohn.
Glantz gives a thorough resumee of all questions and comments.
Kahn, who recently arrived in this country, graciously consents
to sing a selection.
Board of Directors Meeting, J anuary 4, 1939 at Anshei Chesed
Glantz presiding. Minutes accepted.
Wohlberg moves a letter of appreciation be sent to Glantz for
his recent lecture. Katchko moves that similar letter be sent to Miss
Weiss and Dr. Yokel.
After lengthy discussion it is decided, on motion by Wohlberg,
that at every Board meeting we select a chairman and a substitute
to serve at the next general meeting.
Wohlberg is appointed to inform the press of all our activities.
It is decided that we acquire permanent headquarters.
It is also decided that at our next general meeting (J anuary 11)
Schwartz is to preside with Wohlberg as substitute.
Meeting will be followed by continued discussion on the subject
presented by Glantz.
Cultural Committee meeting is to be called for one hour preced-
ing the general meeting.
General Meeting, J anuary 11, 1939 at Pythian Center, 135 West
70th Street. Schwartz presiding.
Chairman urges all to come punctually to meetings. Minutes ac-
cepted.
Motion made by Ephros to arrange a memorial meeting in honor
of the I ate scholar, Professor A. Z. Idelsohn, is accepted.
Program submitted by Wohlberg. Schwartz, Katchko, Fried-
man, Ephros, Lange, Kwartin, Oppenheim, Rosowsky, Hyman, Vi-
goda and Glantz discuss program.
Katchko moves that Cultural Committee should make all ar-
rangements for the memorial meeting.
Wohlberg moves to table motion for engaging the Pythian
Center as our permanent headquarters.
Ten minutes recess.
Chairman welcomes Mr. J . Dymont who describes tragic plight
of the cantors in Berlin. William Sauler, accompanied by Dymont,
sings one of the latter's (secular) compositions and is then thanked
by the chairman.
Kwartin, Putterman and Schwartz discuss program of Glantz.
(Note: William Sauler, our recently departed colleague, was a
gentle soul and a fine singer. He was also the student (in Berlin) of
J . Dymont, the gifted composer of Rinot Ya'akov, a Sabbath Eve
Service (including Mincha) for cantor, mixed choir and organ. It
was this writer's privilege to have Dymont conduct his High Holiday
choir at the Inwood Hebrew Congregation.)
CANTORS' MINISTERS' CULTURAL ORGANIZATION
MEMORIAL MEETING
Tendered In Honor Of
Abraham Z. Idelsohn
Wednesday, J anuary 25th, 1939
Eight P.M. Sharp
at
The Society for the Advancement of J udaism
15 West 86th Street, New York City
Program
1. Introductory Remarks Adolph Katchko
2. Opening Address Leib Glantz, Chairman
3. Psalm I Zeidel Rowner
4. The Personality of Idelsohn Gershon Ephros
5. Ennosh Kechozir, by L. Lewandowsky
Sung by choir under the direction of Zawel Zi I berts
6. Representative Works of Idelsohn MaxWohlberg
7. "Hayad'u Hal'vavoth" (Halevy-ldelsohn) Quartet
with Z. Zi I berts
8. Idelsohn as Musicologist Jacob Beimel
9. "Habeit Mishomayim"(Zilberts) Choir of Z. Zilberts
10. Eil Molei Rachamim Zawel Kwartin
11. Closing Remarks Chairman
Meeting of the Board of Directors, February 1, 1939 at Stein-
way Hall
Glantz presiding. Minutes accepted.
Report of Memorial Meeting given by Friedman, Erstling and
Wohlberg. It is decided to thank all who helped make it a moral
success.
10
Hershman, Glantz, Friedman, Erstling, Katchko, Wohlberg,
Lange, Kwartin, Steinberg, and Brodsky discuss the letter received
by most of our members from the Cantors Association (Chazanim
Farband). It is decided, unanimously, to appoint a committee of
three: Glantz, Kwartin and Wohlberg to present our views at the
next meeting the Farband may call for the purpose of discussing the
status of our organization.
It is also decided unanimously, that all our members sign a
declaration of allegiance to our organization. The form of declara-
tion is to be prepared by the above committee.
At our next meeting Glantz will be Chairman and Wohlberg his
substitute.
It is decided to inform Professor Weinberg that our organiza-
tion has as yet not decided its position regarding sponsoring publi-
cations.
The Board decides that if one of its members does not attend
two successive meetings he is to receive a special letter from the
Board. If the letter remains unanswered that member is automatic-
ally suspended from the Board.
General Meeting, February 8, 1939 at Steinway Hall
Glantz presiding. Minutes accepted.
Friedman and Schwartz report on the memorial meeting in
memory of Professor Idelsohn.
Letter was received from L. Saminsky stating his regrets at his
inability to attend the memorial meeting.
Glantz reports on the letters received by many of our members
from the Farband and describes our meeting with them yesterday.
He also submits their proposal that we continue our existence under
their name.
Hershman, Schwartz, Roitman, Wohlberg, Friedman, Lange,
Saltzman, Meisels, Erstling, Katchko, Kwartin and J assinowsky dis-
cuss this proposal.
Miss Cynthia J assinowsky is introduced and plays two very ef-
fective piano selections. Her father then recites two poems from his
most interesting book : "Symphonishe Gezangen."
Glantz expresses our regrets to M . Nathanson for having indi-
rectly slighted him in our arrangement of the Idelsohn meeting in
his congregation.
Previous discussion is resumed. The proposal of the Farband is
unanimously voted down.
The question of a charter for our organization is referred to our
Board of Directors.
The chairman reads the Declaration of Allegiance which is to
be signed by every member. It is accepted unanimously.
Meeting adjourned.
Board of Directors Meeting, February 15, 1939 at Anshei
Chesed
Glantz presides. Minutes accepted.
Katchko proposes we invite Mr. J ules Chajes as lecturer for our
next cultural meeting on February 23rd to which the general public
will be invited. Proposal accepted.
Wohlberg is to act as chairman. A raffle (for one dollar) of
various liturgical books will then take place. Refreshments will be
served for which purpose Ringel donates the sum of five dollars. The
balance of the needed sum will be supplied by the Board.
The charter and form of Declaration of Allegiance is deferred
for next meeting.
Wohlberg reports on meeting of Farband where our answer to
their proposal of amalgamation was discussed.
Cultural Meeting, February 23,1939 at Anshei Chesed.
Glantz presides, discusses the theme scheduled for the evening
and introduces Mr. J ules Chajes, an accomplished musician and
composer who lectures on "J ewish Music : Past and Future."
Appropriate musical sections are rendered by Miss Zina Al-
vers, soprano and Miss Shulamit Silber, violinist, both accompanied
by Mr. Chajes.
A raffle of 12 cantorial books is conducted by Wohlberg, Rap-
paport, Mmes. Ringel and Erstling. $25.55 is realized.
After a short discussion, refreshments are served by courtesy of
Ringel and members of the Board of Directors.
Board of Directors Meeting, March 1,1939
Glantz presides.
Glickstein (of Boston) is present as guest. Problem of member-
ship is discussed.
The examination and acceptance committee will meet Monday
at 1 p.m. to review the list of our membership.
An application form, which will have to be filled out and signed
by all applicants, will be submitted by Wohlberg and Ringel.
At our next general meeting "Ethical Problems of the Cantor-
ate" will be the theme of a lecture by Wohlberg.
Bernard Kwartin will speak on 'The Voice."
Official thanks are extended to Katchko for providing a meet-
ing room for our sessions.
Program for the following Cultural Meeting will be prepared
by the Presidium and the Culture Committee.
Glantz proposes to use the services of a typist for our mailings.
General Meeting, March 8, 1939 at Steinway Hall
Glantz presides.
Chairman introduces Miss Elsy Stein, violinist, Miss Valy Gara,
cellist and Miss Sophie Feuerman, pianist, who play a Beethoven
trio.
Wohlberg speaks on "Ethical Problems of the Cantorate."
The guest artists play a Mendelssohn trio, after which there is
a general discussion on the subject presented by Wohlberg. The fol-
lowing participate: Roitman, Vigoda, Beimel, Marvitt, Hershman,
Brodsky, Erstling and Glantz.
Levitt asks our organization to help a finej ew, convicted of a
Federal offense, by asking the sentencing judge for leniency.
(Note : The following report, I am copying from a somewhat faded,
pencilled, yellow sheet.)
J oint meeting of the J ewish Ministers Cantors Association
(Chazanim Farband) and the Cantors Minister's Cultural Organiza-
tion on March 13, 1939 at the Farband locale at 111 Houston Street.
Finestone (of Hebrew Trades Union), Chairman.
Glantz reiterates our position, stating that the Cultural Organi-
zation will function in cultural areas leaving economic problems to
the union.
Kapov-Kagan accuses us of insincerity in our desire for culture.
He suggests either a reorganization of the cantorate or our leaving
the Farband to form a new, complete organization.
Erstling declares our perfect right to meet with men of fine
standing in the profession and not with those who are essentially
outside of it. He also denounces the union.
Breitman stresses that no school for cantors has as yet been
established by those now preaching "culture", and our absence at
meetings, rehearsals and other functions proves that we have ac-
tually broken away.
Lipitz agrees with Kapov-Kagan and claims our purpose is
merely to oppose the union. He emphasizes the impossibility of the
existence of two cantorial organizations.
Yardeini takes the floor.
Schwartz affirms the inability of the union to help the cantorate
and bemoans our sufferance, in the midst, of men carrying two union
books. He adds that two organizations can collaborate after reor-
ganization.
13
Maison says all need culture but bread takes precedence.
Wohlberg points to the need for a place reserved for cultural
pursuits.
Hershman disclaims political interests and warns Farband that
expelling us would ruin it.
Walitzky states that listening to a lecture is not synonymous
with the acquisition of culture.
Goldstone takes floor -then sits down.
Finestone fears that our separate existence will ultimately lead
to an open break and is of the opinion that we ought to educate all
and not create an aristocracy. He proposes the selection of a smaller
joint committee (three of each group) to discuss the issue.
Glantz echoes the wish for duly appointed committees of both
organizations.
Board of Directors Meeting on March 16 at Rappaport's Res-
taurant on Second Avenue.
Glantz — Chairman.
Wohlberg reports on our meeting with Farband.
Letter was received by Glantz from Farband inviting our com-
mittee to meet with their committee at office of Gewerkshaften on
Monday.
Chairman wishes us to reaffirm our previous position.
After lengthy discussion it is decided to 1) induce our members
to continue affiliation with union; 2) to retain, if possible, our pre-
sent name and to 3) cooperate fully with the Farband.
Representing us at the joint meeting will be : Glantz, Hershman,
Katchko and Schwartz and Wohlberg as substitutes.
Board of Directors Meeting, March 22, 1939 at 418 Central Park
West
Glantz (chairman) reports on meeting of our presidium with
the Farband at Hebrew Trades Union.
Proposal was made there by E. Spivack that our organization
exist as a branch of the Farband with autonomy in its functions
which should be open to all cantors.
After prolonged discussion no decision is reached.
Board of Directors, April 24, 1939 at 4800 - 14th Ave, Brooklyn,
New York.
Glantz, Chairman.
Letter received by Glantz from Finestone is read and is referred
to next general meeting (April 27),
14
Cultural meeting will take pi ace on Wednesday, May 3rd. Pro-
gram (Improvisation) will be prepared by Glantz, Katchko and
Wohlberg.
Ringel is officially thanked for acting as secretary in absence
of Friedman.
List of our members in arrears is read. It is decided to remind
them of this lapse in our next mail.
A most interesting discussion follows on the subject of modula-
tion after which Mrs. Hershman serves a delicious lunch.
Max Wohlberg
Business Meeting, April 27 at Steinway Hall
Glantz presiding.
Chairman reports on our conferences with the Farband and
reads the letter we received from M. Finestone, secretary of Gewerk-
schaften, who acted as mediator between the two groups.
Wohlberg reports on last meeting of Farband where autonomy
in the selection of members was offered our organization upon its
amalgamation with the Farband.
Hershman, Friedman, Goldenberg, Roitman, Schwartz, Erstl-
ing, Kwartin, Katchko, Putterman, Lange, Ephros, Weisser, Weis-
feld, J assinowsky, Steinberg and Glantz discuss proposal.
Upon motion by Wohlberg, seconded by Erstling, it is decided
that 1) although desiring to co-operate fully with the Farband, we
cannot, for multiple reasons, become its branch; 2) we are unwilling
to limit our membership to union men.
Motion is carried unanimously.
Cultural Meeting, May 3, 1939, Steinway Hall
Glantz — Chairman
Program:
Beimel reads a paper on Improvisation. Zeidel Rowner, Sholom
Greenspan and D. M . Steinberg improvise successive verses of Av
Horachamim.
Glantz discusses problem of improvisation.
Glazer, Roitman, Kritchmar and Goldenberg sing parts of Ato
Nigleiso.
J assinowsky gives his view on improvisation. Wohlberg, Hersh-
man, Friedman, Roitman, A. W. Binder, Lange and Rappaport dis-
cuss the subject in great detail.
Board of Directors Meeting, May 10, 1939 at Anshei Chesed
Wohl berg-Chairman.
15
Roitman and Glantz report on our last cultural meeting at which
time one of our members (M. Hershman) expressed himself in a
manner unbecoming the dignity of our profession and the decorum
of our sessions.
After condemnations by Lange, Brodsky, Goldenberg, B. and Z.
Kwartin, Schwartz, Erstling and Wohlberg, Hershman admits his
guilt in losing his temper and in his choice of words. He will avoid
acting in this manner in the future.
Motion by Goldenberg, seconded by Lange, to fine all who inter-
rupt speakers at our meetings, is approved unanimously.
Motion by Schwartz, seconded by Brodsky to express our ap-
proval of the conduct of our Chairman (Glantz) of our last meeting
is approved.
Glantz takes over chair and reads copy of letter we sent Mr.
Finestone. Letter meets with general approval.
It is decided to continue discussion on improvisation at our next
meeting on May 16th. The Committee to arrange the program con-
sists of Glantz, Goldenberg, Katchko, Roitman and Friedman.
Cultural Meeting, May 16 at Anshei Chesed
The Chairman, Glantz, stresses the importance of improvisa-
tion in our profession.
Katchko discusses improvisation in the general context of J ew-
ish music and its place in the cantorate.
Wohlberg and Friedman then sing parts of Zechor Beris Ovos
(Yom Kippur liturgy) as an example of spontaneous improvisation.
Lange and Kwartin sing four Ya-aleh's each. None of the above
were informed previously which texts they will be asked to sing.
(Note: I believe Beimel made the selections.)
Beimel, Saltzman, Rapaport, Wohlberg, Lange, Katchko, Green-
blatt, Roitman and two laymen: Rabbi Meyer and Mr. A. Kessler
commented on the program.
Glantz gives a thorough resume of the opinions expressed dur-
ing the evening.
Board of Directors, J une 1, 1939 at Anshei Chesed
Glantz-Chairman.
Wohlberg and Katchko report on last meeting.
(Note : The J une and August 1939-1 ast issue-of the "Chazo-
nim l/l/aft", in Warsaw, contain articles by this writer on the pro-
grams and progress of the Cantors Cultural Organization.)
Our next business Meeting is set for J une 7th at Steinway Hall
where reports on our finances and past activities will be given and
nominations and election of officers will take place. The meeting will
open at 8: 15 and close at 11:30.
Ringel and Friedman are appointed to find a suitable pi ace for
our final social meeting. It is decided that laymen be given the privi-
lege to take the floor at our meetings.
Business Meeting, J une 8, 1939 at Steinway Hall
Glantz-Chairman.
He reviews, with just pride and telling detail, the accomplish-
ments of our organization during the past season.
Schwartz thanks Glantz for excellent report.
Wohlberg expresses appreciation of organization to Schwartz,
Katchko, Glantz, Friedman, etc.
Friedman reports we have 47 paid-up members.
Schwartz declares a balance of $11.04.
Friedman, Lange and Brodsky are optimistic regarding our
future.
Erstling urges taking our charter and bids us, in addition to our
present work, to undertake regular organizational activities. In this
view he is supported by Saltzman, Schwartz, Lowy, Kwartin, Meisels
and Hershman. The latter minimizes our achievements.
Katchko and Beimel stress need for cultural program.
Putterman asks for active acceptance committee and for the
establishment of a seminary.
Glantz responds to all comments and denies our need for change
of program.
All previous decisions of our organization are reaffirmed by
vote.
It is decided that election of officers will be for period lasting
till January 1940.
Motion made by Brodsky to retain present officers.
Schwartz amends that instead of presidium we elect a president
and two vice-presidents.
Wohlberg advises retention of presidium, one of whom shall be
permanent presiding officer. He so moves, motion carried.
Due to late hour, election postponed for next meeting.
General Meeting and Election, J une 14 at Anshei Chesed
J assinowsky-Chairman.
Minutes accepted. Election of officers : Schwartz, Hershman,
J assinowsky, Beimel and Putterman decline nomination for mem-
bership in the presidium.
Glantz, Katchko and Kwartin accept nomination for same. Upon
motion by Putterman they are elected by unanimous vote.
17
Erstling moves that term for officers be for one year. Motion
carried.
Kwartin and Katchko decline nomination for office of presid-
ing officer. Glantz accepts.
Schwartz elected unanimously as treasurer.
Upon motion made by Kwartin, seconded by Glantz, Ringel is
elected as financial secretary ; Wohlberg, recording secretary ;
Friedman, corresponding secretary.
Glantz thanks Friedman for his devoted work.
The following twelve are elected as members of the Board of
Directors : Beimel, Ephros, Erstling, Goldenberg, Hershman, J as-
sinowsky, Kritchmar, Lange, Putterman, Roitman, Steinberg and
Weisfield.
Putterman moves that acceptance committee review list of our
membership.
Board of Directors, J une 19 at Anshei Chesed.
Glantz-Chairman.
Arrangements for proposed banquet on J une 27th are discussed.
Detailed report on hall (Broadway Caterers, 2528 Broadway) and
meal (seven-course, roast spring chicken) is given by Ringel and is
accepted unanimously. Wohlberg reports on program planned. Zeidel
R owner is to bentsh.
(Note : The following program appeared on the printed menu.)
Opening Prayer Jamb Schwartz
National Hymns David Putterman and J acob Rappaport
Introductory Remarks Zavel Kwartin
Toastmaster Leib Glantz
Symposium, "Cantorate Whither"
G. Ephros, P. J assinowsky, A. Katchko, D. Roitman
MUSICAL PROGRAM :
D. Brodsky, S. Meisels, D. Steinberg
Arrangement Committee :
M. Erstling (Chairman), I. Ringel, M. Wohlberg
(Note : On the back of my printed menu I have some not quite, dis-
tinct jottings. After Saul and Ida Meisels, I have in parenthesis:
Mousorgsky, Shir Haroeh, Bin Ich Mir a Shneiderl. Following D.M.
Steinberg, I have: Hinei Man Tov, Lector Vodor, Ho-oseh Lonu
(Greenblatt-piano) . Ephros-J assinowsky ? Brodsky's name is fol-
lowed by: Werther-Massenet and Hatei Eloah. I distinctly recall
Shmuel Postulow who had but recently arrived from Vienna. He was
invited to sing and graciously consented to sing Sulzer's Vese-rav in
G minor.)
Business Meeting, October 25,1939, Steinway Hall
Glantz-Chairman.
After brief review of tragic situation in which J ewry finds
itself, the chairman greets those present. He also reports of the
discussion by the officers at a recent meeting, at his home, concern-
ing the status of our organization.
Roitman is in favor of our meetings to begin immediately after
the holidays and believes the time has arrived for a break with the
Farband.
Erstling is convinced our solution lies in an independent, ac-
tive, professional organization.
Schwartz urges the continuance of our work in the area of cul-
ture, establish a seminary and strengthen our position materially.
Goldenberg stresses need for seminary.
Wohlberg sees no need in resigning from the Farband while our
programs do not conflict.
According to Levitt, a seminary is not our most urgent need.
A strong, independent organization is.
Brodsky believes, the time is not yet ripe for a change in our
status, unless we begin to agitate for all qualified cantors to join our
ranks. He also advises that we endeavor to remedy the evils in the
Farband "from within".
J assinowsky wants our committees to prepare a program of
activities similar to that of the past year.
Katchko advocates cultural programs and feels that ultimately
conditions will compel us to leave the Farband.
Putterman considers our incessant pre-occupation with the
Farband to be absurd and would have us stick to our outlined pro-
gram.
Erstling reiterates his previous statement and proposes mate-
rial help for our colleagues in need.
Kwartin professes need for a charter, a seminary and for con-
sideration of economic problems. He thinks it advisable to express
our views of the Farband at Farband meetings.
Glantz points out our lack of comprehensive solution for can-
torial problems, prevents us, at this time, from going into competi-
tion with the Farband and declares all discussion of that organiza-
tion to be pointless.
Erstling moves (seconded by Schwartz), we acquire a charter.
J assinowsky moves we refer question to Board of Directors. Latter
motion accepted.
Erstling moves acceptance of his previous suggestions. Motion
accepted.
19
Kwartin wishes drive for membership.
Schwartz asks those in arrears, to pay their dues.
It is unanimously decided not to undertake the giving of posi-
tions.
The questions of charter, seminary and monthly organ are re-
ferred to Board of Directors.
A telegram from Hershman expresses regret that due to ill
health he is unable to attend this meeting.
Board of Directors, November 1,1939
Glantz-Chairman.
It is decided that presidium will set date for next meeting and
prepare program for it.
The Board unanimously decides to apply for a charter.
Schwartz will call committee consisting of Putterman and Erst-
ling to discuss necessary details for securing charter.
A committee consisting of Putterman (Chairman) , Goldenberg,
J assinowsky, Schwartz, Beimel, Roitman, Wohlberg and presidium
is to meet and bring in report on cantor's seminary.
After lengthy debate the motion for a journal is tabled.
A committee consisting of J assinowsky, Katchko, Glantz,
Schwartz, and Beimel is authorized to bring in report regarding a
proposed "cantors' radio hour".
Schwartz urges prompt payment of dues.
Brodsky and Erstling are appointed to serve on membership
committee, chaired by Putterman.
Katchko moves for thanks to Mr. Zayde, for the pictures of
P. Minkowsky and D. Nowakowsky, which he presented to our orga-
nization.
Brodsky is asked to visit Hershman, who is ill.
The presidium is to act as permanent welfare committee and
is to decide, in which cases, moral or financial help is to be extended.
Wohlberg thinks it advisable to schedule all committee meetings
on Mondays.
J assinowsky, with cooperation of Ephros and Wohlberg, are
entrusted to collect old and rarej ewish musical compositions and
material of liturgical character.
(Note : The following minutes (without signature) were, I believe
written by David Putterman who, as I recall, forwarded them to me.)
Minutes of Membership Committee of the Cantor-Ministers'
Cultural Organization held on Monday, November 6th, 1939 at 1 P.M.
in the study of Rev. Katchko. Those present were Cantors Erstling,
20
Putterman, Ringel and Schwartz. The meeting was presided over
by Cantor Putterman. The committee decided to make the following
recommendations to the board of directors for its consideration and
adoption.
1. That membership dues shall commence annually as of Octo-
ber 1st, and that those, who made payments of $4.00 or more, since
J une, 1939, will be credited as of October 1st. That hereafter dues
shall be paid in sums not less than semi-annually and that those who
are accepted for membership during the year shall be charged on a
prorata basis.
2. All those who are at present members of the organization,
shall be required to sign application blanks.
3. All new applicants for membership will be required to sign
application blanks accompanied by check in payment of six months
dues. These applications must be signed by two members in good
standing. All applications will then be referred to the membership
committee for approval and will then be submitted to the board of
directors, whose decision shall be final.
4. No applicant will be considered, unless he has been actively
engaged as Cantor, for a period of at least three years, in the employ
of a regularly incorporated synagogue.
5. Members who are in arrears for six months will be given
two weeks notice and if their dues are not paid within that period
they will be automatically suspended.
Cultural Meeting, November 16, 1939 at Steinway Hall
Glantz-Chairman
The Chairman introduces (in Hebrew), the guest speaker,
Dr. Mordecai Sandberg of Palestine, who is a well-known composer
and eminent musicologist.
Dr. Sandberg speaks (in English) on 'Tonality and the Can-
torial Art". He emphasizes the importance of the quarter-tone sys-
tem in recording ancient music and explains his own invention : the
universal mi crotone system.
General discussion (mostly in Yiddish) and question and answer
period follows.
Chairman expresses appreciation of our organization to Dr.
Sandberg for his illuminating lecture.
Board of Directors Meeting, November 30, 1939
Glantz-Chairman.
It is decided to invite Dr. Sandberg again for a lecture and to
pay transportation expenses for his specially constructed instrument
needed to illustrate his mi crotone system.
21
A motion is accepted to secure subscriptions amongst cantors,
amounting to $100.00, for publishing two of Dr. Sandberg's songs.
Our presidium is to review the songs. $32.00 raised among those
present.
Putterman reports on meeting of Membership Committee held
on November 6. (Note : See minutes of that meeting above.)
It is reported that a charter for our organization will cost
$46.00 (approximately). Attorney, Miss E. Schwartz, daughter of
our colleague, offered her services gratis, in obtaining it.
Putterman and Glantz will help in preparing its content and
character.
Putterman reports that seminary committee, in view of present
general situation, recommends the establishment of weekly courses
in 1) Nuschaot and 2) History of Liturgy.
Steinberg would add 3) Elementary Theory of Music.
It is also suggested that a complete service and siddur be com-
posed by and for our members.
Proposals are referred back to committees for further con-
sideration.
Cultural Meeting, December 12 in Social Room of Anshei Chesed
Glantz-Chairman.
(A large audience is assembled.)
The chairman stresses rejuvenating character of the Chanukah
Festival and bids our colleagues to assist in the rebirth of cantorial
art through medium of Cantors Ministers Cultural Organization and
its programs.
Mr. J .J oels, well-known pianist then performs M. Milner's:
B&m Reben Tzu Me/aveh Malkeh, a phantasy on J ewish folk melo-
dies.
At the behest of the chairman, the audience rises in silent
memory of our many martyrs who died in distant lands.
D. M. Steinberg lights the Chanukah candles and chants the
appropriate passages.
The guest speaker of the evening, Dr. Sandberg, delivers an
address on his microtonal system. The latter subdivides our present
diatonic and chromatic tone-system into fourth, twelfth and six-
teenth tone intervals. This system would, according to the speaker,
eliminatethe many faulty divisions of the present scale and would
greatly facilitate a true-to-pitch accompaniment of the singer. By
his specially-built (organ-like) instrument the speaker illustrates
his theory.
A. Katchko then sings Sandberg's setting of Chaxon Yeshayahu
accompanied by J . J oels.
22
D. Roitman sings two of his own compositions Yehi Rotxon and
Yisgadal which are analyzed by the speaker in the light of the micro-
tonal system. The chairman thanks the speaker.
Refreshments are served in the ante-room.
Board of Directors, December 18 at Anshei Chesed
Glantz-Chairman.
Schwartz and Glantz report on their meeting with attorney
Eleanor Schwartz and read the draft of the charter prepared by her.
Glantz, Schwartz and Putterman are requested to meet with her
regarding the final draft which will then be submitted to the gen-
eral body.
An organization-seal is recommended in the form of a circle
within which our name (Cantor-Ministers' Cultural Organization)
in English will appear on top ; Chazonim KulturOrganixacie at the
bottom and : Histadrut Chazanim, Tarbutit in the center.
Beimel proposes a Sulzer memorial program commemorating
the 50th yahrzeit of the great cantor and composer. Proposal unan-
imously accepted.
Presidium requested to prepare program for next cultural
meeting.
Board of Directors, December 27, 1939 at Anshei Chesed
Glantz-Chairman.
It is decided that those of our officers (J assinowsky, Katchko,
Kritchmar, B. Kwartin, Roitman, Steinberg and Wohlberg) whose
names appear on the stationery of the Farband as members of its
Advisory Board, in violation of our by-laws, immediately request
the withdrawal of their names from that Board. Copies of these re-
quests are to be given to our Secretary.
Glantz reports on his visit with Hershman who is ill.
It is decided to postpone our next business meeting to J anuary
10, 1940 when further collections for printing two Sandberg songs
will betaken up.
A committee, with full power, consisting of presidium, Beimel,
J assinowsky, Putterman and Wohlberg, is appointed to prepare pro-
gram for Sulzer memorial.
Putterman suggests three subjects for courses to be given with-
in our organization :
1. Chaxanut which will include: Cantillation, History and Art
of Chaxanut, History of J ewish Music and History of Liturgy.
2. Music - to include theory, harmony and art of voice.
3. Hebrew - conversation and Dinei Tefilah.
23
He also proposes the inauguration of courses consisting of
Hebrew, History of Liturgy, Nuschaot, and Theory of Music on
J anuary 15 and every week thereafter. Each course to consist of
12 lectures to be paid for (at $2.00) by the students. Teachers are to
receive not more than $25.00 per course.
Beimel, Ephros and Katchko are proposed as instructors.
Kwartin urges the start of a drive for a large relief fund to be
combined with the forming of an Agudat Chovevei Chaxanim, in
which connection he offers considerable (financial and other) help.
Kwartin appointed chairman of this fund raising committee.
School committee will consist of Putterman, presidium and
Wohlberg.
Business Meeting, J anuary 10, 1940 at Steinway Hall
Glantz-Chairman.
Minutes of previous meeting accepted with corrections.
Miss E. Schwartz, attorney, reads draft of charter which is
discussed and accepted. However, minor changes are to be made by
Board of Directors.
Those signing certificate for charter will consist of organizers
and officers.
Further collection for Sandberg's songs is taken up.
Recess declared for payment of dues.
Glantz requests all to visit Hershman before his departure for
Florida.
Kazimirsky, president of Union of Synagogue Conductors, asks
-through Glantz-our members to engage only union choir leaders.
Motion made by Schwartz, seconded by Kaplow, to postpone
Sulzer meeting to later date. Schwartz promises to endeavor to secure
his temple (Benei J eshurum) and choir, gratis for this affair.
Putterman, Brodsky, Beimel and Glantz will discuss this pro-
posal with Schwartz.
Board of Directors Meeting, J anuary 24, at Anshei Chesed.
Glantz-Chairman.
It is decided to have Sulzer meeting at Sha'arei Zedek (Roit-
man's) Congregation, 93rd Street and Broadway on February 7,
1940.
Acknowledgement, received from Schwartz, of telegram we
sent upon completion of 25 years of service with Benei J eshurun.
Mr. Zalis, the choir leader, here at the invitation of our board
of directors, is asked whether he can prepare his choir for Sulzer
meeting and what the cost would be. He estimates $50.00. Chairman
thanks him for his readiness to assist us.
24
Schwartz proposes to supply his choir and organist for sum of
$25.00. His proposal accepted with profuse thanks.
Letter received from Farband asking for committee of our
organization to meet with their committee. Our committee will con-
sist of presidium and Schwartz. It is understood that no proposal
or commitments are to be made by our committee. Meeting will take
place in Schwartz's off ice on Monday.
Board of Directors Meeting, J anuary 31, at home of Glantz.
Glantz reports on our meeting with Farband, where the latter
proposed amalgamation on following conditions : (1) Their resign-
ing from the American Federation of Labor. 2) Only yearly posi-
tions will be given by their placement committee and 3) Expelling
those of their members who are unworthy of our profession. Weisser
proposed the formation of a board of presidium consisting of repre-
sentatives of the three existing organizations.
Putterman moves, seconded by Ringel, to refer these proposals
to our next board of directors meeting. Motion carried.
Erstling relates that yesterday's meeting of Sulzer memorial
committee, with officers, broke up in disagreement.
Glantz, in a detailed report, regrets the lack of cooperation of
Katchko and Wohlberg. The latter (two) reply to the accusation.
Schwartz, Beimel, Brodsky, Erstling and Ringel express their views.
(See note below.)
It is decided to distribute circulars in various synagogues (re:
Sulzer meeting) and to invite music organizations and choruses.
Ringel and Wohlberg are to attend to printing and distribution
of letters and circulars. Goldenberg will call choir-leaders. Beimel
and J assinowsky will secure press notices and, with Glantz, will
write articles. Schwartz had ordered a piano. Erstling will act as
chairman of reception committee.
(Note: Whilethe nature of the precise incident causing the dis-
agreement between Glantz and myself escapes me. I clearly recall my
criticism of his occasional indulgence in authoritarian and dictatorial
attitudes. Whether Katchko sided with me on this issue, or had an-
other reason for a fall-out with Glantz, I do not remember. M . W.)
MEMORIAL MEETING
In Honor of The Great
Cantor and Composer
SOLOMON SULZER
on the
Fiftieth Anniversary Of His Death
arranged by the
Cantor-Minister's Cultural Organization
Wednesday, February 7th, 1940
8 :30 p.m.-Shebat 28, 5700
at Temple Sharei Zedek
93rd Street at Broadway, New York
Program
I
Invocation Rabbi Elias Solomon
Introductor Remarks Pinchos J assinowsky
"Sulzer, The Cantor" Chairman-Leib Glantz
"Al Naharos Bovel" — S. Sulzer, Choir of Congregation B'nei
J eshurun, J acob Schwartz,
Conducting
Musical Contributions of Sulzer Lazare Saminsky
"B 'lei I Zeh Yivkoyun"-S. Sulzer Benei J eshurun Choir
Sulzer, the Man and his Work J acob Beimel
II
MEMORIAL SERVICE
"Schochnei Votei C homer"
"Shivisi"
"Ernes Ki Ato Hu Yotzrom"-S. Sulzer, Cantors Ensemble consist-
ing of: B. Brodsky, A. Goldberg, H. Greenblatt,
A. Hyman, S. Meisels, M. Postulow, W. Sauler,
M. Wohlberg, M. Lexandrowitch, and
M. Shanok. Adolph Katchko, conducting
"EM Molei Rachamim" David Roitman
Cantor of Sharei Zedek
Benediction Rabbi M . Goldberg
M. Erstling, I. Ringel and M. Wohlberg, Arrangement Committee
. To Be Continued
26
THEOLOGICAL REFLECTIONS ON MUSIC IN PRAYER
Elliot B. Gertel
"The power of music to merge different individualities in a com-
mon surrender loyalty and inspiration, a power utilized in religion
and in warfare alike, testifies to the relative universality of the
language of art. The differences between English, French, and Ger-
man speech create boundaries that are submerged when art speaks."
-J ohn Dewey*
"To form in tones is to form the stuff of time."
— ZUCKERKANDL 2
The Elusive Art
That music is "a very young art form, from the point of view of
technique as well as of knowledge," 3 is indicated by the dearth of de-
tailed philosophies and theologies of its role in life. Aristotle hardly
deals with the subject; Kant barely touches it ; Hegel pauses to de-
scribe music as time superseding space — but generally, the great
philosophers are reticent.
Two important aesthetics of the embodiment of religious tradi-
tion in music were formulated in an argument over J udaism and
music between a racist composer and a nihilistic philosopher.
As is well-known, Wagner charged that J ewish composers had
corrupted Teutonic music with foreign Hebraisms. As is less well-
known, Nietzche countered his one-time creative idol, with the ob-
servation that music may well have suffered, because it has been
used to glorify New Testament characters and not to express the
ancient Hebraic spirit, in which he found greater discipline and ac-
tive pursuit of perfection. 4
Of that scarcely productive and overly racial discussion, Pro-
fessor Arthur Danto has observed : "Nietsche fancied himself a com-
poser as Wagner fancied himself a philosopher, and the continual
usurpation of each other's prerogative must have been galling to
men whose vanities verged on megalomania."5 Be that as it may, an-
other Columbia University professor of aesthetics has observed that
Elliot Gertel is currently a student in the Joint Program of the Jewish Theological
Seminary and Columbia University. He has already published a number of articles in
the field of Judaica.
very little has been written of value, about music, except by Zucker-
kandl, whom I quoted, at the beginning of this paper, and whose
thought about time and music, will be explored later in these pages.
Indeed, to dare to philosophize about music entails either great
vanity or great musicianship, or both. Yet, the theological role of
music in prayer has cried out for exploration in J ewish circles, since
the great strides made by composers of East and West European
J ewries, during the nineteenth century. Since I cannot claim even
meagre musicianship, and since I hope to avoid vain exploration of
the most elusive art, I shall limit myself to a few theological ob-
servations, which I hope to legitimate with texts, and with the hope,
that the present effort will inspire future efforts in the same vein.
Creative Inspiration
"Music in its immediate occurrence" is, according to Dewey,
"the most varied and ethereal of the arts, but is, in its conditions and
structure, the most mechanical." 6 Yet, Dewey does observe in the
same place : " 'Creation' may be asserted vaguely and mystically, but
it denotes something genuine and indispensable in art." 7
Music is both inspired and mechanical ; it is at onetime art and
craft. This is, perhaps, true of any art. Yet, musical composition
differs profoundly from the graphic and plastic arts, in that, the
tools employed in its creation, are but parti ally the tools utilized in
its interpretation and production. Musical creation differs from the
other arts (witth the possible exception of the stage and perform-
ance instructions in drama) in that it requires consideration of a
performer. Indeed, musical composition most closely resembles the
conception of the architect, which must be communicated to various
persons. (Musical composition sometimes entails even instruction to
oneself, if one is to perform his own composition.) Perhaps this is
why architecture has been called "frozen music." Architecture is
frozen in space ; music, as we shall see, must be understood in rela-
tion to time.
A theological study of music and prayer must ask, first and
foremost: What is musical inspiration? According to Biblical theol-
ogy, artistic creation may be divinely inspired, but it does not derive
from prophecy in the primary sense. It does not derive from the
dabar YHWH, the Word of God, which is a unique phenomenon all
to itself. The prophet is summoned against his will — sometimes (as
in the case of Moses' speech disability, in spite of his limitations.
Prophecy is "not regarded as a native talent; the prophetic spirit is
28
not in the prophet but [the Word] comes upon him. It is the divine
effluence that takes hold of him and that may have him at any
moment."* As in God's mysterious election of Israel out of "love"
(see Deut. 7 :8), His choice of the prophet derives from unexplained
grace. The Biblical scholar, Mowinckel, once described the prophetic
experience, as depicted in the Bible, as "an attitude of submissive
and expectant inner concentration and listening, in which ideas from
God arise in their mind ; and images form in their imagination, their
inward eye, and become words to which they themselves then more
or less give the clearest and the most impressive form possible, most
frequently a rhythmic-poetic one." We cannot recognize in this Bib-
lical conception of prophetic experience the art of musical composi-
tion — the claims of some overly-imaginative composers notwith-
standing.
To isolate the phenomenon of musical composition, as an im-
portant element in the investigation of the role of music in prayer,
is to boldly and even rudely separate what some composers think
they experience from what the sources of our religious teachings
regard as a unique and induplicable revelational experience, limited
only to the Biblical age. It may, of course, seem presumptuous of the
theologian to render judgment upon the musical artist's experience.
And it may seem somewhat " fundamentalist^" to accept at face
value the Biblical account of prophency and to separate it from what
may be legitimate artistic claims to divine inspiration. Yet the theo-
logian must mediate between the artist and Scripture, between the
summoned prophet and the obsessed composer. To declare facilely
that the artist experiences what the prophet experienced is to ignore
the dignity of them both, and to conclude that cultural masterpieces
are of the same value as divine utterances which challenge all human
value. But if Judaism is, indeed, the "art of surpassing civilization,"10
then art must be to some extent separated from civilization, and re-
ligion must be separated to some extent from art.
What, according to the Bible, is the origin of musical inspira-
tion? Scripture does offer a theory of the origin of musical instru-
ments. (Genesis 4:21) But this hardly aids us in reaching a theo-
logical understanding of the magic of musical inspiration. Nor can
we look to what Biblical tradition teaches us about the psalmists'
experience of revelation. For the psalmists, the "whole worship, in-
cluding the musical accompaniment of the praise or prayer, is con-
ceived as an offering to God . . . [Even] lips and tongue are regarded
as instruments of praise. A psalmist summons all his faculties to the
work of blessing Yahweh, as he does all the instruments of his or-
chestra in the closing psalm" 11 Further, the psalmists are generally
"corporate in their compositions; they are not lone figures like the
prophet."12
The contemporary composer is not generally "corporate," nor
is his music necessarily in the service of God. His art is personal ex-
pression: the fruit of genius and experience. We can affirm the
Biblical view of revelation in order to isolate what artistic expres-
sion is not: It is not Divine self-expression through man, but human
self-expression before God. Art is not necessarily, as Hegel would
define it, bound up with the spirit of a particular civilization. Art is
mediated self-expression, the way that an individual communicates
more than the way he screens what his environment communicates.
By contrasting artistic and prophetic experience, we may derive
a religiously humanistic approach to musical composition. What I. A.
Richards says of poetry may be observed of musical creativity:
'There is nothing peculiarly mysterious about imagination. It is no
more marvellous than any other of the ways of the mind. Yet it has
been so often treated as arcanum that we naturally approach it with
caution."13 Unless we attempt to isolate the reasons that human
imagination yields musical composition, we can never really com-
prehend the duties of artist to listener, and of listener to artist, or
even of artist and listener (and performer) to themselves.
Because art is a form of human expression, it demands some
form of human responsibility, some manner of discipline. Hesehel
observes that it is within the power of music to sanctify or to vul-
garized Like the Divine Word to the prophet, music poses a chal-
lenge to civilization. No matter what a particular piece of music may
suggest to a particular society at a particular time, the composer's
creative genius remains a marvel — a Divine gift and, if the com-
poser so believes, a Divine inspiration. Since, as Richards observes,
the source of musical composition is the imagination, then its use is
dependent upon the imagination. Songs used in commercials become
serious popular works once the lyrics are slightly changed. Many
soulful chasidic melodies were inspired by the love songs of Russian
peasants. And, as is well-known, the most popular melody for Eyn
Keloheinu was taken from a German beer song
The Conquest Of Time
The God of Israel is a jealous God Who allows us to approach
Him with scarcely anything but ourselves. He allots us only our
sacred words so that we will not be tongue-tied in His Presence, and
30
our best music, so that we shall be aware of ourselves as the people
and as the individuals whom Heseeks."15 In using his imagination,
the composer learns how to create time. 'This time is new, quite
distinct from any time experienced or known in other ways. Each
part of that time makes a difference to other parts. No part has a
magnitude which can serve as the measure for the rest. Nor is there
a measure which can be applied indifferently to them all. Nothing
can measure the time of music ; its time is one within which all mea-
sures, all notes, all notes, all subdivisions are to be located. Primarily
melodic, it offers a succession of emotionally sustained ways of or-
ganizing experience, inseparable from a subordinated objective set
of measures (or beats), rhythms (or a distribution of accents), and
harmony — more precisely, counterpoint (or supporting contras-
tive tones and melodies) ."16 If, asT. S. Eliot observes, one conquers
time through time, then music is the major form of time through
which we conquer time. Musical time, according to Zuckerkandl, is
"content of experience, produces events, knows no equality of parts,
knows nothing of transience. "17
It is interesting that J udaism has sought to conquer time with
mitxvot, whose cosmic significance, according to tradition, cannot
be measured, since a "small" mitzvah can be as important as a
"great" one.18 "Creation," observes Heschel, "is the language of God,
time is His song. To sanctify time is to sing the vowels in unison
with Him." 19 Heschel concludes that time is more than a "measuring
device," but a realm in which we can abide.20 It is "almost holy," for
it "does not permit an instant to be in and for itself. It cannot be
divided except in our minds" 21
Music, I ike time, is measured but immeasurable, is composed but
indivisible. Kierkegaard was probably venting his own frustrated
musicianship when he declared that music "exists only for the mo-
ment of its performance^ that its sounds are emitted only to vanish
into thin air. To Kierkegaard, language thrives in time but music
rapidly becomes extinct.
Yet music flourishes in time more effectively than language. In
this sense, Kierkegaard is correct in describing music as a "higher,
more spiritual art."23 He is incorrect, however, in attributing the
superiority of music to its lack of persisting "sensuous" productions.
To the musical person, a symphony or an opera is very much a sen-
suous reality, which the mind can recall to the ear.
The spiritual superiority of music is that it illustrates that time
is most bearable when permeated by immeasurable acts which, in
31
Zuckerkandl's words, produce events. This has, of course, been
achieved in J ewish life through the holy way of the mitzvot. No one
mitzvah can be used to measure the others. All the mitxvot, together,
fill our moments. It is only fitting then, that the art which should
aid us in the mitzvah of prayer is that which carries us beyond the
measurement, by watch hands or by page numbers, of our services.
M usical modalities deter chronology by absorbing us in the words of
prayer. Words, when said, are easily judged against each other; the
literary craft depends upon such judgment. But words, when sung,
share modulations and become a unified hymn ; each word is equally
important, because the measures of music cannot be judged one
against the other. This is true even of simple chanting. Thus, Maurice
Samuel has described the act of "davening" as "the periodic contact
with the religious emotion rather than the formal act of prayer. And
the religious emotion is a daily necessity to the pious J ew."The
"davener's" soul is "in the posture of prayer ; he may be in the mood
of supplication, of adoration, or of humility ; he is using the occasion
of the common gesture for a private experience; the familiar syllabic
exercise is a kind of hypnotic induction. "24
Oral Tradition
We must not, however, fall into the error of regarding music as
valuable only as an object lesson in how to kill time and to delight in
the words of the prayer book. Music is an event in itself- or, per-
haps, more than an event, since it forms the stuff of time by evoking
moods and ideas. Not all music is program music, which Peter A.
Scholer describes as "music which, instead of being based purely or
primarily, upon a formal scheme of contrasting themes, develop-
ment of them, repetition of them, etc., is based upon a scheme of
literary ideas or of mental pictures which it seeks to evoke or recall
by means of sound."25 Neither Mahler nor Tchaikovsky required a
poet to provide words into which the listener could be absorbed.
Music qualifies as a spiritual event, in and of itself, because it
emerges from the time-taming discipline of oral tradition. Indeed,
in J udaism, chazzanut is the most aural of oral traditions.26 Each
tradition must be concrete and permanent enough to be handed
down, at least until it is written down. I n this sense, music is no more
ethereal than any of the other arts. It is substantive in that it pos-
sesses content that may be studied and mastered.
Music can be as esoteric as mysticism. Those of us who have not
mastered various tones, modalities and notations can hardly com-
prehend the breadth of musical tradition. Yet all art is esoteric to
those who have not mastered skills of production and appreciation.
To the noted philosopher, Nelson Goodman, a Haydn Symphony
or a Gray poem can no more be forged than an original can be made
for a Rembrandt painting. 'The competence required to identify or
produce sounds, called for by a score, increases with the complexity
of the composition, but there is nevertheless a theoretically decisive
test for compliance; and a performance, whatever its interpretive
fidelity and independent merit, has or has not, all the constitutive
properties of a given work, and is or is not, strictly a performance
of that work, according as it does or does not, pass the test. "27 Good-
man may be regarded as adding yet another qualification for the
skilled performer or listener: He must seek to reproduce exactly the
intended sounds of the composer. Yet, Goodman admits that an "in-
correct performance.. .may nevertheless-either because the changes
improve what the composer wrote or because of sensitive interpreta-
tion-be better than a correct performance. "28
I believe that most musicologists would find Goodman's view
aesthetically valid, but creatively rigid. While it is true, that the
faithful execution of the composer's conception is an essential disci-
pline for the fine musician, intelligent-even faithful -improvisa-
tion is the hallmark of musical genius, sustained by oral tradition.
An improvisation, within the context of a particular composed work
may be an "incorrect performance," but note-by-note "perform-
ance" may not be the only criterian for distinguishing a particular
work. A musical tradition or composition may produce different ver-
sions of itself for the simple reason that composers and performers
hold creative discourse in the tradition that binds them. As Gershom
Scholem observes :
In the J ewish conception.. . genuine tradition, like every-
thing that is creative, is not the achievement of human produc-
tivity alone. It derives from a bedrock foundation. MaxScheler
is reported to have said: 'The artist is merely the mother of a
work of art; God is the father." The tradition is one of the great
achievements in which relationship of human life to its founda-
tion is realized. It is the living contact in which man takes hold
of ancient truth and is bond to it, across all generations, in the
dialogue of giving and taking.29
What is true of the traditions of the written, oral and secret Torah
is true of the traditions of music — and, in particular, of the sacred
traditions of nusach. From the bedrock of Divinely- bestowed crea-
33
tivity comes the dialogue of oral tradition, a dialogue which persists
even when traditions become notations, when the composer's storm
of personal insight follows the flashes of insight generated by tradi-
tion. When all is said and written down, ail J ewish traditions are
immutably oral, especially the music which must be molded accord-
ing to the discretion of each chaxxan.
Conclusion
Music, particularly as a vessel for prayer, must be understood
as an expression of the self through what Max Kadushin describes
as "normal mysticism" : It should be regarded as a manifestation of
human genius preserved in a tradition of prayer which reflects our
desire to celebrate the time given to sacred words with immeasurable
tonal modalities. Music is the human way of mastering time artfully,
just as worship is our way of realizing that God, and not time, is the
source of blessing and of eternity.
NOTES
1. J Ohn Dewey, Art as Experience (N.Y.: Capricorn, 1958) p. 335.
2. Karl Zuckerhandl, in Sound and Symbol (London: Routledge and Kegan Paul,
1956), ch. XII.
3. C. Debussy, cited by Paul Weiss, Nine Basic Arts (Carbondale: Southern Illinois
University Press, 1961). p. 51.
4. See Walter Kaufman, Nietzsch (Cleveland and N.Y.: Meridan Books, 1956),
p. 259.
5. Danto, Nietzche as Philosopher: An Original Study (N.Y.: Macmillan, 1965),
p. 62.
6. Dewey, Experience and Nature (Chicago: Open Court, 1925), p. 292.
7. Ibid., p. 29 1.
8. Yehezkel Kaufmann, The Religion of Israel, tr. Moshe Greenberg (N.Y.: Schocken,
1972), p. 96.
9. See Sigmund Mowinckel, The Old Testament as Word of God, tr. R. B. Bjornard
(N.Y.: Abingdon, 1959). pp. 42-3, 25-6.
10. See Abraham Heschel, The Insecurity of Freedom (Philadelphia: The Jewish
Publication Society, 1966), p. 250.
11. H. W. Robinson, Inspiration and Revelation in the Old Testament (Oxford: The
Clarendon Press, 1946). p. 263.
12. Ibid., p. 264. On Revelatt m it pp. 268 70
13. Richards, Principles of Literary Criticism (N.Y.: Harcourt Brace, 1965), p. 91.
14. Heschel, p. 246.
15. See E. Gertel, "The Challenge of Synagogue Music: A Personal Statement," in
Tlii Jot . u if SytHigogiH Music, October, 1975.
16. Weiss, Nine Basic Arts, p. 124.
17. Cited by Weiss, p. 125.
18. Pirke Avo! 4:2.
34
). Abraham Heschel, "Space Time, and Reality," in The Sabbath (N.Y.: Harper
Torchbooks, 1966), p. 10 I.
20. Ibid., p. 96.
21. Ibid, p. 99.
Walter Lowrie (Princeton University Pre
23. Ibid.
24. Maurice Samuel, cited by Robert Cordis, in A Faith tor Moderns (N.Y.: Bloch,
1960), p. 267.
25. In the Oxford Companion to Music (N.Y.: Oxford University Press, 1943), p. 757.
26. See Gertel, op. cit.
27. Nelson Goodman, Languages Of Art (Indianapolis and N.Y.: Bobbs-Merrill,
1968), p. 118.
28. Ibid, p. 119.
t Jewish Spirituality
RECORDS IN THE JEWISH SCHOOL
A LESSON AND AN APPROACH
Ira 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
named by writer Clifton Fadiman as one of a "Decline of Attention,"
our sensitivity has often waned, even while sounds have increased
in variety and intensity.
It is necessary, therefore, for us to develop, in our students, the
skill of listening. Even among professions, there is sometimes a
failure to listen ; attention wanes only scant minutes after the per-
formance of music has begun.
This article describes an approach to listening to a recording
that should be organized and edifying.
The record discussed is "Silent No More," a recording of free-
dom songs of Soviet J ewry, based on tapes smuggled out of the Soviet
Union.' The record is a moving one, and is especially useful because
of our concern for the plight of Soviet J ewry. Lesson One is the first
side of the record. Lesson Two is for the second one.
The plan provides a framework for listening, making it possible
to understand the recording heard. Furthermore, the lesson plan
may, with modifications, appropriate to the specific recording being
used, be utilized as a model for other lessons using recordings in the
classroom.
Ira Goldberg is an experienced instrucloi of instrumental music in the New York
City public school system. He received his B.A. in Music Education at Brooklyn Col-
lege 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 Jewi 1: Music Couni il foi whom he compiled a three
volume "Bibliography of Instrumental Music of Jewish Interest." He has taught music
in several Jewish schools.
36
1. Motivation
I n this, the opening section of the lesson, the stage was set, by
gaining student interest through various devices — a banner, pro-
test buttons, and a poem about a J ewish writer purged in the U .S.S.R.
There was first hung on the wall a Svoboda (Freedom) banner,
symbolizing the struggle of Russian J ewsfor freedom. The flag,
forty by forty-four inches has, in its center, a nineteen-inch-high
Mogen 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, the other at the bottom. Each is a few
inches from the edge of the flag. The Mogen David, the word "Svo-
boda" and the two stripes are all red, against a white background.
The class then saw a display of various protest buttons, worn
on different occasions, at rallies and parades, protesting the perse-
cution of Soviet J ewry.2
It was explained to the class, that Soviet J ews has been elimi-
nated, or purged, from Soviet life for various reasons. They were
imprisoned or executed, for teaching Hebrew, for writing Yiddish
poetry, for supporting Soviet J ewish culture, and for desiring to
emigrate to Israel,
In 1948, the Soviets purged the Yiddish poet, Peretz Markish,
by executing him.
The Polish-born poet, Binem Heller, now living in Israel, wrote
a Yiddish poem in memory of Markish. After distributing a copy to
each student, this writer read it to the class.
The Poet's Death -For Peretz Markish 3
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 revelled at him their rifles
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
H is song rang through the air.
2. Transition
After havi ng motivated the class, the students were further
prepared through a transition section of the lesson, leading to the
recording itself. It was explained that songs were often the means
of protest, against tyranny and slavery, as those who were oppressed
expressed their longing for freedom. The class was asked to name
songs of freedom. Several students were familiar with the song "We
Shall Overcome," from the civil rights movement; one mentioned
the spiritual, "Let My People Go."
It was explained to the class that Russian J ews had many free-
dom songs, too. On the record to be heard, we would be hearing some
of them, as well as reactions to J ewish life in the Soviet Union.
3. Focus
To enable the students to understand the vital points of the
recording, each was given a guide, prepared by the instructor, list-
ing the salient points to be listened for. In this way, the students'
listening was directed, or focused, and aimless listening avoided.
Before class, the instructor listened to the record, and wrote
down a list of questions, to be answered through the listening. Ques-
tions relating to material throughout the portion of the recording to
be heard were included. Before listening to the record, class and
instructor went over the questions together, enabling the pupils to
understand the procedure and any points that might have been
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 cele-
brate?
3. How do Russian J ews learn of news from Israel?
4. What is one father's answer to the question about his daughter's
knowledgeof Yiddish or Hebrew?
5. J udging from his comments, would you say it is easy or difficult
to study Yiddish or Hebrew in the Soviet Union?
6. What instruments did you hear in the accompaniments for the
songs ?
7. From the songs and spoken words, of what country do Russian
J ews sing and speak with love and longing?
8. If they were free to do so, what do you think Russian J ews would
do, to solve their problems as J ews in the U.S.S.R.?
4. Listening
Students now listened to side one of the record, with pencils in
hand, answering the eight Focus For Listening questions, in writing.
5. Discussion
At the conclusion of class listening, the eight questions were
answered. Most pupils did well in hearing and noting the important
points of the record, but, occasionally, there was some confusion that
had to be cleared up through class discussion. Answers were clari-
fied and corrected, where appropriate.
6. Evaluation
The final five minutes of the lesson were set aside for evalua-
tion of the record itself. A one-page form was distributed, and each
student quickly filled out the page, giving reactions to the record.
The questionnaire was then collected, to be evaluated before the next
class session.
The evaluation form questions were :
1. Did the record help you understand the problems of Soviet
Jews ?
2. Did the record seem accurate and real to you?
3. Could you hear clearly?
4. Were the sound effects and music, appropriate, effective?
5. Could you understand the words?
6. What parts were especially interesting?
7. What parts were especially uninteresting?
8. What parts, if any, would you like to hear again?
9. Would you like to learn to sing or play any of the songs?
The evaluation form enables the instructor to determine the value of
using the record again in future classes.
I n the second class meeting, side two of the record was heard,
presented in a manner similar to that of side one.
1. Motivation
I n this section, the svoboda banner and protest buttons were
once more on display. They were briefly alluded to, and then, further
details in the struggle of Soviet J ewryfor survival were introduced
to the class.
One J ew, who had voiced his desire to leave, had been a hero of
the struggle against the German invaders during World War II.
Grisha Feigin of Riga, Latvia, had participated in the liberation of
Warsaw and Berlin. He had been wounded twice, and had received
seven decorations.
Protesting Soviet treatment of J ews, Feigin returned his med-
als to the government, and was placed in an insane asylum. Finally,
in 1971, he was permitted to leave Russia. I n writing to the Supreme
Soviet, highest Russian legislative body, Feigin had said,
"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 toward 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 ! 4 "
Each student received a copy of Grisha Feigin's statement, from
which I read aloud, the opening paragraph above, and, from which
each student read silently, the remainder of the appeal :
"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 of
Bagdad.
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 the reference to persons and events in J ewish
history, mentioned in the statement, the instructor went on to dis-
cuss the world-wide protest movement for Soviet. J ewry, that had
developed in the past few years. The result had been that thousands
of J ews had been able to leave the Soviet Union, and it is hoped that
many more will be permitted to leave.
2. Transition
The class was now prepared for listening to side two of the
recording, through a reminder that songs of protest, and freedom
were part of the heritage of many people. 'We Shall Overcome" was
an American freedom song and, in the previous class meeting, we had
heard freedom songs and words expressing the feelings of J ews in
Russia. This week, we would hear the second side of the recording
and, once again, would use a sheet with a series of questions, to help
us note the highlights of the recording, students were told.
3. Focus
Once more, each student received a copy of the list of questions,
developed from the high points of the second side of the record. Ques-
tions were gone over, by class and teacher, with difficult words or
ideas explained.
For the second side of the recording, the questions were :
Focus For Listening
1. According to one J ew, the Soviet government has done many
things that strike at the ability of Soviet J ewish culture and J uda-
ism, to survive. What are some of these things?
2. One of the songs we hear is Dayenu. It is sung a bit different-
ly from the version we know. Why are songs from the Haggadah
especially appropriate in singing about J ews living in the USSR?
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. I n one song we hear the words, Bashana Habaa Birushalayim,
a variation of the sentence, L'Shana Habaa Birushalayim. From
what story is the second Hebrew sentence taken? During what J ew-
ish holiday do we read the story?
6. What is the one theme of the songs Russian J ews sing?
7. In the last song, we hear the phrase, Am Yisrael Hai. What
does it mean? Why is it so appropriate?
4. Listening
The class now listened to side two of the recording and, once
again, answered the Focus For Listening questions, in writing.
5. Discussion
As at the previous lessons, the instructor and the class discussed
the answers given to the Focus questions and wrote down correct
answers, making corrections where necessary.
6. Evaluation
As at the conclusion of the first lesson, a printed evaluation
sheet was given to each student, and filled out. At this second lesson,
however, the sheet was filled out early, leaving time for a new ac-
tivity, not part of the previous lesson.
7. Action
The struggle for Soviet J ewish rights and freedom, continues
with actions participated in by people throughout the world, the
class was told. Each student was given a list of activities, entitled,
"Action For Soviet J ewry."5 The class was asked to read the list and
then, each student was asked to consider three or four he or she
might wish to participate in, as an individual or together with other
class members.
The results on this list were tabulated, and were used to develop
future activities for support of the Soviet J ewish freedom struggle.
With section 7, Action, the lesson came to an end. Given in two
parts, it effectively taught aspects of the Soviet J ewish freedom
struggle and served as a spur to student activities, to further the
fight for Soviet J ewish freedom.
From the lesson given above, one can list certain guides, for the
use of recordings in the classroom :
1. Teacher preparation. The instructor must be fully prepared
for the lesson. The recording must have been heard in advance be-
fore playing it for students and printed material must have been
readied, wherever appropriate.
2. Room preparation. The room must be ready as well. Outside
noises and other distractions must be el i mi nated, as much as possible,
and material for display, etc., must be ready beforehand.
3. Equipment preparation. The phonograph, as well as other
equipment, should be prepared in advance. The phonograph, if it is
to be used, should be set at the proper playing speed, and at the cor-
rect volume.
4. Appropriateness of material. The record chosen should be
appropriate. It should be chosen with the class in mind — age level,
attention, maturity, quality of the recording, etc.
5. The lesson structure. The lesson should be so carefully
planned as to enable the student to listen intelligently, and helped to
understand the recording being played for him.
6. Motivation. It is especially important to properly motivate
the students when using a short recording, as a long one tends to
build its own, as the record is played for the class.
7. Discussion. It is necessary to have classroom discussion of
the recording heard, so as to clarify any material on which there is
disagreement and, to correct any errors among the students. Further-
more, discussion should be held directly after the record is heard.
Postponing discussion to a future meeting inevitably leads to a de-
cline in interest, loss of notes, as well as mood. It is far more desir-
able to have the students discuss the record at the moment of great-
est interest.
1. "Silent No More." Sung and narrated by Theodore Bikel: arranged and conducted
by Issachar Miron. A 33-1/3 LP record, produced by Star Record Company, New
York, N.Y. 10036. Available from the American Jewish Congress, 15 East 84th
Street, New York, N.Y. 10028. $4.95.
2. The buttons and banner are available from The Student Struggle For Soviet Jewry,
200 West 72 Street. Suites 30-31, New York, N.Y. 10023. A miniature Svoboda
banner is also available.
4. Cohen, Richard (Ed.) Let My People Go, New York: Popular Library, j
5. Available from the Student Struggle For Soviet Jewry.
THE PHENOMENON OF NON-ACCEPTANCE
OF THE UNFAMIUAR
ABRAHAM LUBIN
V\fe all eagerly await the reaction and response of our congre-
gants every time we, hazzanim, introduce into our services for the
first time, a new choral setting of a particular prayer, a new con-
gregational melody or perhaps the use of a new technique in a haz-
zanic improvisation. The comments we hear from our worshippers
vary from feelings of thrilling enthusiasm to that of sheer indiffer-
ence. I will not comment on the unfortunate reaction of the latter
since such response, if indifference can be described as a response
at all, stems from a non-committal attitude on the part of the indi-
vidual towards anything and everything encountered with. It, there-
fore, does not reflect a particular judgment upon the music heard,
and thus cannot be used as a criteria for us in order to evaluate the
worth of the music and the impact it possibly had made upon the en-
tire congregation.
Let me instead, comment on the positive side of the coin ; that is
the congregant's honest and sincere criticism of the music he hears.
Generally speaking, the majority of the people will admit to
certain dislike for the new liturgical music heard, particularly and
primarily after the very first encounter with it. Let me quickly add
that such reaction is quite usual and normal, even though mostly
unrealistic and unfair, as it has been proven time and again.
Someone has already once said : 'The only things we really hate
are unfamiliar things." Nicholas Slonimsky, the writer, critic and
musicologist, refers to this as : 'The Phenomenon of Non-Acceptance
of the Unfamiliar." Should we ponder but for one moment further,
we would quickly realize that this idea of non-acceptance of the un-
familiar is applicable not only in the field of music, but also in litera-
ture, art, science and even in social relations.
We find, for example, that unfamiliar customs offend us. I re-
cently learned that a Tibetan sticks out his tongue and hisses when
he greets a friend, but surely such salutation is an insult to an
Occidental. Conversely, the practice of whistling after a theatrical
number is an expression of extreme delight among our American
audiences and yet, in Europe, it would be equivalent to beeing. Asa
rule we shun that which is new, that which is unfamiliar.
Abraham Lubin serves as Hazzan at Rodfei Zedek Congregation of Chicago.
45
Probably the most popular and well known classical work of
music today is Tchaikovsky's, "Bb Minor Piano Concerto No. 1." The
fact that some thirty different recordings of this concerto are readily
available is ample proof of its immense popularity and universal
acceptance; and yet a music critic who had heard this work for the
fi rst ti me back in 1875, when it was obviously totally unfamiliar to
him, wrote in the Boston Transcript the following: 'The elaborate
work is as difficult for popular apprehension as the name of the
composer." A hundred years later we know better. The name,
Tchaikovsky is easily pronounced and his "Bfe Minor Concerto" is so
lovingly endorsed. Indeed, so familiar and beloved is Tchaikovsky's
Concerto that its opening theme was made into a popular song with
the inviting title, 'Tonight We Love"!
We all know how Stravinsky was greeted in Paris, when his now
classic, "Le Sacre du Printemps" (The Rite of Spring) was first
heard there, in 1913. Music critics were then ready to annihilate him
and his music. One critic suggested that "Le Sacre du Printemps"
should be called "Massacre du Printemps." How utterly wrong were
those critics proven to be with the passing of time. Thirty-nine years
later, when the same work was presented again in Paris, conducted
by the same Pierre Monteux, who gave its premiere performance in
1913, the cheers of the audience were boundless. Monteux remarked,
'There was just as much noise the last time, but of a different
tonality."
Let me cite yet one more example of a music critic's indiscretion
and imprudence. This time a critique of a work by one of the great
musical geniuses of all time — Beethoven himself. After hearing
Beethoven's, "Leonore Overture No. 3" to the "F i del i o" opera, one
music critic wrote: "Recently, there was given the overture to
Beethoven's opera "Fidel io", and all impartial musicians and music
lovers were in perfect agreement that never was anything as inco-
herent, shrill, chactic and ear-splitting, produced in music. The most
piercing dissonances clash in a really atrocious harmony, and a few
puny ideas only increase the disagreeable and deafening effect."
Each and every one of Beethoven's four overtures to his "Fidel io,"
are regarded unequivocally today, as masterpieces. One hundred and
Sixty years later, no music critic in his right mind, would question
the inherent greatness in Beethoven's music. Even though the critic
might comment on the merits of a particular performance of Bee-
thoven's music, rarely will we find, if at all, such a harsh verdict
upon the music itself, as we noted above.
46
Let us learn from the proven mistakes of previous generations.
Let us be aware that the musical classics of today were the un me-
lodious monsters of yesterday. As I have pointed out at the outset,
that this phenomenon of rejecting that which is unfamiliar and new,
is found not only in music, but also in all of the arts and in every
form of human endeavor and behavior.
We must first give every new idea and every new encounter that
comes our way, its due consideration and chance. Let us give every
novel sound, every new thought, the opportunity for it to register
in our minds, long enough, so that we can eventually give an honest
and accurate appraisal, of that which we might wish to criticise.
In Pirkei Avot we find the following words of wisdom by
Simeon, the Son of Rabban Garni iel I. "All my days I have grown up
among the wise, and I have found nothing of better service than
silence." This warning against verbosity is found on numerous oc-
casions in our Rabbinic literature. Perhaps we might follow this in-
junction every time we are ready to assault a new piece of music,
strike at a new idea or pounce upon anything we come across that is
new or unfamiliar.
Let us be silent until we can be vocal intelligently, fairly and
accurately.
THE CONCEPT OF MODE IN EUROPEAN SYNAGOGUE CHANT:
AN ANALYSIS OF THE ADOSHEM MALAK SHTEJ GER
Hanoch AVENARY
When the traditional chant of European (Ashkenazi) synagogues was transcribed
in modern notation and compared with contemporary music during the nine
teenth century, the special character of certain melodical and formal traits
soon became obvious. In particular, some strange modal structures were
revealed that differed both from the present and from the past forms of Western
music, or appeared to perpetuate some of them in an anachronistic way. To
begin with, very summarily they were placed on a par with the Phrygian and
Mixolydian ecclesiastical modes 1 ; more cautiously, Ferdinand Hiller spoke
of "tunes that cannot be inserted in our system because of their haphazard
semi-tones, and augmented Seconds, but nevertheless are not lacking a. . .
tonal basis, or how that may be called".2
The first attempt at a systematic description of the traditional modes of
the Ashkenazi synagogues was made by the Viennese cantor Josef Singers
who initiated the use of the professional term Shtejger that was already familiar
to his colleagues as a designation of modal genres; this word means in Yiddish
"mode, modus, manner" (e.g., lebens shtejger = mode of life). Singer still
had the impression that a scale of eight notes was sufficient to describe the
range of a mode — in accordance with the scholastic opinion concerning
Plainsong. In this way, he established three principal Synagogentonarten,
declaring the remaining modes a blend or mixture of these three, and named
the shrejger after the initial words of important prayers chanted to them. The
next step of relating the singing practice of the East-European synagogue song
1 H. Weintraub, Schire Beth Adonai oder Tempelgesange (Konigsberg 1859), Vorwort,
p. 1. — S. Naumbourg, "Etude historique sur la musique des Hibreux", in his Agudai
Shirim, Recueil de chants religieux et populaires des Israelites (Paris 1874), p. XIV; scales
with augmented Seconds pointed out p. XV-XVI. — Zvi Nisan (Hirsch) Golomb, Zimrat-
Yah (Wilna 1885). § 10.
2 Ferdinand Hiller, Kunstlerleben (Berlin 1880). p. 295.
3 Josef Singer, Die Tonarten des traditionellen Synagogengesanges (Steiger); ihr Verhaltnii
zu den Kirchentonarten und den Tonarten der vorchristlichen Musikperiode (Vienna 1886).
abstracts in A. Friedmann, ed., Dem Andenken Eduard Birnbaums (Berlin 1922), pp. 90-100.
to order and system was carried out by P. Minkowski 4. His modes are four
in number and are again understood as octave scales; some of them have
different intervals in ascent and in descent.
Early in this century, the definition of a shtejger was refined by the realization
that it need not be bound to repeated octave scales; it may extend over a
wider or narrower range than the octave, and individual notes may be lowered
or raised according to their position in the first or the second octave. A. Fried-
mann5 was the first to propose such "utilitarian scales" (Gebrauchsleitern) for
the shtejger. As knowledge and understanding of the principles governing the
oriental maqamat,ragas and similar phenomena (such as the modes of the
neo-Greek church) increased, investigators recognized their resemblance to
the structure of the shtejger 6. They started asking whether, besides the specific
scale, a certain stock of motives might also belong to the characteristics of
the synagogue modes; they even asked if an ethos was connected with them
as is the case with the maqamat and ragas. Moreover, it was suggested that a
shtejger should be defined not by means of an abstract scale, but rather by a
formula model demonstrating the most typical movements (motives) within
the scalar framework, similar to the practice of the singers of the Orthodox
Church 7. As far as I know, E. Werner 8 was the first to produce such a formula
model as a demonstration of the shtejger.
The earlier investigators had been trained synagogue cantors and knew the
facts and problems from within. They found it easy to communicate with each
other, and it was possible to arrive at a consensus of opinion without working
out the theses to the last detail. In particular, they neglected the systematic
establishment of the motive-stock of the shtejger 9, relying, instead, upon
general impressions that could be taken as self-explanatory by the initiated.
4 P. Minkowski, "Hazanut", in Ozar Yissrael, Vol. IV, (New York 1907-1913), p. 263. -
Other suggestions came from A. Eisenstadt. u Gesange (Berlin 1897),
p. I; I. Schwarz. "Ueber Chasonus und Steiger", Der Jiidiscke Cantor, XVI (Bromberg 1894).
reprinted Friedmann, Dem Andenken E. Bimbaums, ed. cit., pp. 198-206.
5 A. Friedmann, Der synagogale Cesang 1 (Berlin 1904), p. 87.
6 A. Z. Idelsohn. "Der synagogale Gesang im Lichte der orientalischen Musik". Israeli-
tisches Familienblatt, Jahrgang 10 (1913); reprinted A. Friedmann, Dem Andenken E. Birn-
bauins, op. cit, pp. 62-69.
7 J. B. Rebours, Trait.6 de Psaltique (Paris 1906). pp. 97; 112. - Cf. also Daliah Cohen,
"Patterns and frameworks of intonation", Journal of Music Theory XIII/1 (1969), pp. 78-85.
8 E. Werner, "Jewish music", Grove's Dictionary of Music and Musicians 5, Vol. IV (1954)
p. 628. - Idem, "The music of post-Biblical Judaism", New Oxford History of Music, Vol. I
(1957), p. 320-324.
9 An exception: A. Z. Idelsohn, "The Mogen-Ovos-Mode; a Study in Folklore", HUCA
XIV (1939), pp. 559-574 (formerly as "Der Mogen-Ovos-Steiger; eine folkloristische Studie",
Der JudischeKantor, VII (Hamburg 1933), No. 1, pp. 3-6).
It has proved impossible, however, to elucidate, or even to ask questions about,
melodic structure and particularities of modality without a substantial know-
ledge of the motives belonging to a certain cycle of chants. This paper under-
takes to supply part of the missing links with regard to one of the more im-
portant shtejger, and to outline the resulting conclusions.
The subject of investigation is the Ashkenazi synagogue mode called Adosem
malak shtejger after the initial words of Ps. XCIII ("The Lord reigneth").
It may be regarded as the second in significance after the Ahavah rabbah mode,
but is better suited to an analysis by its more definite limits of application.
The following examination of the Adosem malak mode is based upon a
sample of 30 melodies chosen to represent a cross-section, i.e., with due
consideration given to such variables as may influence the distribution of
motives : assignment to different liturgical purposes, synagogal or domestic;
origin in different countries or provinces; prose or poetical texts; recitative
or "melody" character of the tune; different period and authorship of notation.
/. Tonal Range (Scale)
The "scale" of the Adosem malak shtejger was formerly sometimes called
"Mixolydian" because of the diminished Seventh that characterizes it. Ac-
cording to present concepts, its tonal range can be specified as given in
Example 1 (the pitch not to be understood as absolute, but merely as con-
venient for performing most of the melodies).
Ex. 1
The Seventh above the final note is diminished both in ascending and des-
cending movement. Whenever melodies go beyond the octave range, a minor
Tenth appears; and if they descend below the final note the subfinal is sharpened
a semitone. Thus, a major Third stands opposite a minor Tenth, and the
flattened Seventh faces the sharpened tone below the final note.
Points of rest of the melodies ("half-clauses", "semifinals") are located at
the Fifth and Third. The Fifth is the most prominent note in most of the
melodies — a "dominant" according to the concept of the church modes;
in rare cases it may even assume the function of a finalis. On the other hand,
the Fourth is a very marginal note and is occasionally passed over; this feature
distinguishes the shtejger from the ecclesiastical modes with which it has been
compared. Some cases of a Fourth sharpened when leading to the Fifth
occur, almost exclusively, with one and the same notator (A. Friedmann,
Example 3 a; but also with G. Selig 10, in 1777); they may be considered as
secondary -probably influenced by the notator's thinking in the terms of
contemporary harmony.
2. Standard Motives
The Adosem malak Shtejger, as represented by our test specimens, contains
a stock of eleven standard motives each of which occurs at least four times,
but in the majority of cases more often, in the examined tunes. These motives
are of a melodic character with changing rhythmic configurations; but their
basic melodical form or "idea" may also be expanded or abbreviated in many
ways, as we shall see below. The motives cannot be classified as initial, inter-
mediate and final: only their "preference for a certain function" can be recog-
nized, which does not preclude varying applications. The following Example 2
Ex. 2
A 1 ' 1 'W jin itl' |JJ " 71|Jj "
i t f i n, i mm in i fffjf*^
10 Gottfried Selig, Der Jude; eine Wochenschrift (Breslau 1777), Part H 7; III 25.
51
contains a Table of Motives including the more characteristic variants (but
not all of them).
The assortment of variants given for every motive demonstrates the change-
ability of the melodic material in itself, and also its adjustment to various
rhythmical patterns. The practical application of the standard motives is
illustrated in Example 3.
MM™ kis'«W>» mu,
hi fc«« nyw.lWAd.Aime/*. Ji»-im lir-ot »>.. n_i'(if'(r<f«j-|0,»/!Wi-wr.
6jii Jfn i 'o}t^-^f>-i j i ,p, i : i- j*i 7i7>i
jiMiin m K t»>*rti./Wh*-t,-U-rm. hrotyi
o-l*m-.VmilihutshiJ»y w'-
etfr'iwyMMr yijr'w fr'jfcunKha, rtej-iwl «l«y-Kto Kol rifrtf a-r"»/....
The more concise motives may be closely tied together to form a unit, as it
were. Some specimens are given in Example 4.
Ex. 4
A- va,- dim h«tyinn l'f»t'o ihiitra-yim Wiyozienu AelojheweloKe-nii piishaw...
Examples 3 and 4 demonstrate the application of the modaljpattern to true
melodies as well as to Arioso-passages and pure recitatives (where motives
may be stretched to form a tonus currens).
52
As to the origin of the motives provided by this shtejger, it has sometimes
been compared with the mode of the Pentateuch reading at the Penitential
Feasts. Some investigators have argued the relation of this reading-tone to
the Adosem malak shtejger 11. The various notations of this Pentateuch
mode differ somewhat from another, but the diminished Seventh appears only
with the chapter-clause, where shtejger motives are also quoted (Example 5).
Possibly this was meant as a sort of hallmark on this as on other important
tunes of the feast 12.
^^§^^1P
Mtrkh* T(>h*_-
" P"»1
In general, Idelsohn exaggerated when he declared the modes of Bible
reading to be the main source of motives in synagogue chant 13: We would
rather observe a quite unsystematic dispersion of certain motives — shtejger
or not — over the songs of the particular feasts, detached particles of music
that participate in creating the festal atmosphere. Since freedom from rigid
regulation is characteristic of synagogue song in general, we should not
promptly draw conclusions of dependencies at every recurrence of motives.
3. Structural Connection of Motives
With the exception of the initial phrase A, the motives of the Adosem malak
Ex. 6
E 6.6
Yi^a-dal w -yittjadash shme rata.
Sho-Jotkol ha- a- ttz..
...o--sse_^» -lom uvo- r« et h&kol
11 A. Z. Idelsohn, in A. Friedmann, Dem Andenken, op. cit., p. 65.
12 Cf. the versions recorded by: S. Naumbourg, Zeim ol Yis rai '< -hunts religieux des
Israelites, Vol. I (1847), No. 61, — S. Sulzer, Shir Zion, Vol. 1 1 (1865), No. 340. —A. Fried-
mann, Der synagogale Gesang op. cit., p. 14. — A. B. Birnbaum, Omanut twHaztamt, Vol. II
(1912), No. 29. — A. Z. Idelsohn, OHM Vol. II (1922), p. 71; Vol. VII (1932). Part 1, No.
183. -P. Minkowski, "Piske te'amim", Hutqufa, II (1923), pp. 381-382. -S. Zalmanov,
Sefer ha- niggunim (Brooklyn 1948), No. 173.
13 A. Z. Idelsohn, "Der judische Tempelgesang", in G.Adler (ed.), Hundbuch der Musik-
geschichtel (Berlin-Wilmersdorf 1924). pp. 122-126.
?3
Shtejger can be related to definite structural functions only with certain re-
servations. While motives like E and K are given priority as final clauses,
and D and G are preferred to mark a caesura, both E and G may also open
a tune, or G may form the very end (Example 6).
Moreover, the selection of motives to be used in a certain tune and, above all,
their sequence, are left to the discretion of the individual singer. He may give
full play to his creative imagination, at least when composing melodies not
already fixed by tradition. Thus shtejger tunes may be compared to a mosaic
work tesselated from the given motive material. They reveal by their intrinsic
character a strong similarity with the combination of "migrating motives",
the "Cento structure", the "mosaic style" observed in certain archaic portions
of Plainsong. More so, we discover a clear parallel with Byzantine hymnody
and its concept of musical mode, which is known to be the combination of a
specific scale with a number of standard motives. With this, the shtejger of
the European synagogues approaches styles of sacred song that flourished late
in the first millenium CE, or go back to that era 14. We cannot yet be certain
as to when and how Byzantine, Gregorian and synagogue chant encountered
one another. In any case, the former have either disappeared from use or
have been kept alive by reference to written records, while the latter has been
perpetuated by an oral tradition faithfully adhered to in a European environ-
ment that was not very sympathetic to musical forms of this kind. In spite
of the similarity of principles, Jewish motivic modality did not fall into the
stagnation and torpor that paralyzed its Byzantine counterpart. On the contrary,
its form has retained its flexibility, and its motives have remained fluid con-
figurations. Written notation reached it in the nineteenth century but did not
interfere with the natural freedom of an oral tradition.
When the texts are hymnal and consist of rhymed or metrical stanzas,
shtejger motives may be rearranged to form an orderly pattern approximately
corresponding to the poetical form (Example 7); thus tunes may contain the
so-called "musical rhyme".
Ex. 7
Ska-jet Xolk»«. — r« w'-o-U Vnuhpti y*--'a-»id / Ai_ ki/u, w>--i«i almo-n-iauU /...
If a melody of the Adosem malak mode is performed by a gifted cantor
who wishes to display his virtuosity and coloratura, the basic motives may
be adorned and elaborately developed in a variety of ways (Example 8).
14 H. Avenary, Studies in rhe Hebrew, Syrian and Greek Liturgical Recitative pp. 34 f.
(Tel Aviv 1963). —Idem, "Mosaikstruktur in altmediterraner Monodie", IGM, B eric lit
iiber den 9. Internationalen Kongress, Salzburg 1964, Vol. II (1966), pp. 124-128.
On such occasions, the tune may also modulate by passing to another shtejger
for a while; this is done, for instance, in the tune of our Example 8 in order
to underline the beseeching words "redemption and consolation" 15; the
cantor then returns to the original mode (with motive K). We should remember
that the Oriental singer also likes to display his art and skill by passing from
one maqam to the other. In West European synagogues, the modulation from
Adosem mcdak to the major scale is, of course, relatively frequent.
4. The Question of the "Ethos"
Considering the basic relationship of shtejger modality with the maqam-
raga-nomos idea, the question automatically arises whether it too is connected
with an "ethos", that is: does listening to a certain shtejger arouse definite
associations of an intellectual or emotional nature?
No theory or doctrine to this purpose exists. As an experiment one may
look for the implications of the idea "God proclaimed King" which is suggested
by the name "Adosem mahk" -Shtejger and the eponymous Psalm "The
Lord reigneth, He is clothed in majesty" (Example 3a above). In the liturgy
of the Penitential Feasts, benedictions of "The Holy God" are replaced by
"The Holy King" throughout. A whole section of the fundamental prayer
is called, then, "Kingship verses" (malkuyot), and is suitably intoned in the
Adosem malak Mode (Example 3b above). However, the very same mode
is applied not only to other prayers and hymns of the Penitential Feasts
(Example 4a; 6a-b; 7), but it is also involved in the liturgy of other holidays.
It appears at certain liturgical sections of the sabbat (Example 3a), at the
blessing of the New Moon (Example 8), during Passover (Example 4b) and
the other Feasts of Pilgrimage 16, even in a hymn for the Fast of Esther 17.
Thus, the said shtejger serves throughout the liturgical year, disproving our
presumed association with the idea of the Kingship of God. Even the reserva-
tion of certain motives for a particular feast cannot be demonstrated. There
remains only the fact that tradition demands the employment of this s
for definite chapters of the liturgy.
15 S. Schechter. Nussach Hat'filoh (Czernowitz n.d.) Vol. I, No. 97. Other h
modulation may be found in the same book, No. 6; A. Friedmann. Der synagogale Gesang
p. 95 (end of birsut battorah).
16 J. Schwarz, op. cit.
11 Bimte m'at: G. Ephros, Cantorial Anthology (New York 1957), Vol. V, p, 53.
55
Therefore, the potential capacity of expressing an ethos has shrunken, with
the Ashkenazi modes, to the rudimentary relationship Mode = Liturgical
Section, and has lost the more comprehensive Mode = Idea or Mood. In
contrast to this recessive trend, some oriental Jewish communities carefully
observe the relationship Mode = Mood = Feast, and even relate Mode =
Mood to the contents of their weekly Bible readings. 18 It should be kept in
mind, however, that mode means to them maqam, and that it is the familiar
ethos doctrine of the maqamat that they apply to their synagogue chant; this
development is believed to barely antedate the second half of the 16th century. 19
There is then no point in assuming the existence of a genuine shtejger ethos in
Europe on the basis of what is found today in the oriental communities. There
is room only for the cautious generalization of E. Werner 20, stating that the
Adosem Malak mode is preferred for laudatory prayers.
5. Conclusion
The Adosem malak Shtejger, one of the prominent modes in European
(Ashkenazi) synagogue chant, can be defined as the systematic association
of a modal scale 21 and a group of standard motives. Both elements — scale
and specific motives — are concomitant to such a degree that the occurrence
of the scale alone does not suffice in ascribing a melody to this mode 22. The
primordial connection of scale and motive stock is in accordance with the
principle known from Near Eastern maqamat, Indian ragas, and the modes
of Byzantine chant.
It was a natural reaction of European research workers to compare the
shtejger with the modes of the Roman Church. The tertium comparationis
18 A. Z. Idelsobn, "Die Makamen in der hebraischen Poesie der orientalischen Juden",
MG WJ LVII = NF XXI (1913). pp. 324 f. - Idem, Hebraisch-orientalischerMelodienschatz,
Vol. IV (1923), pp. 37 f.
19 Idelsohn, Die Makamen pp. 322 ff.
20 E. Werner, Jewish musicop. cit., p. 628.
21 "Modal scale" means a series of characteristic intervals that is not bound to the octave
range; it contains also a framework of fixed "dominant notes" (several "half-clauses").
22 For example: Yah ribbon 'alam, in A. Nadel, Die hduslichen Sabbatgesange (Berlin
1937) p. 20. — The integration and modification of the Adosem Malak mode in modem
Israel song is demonstrated, among others, by Yedidya Admon's 'AI geva' ram (written in
1948 ;Zemerhen, 1960 p. 84), or 'Immanucl Amiran's Lanu hakkoab la-'avod we-Iismoah (Dafron
zimrah ba-yehidah (Nos. 5-6, p. 3, 1950). The subject has been discussed at length by B.
Bayer, ^M-iem-VM -oxpn- *?» innnnti in M. Zmora (ed.), n^aisai trrnra nvrw
*?JOBra np'Oiaa (Tel-Aviv 1968), pp. 74-84, (Hebrew). The development was towards
a scale that lays stress on the Fifth-to-Tenth section of the Adosem malak range
with only occasional descents below the Fifth (see M. Zmora in the discussion of the
said article, p. 85); the composers gradually withdrew from the use of shtejger-motives.
56
was either the scale with diminished Seventh found in Mode 7, or some
detached short phrases occurring in Mode 523. The comparison was rather
superficial. Due attention was not given, for instance, to the dominant role
of the Fourth in Mode 7 (a negligible interval level in the shtejger), nor to
the frequent cadences on the Second24 (appearing in the Pentateuch mode
of the Penitential Feasts, but seldom in the shtejger itself). As to the motives,
some parallels may indeed be pointed out, although only among the more
concise figures. Some, at the first glance rather tempting, similarities can be
found in the Improperia of Good Friday 25 (Example 9).
Ex. 9
i^^hpu ^mis^^m
The examples presented in Example 9 have been chosen by deliberately neglect-
ing the differing, and more frequent, configurations of the same motives that
occur in the Improperia and do not fit the framework of the Adosem Malak
mode. As to the Jewish aspects of this very distinctive Gregorian tune of
possibly Byzantine parentage,26 further research must be postponed.
As long as Plainsong has not been subjected to an analysis of its actual
tonal ranges ("utilitarian scales") and the motivic material that may be con-
nected with them, there is no way of determining whether it is in fact probable
and arguable that the shtejger principle can be correlated with the modality
of Plainsong.
Meanwhile, the shtejger may be regarded as a phenomenon sui generis on
European soil, reminiscent of Eastern forerunners. A more detailed definition
of its origin and history should cease to rely on "impressionistic" methods,
but should await further developments in musicology.
23 E. Birnbaum, "Besprechung von Singer's 'Tonarten' ", Judisches Literaturblatt XV
(1886), Nos. 24-25 (reprinted: A. Friedmann, Dem Andenken E. Birnbaums pp. 16-17. and
Der Jiidische Kantor, Hamburg 1932 VI, No. 5, pp. 1-3).
24 See, for instance, the Introitus-Antiphon Puer natus est nobis (Liber Usualis 408).
25 Popule meus (Liber Usualis 737).
26 Cf. E. Wellesz.Eas/tTH Elements in Western Chant, (Boston 1947), pp. 11-12. - E. Wer-
ner/'ZurTextgeschichtederImproperia'\Fe5r5cAn//5r«no5rd6few(Kassel, 1967), pp. 274-286.
Sources of the Music Examples
Ex. 3a: A. Friedmann. Der synagogale Gesangl (Berlin 1908) p. 86.
Ex. 3b: A. Baer, Baal Tefillo oder Der practische Vorbeter2, No. 1232 (Goeteborg 1883).
Ex. 4a: A. Z. Idelsohn, "Der Missinai-Gesang der deutschen Synagogc", Zeitschrift fur
Musikwissenschafi, VIII (Leipzig 1926), p. 454 (Ex. 1, II).
Ex. 4b: A. Baer ibid., No. 765 (Deutsche Weise).
Ex. 5: S. Naumbourg loc. cit.; A. Friedmann loc cit.; A. Z. Idelsohn. Hebraisch-orientalischer
Melodienschatz (1932) Vol. VII, Part 1, No. 183.
Ex. 6: G. Ephros, Cantonal Anthology (New York 1929), Vol. I, No. 18; A. Baer ibid., No.
961 (cf. Nos. 965; 975; 984, I). A. Friedmann, ibid., p. 90.
Ex. 7; A. Baer ibid., No. 1426, B.
Ex. 8: S. Schechter, Nassach Hat'filoh (Czernowitz n.d.). Vol. I, No. 97.
Ex. 9: E. Wellesz. Eastern Elements in Western Chant (Boston 1947). pp. 11-12.
Sources of other Test Samples
A. Baer, ibid., No. 781, I; 1244; 1426, I.
M. Deutsch, Vorbeterschule (Breslau 1871). No. 409; 450.
G. Ephros ibid., Vol. IB (1948), p. 115 (cf. Baer ibid., No. 779, I); p. 121. Vol. V (1957), p. 53.
A. Friedmann ibid., pp. 85; 87; 88.
A. Friedmann, FHnf Mussuf-K'duschos (Berlin nd.), p. 11 ("Alte Weise").
A. Z. Idelsohn, Melodienschatz, Vol. VII, Part 1, No. 104.
M. Kipnis, 60 Folksliedcr (Warsaw 1930). pp. 97-98.
S. Rawicz, in: J. Smilansky (ed.), Haggadah Erez-yissraelit le-Pesah (Tel-Aviv 1938). p. 38.
S. Schechter ibid., No. 6; 109.
G Selig, Der Jude, EineWochenshrift (Breslau 1777), Vol. II. 7; 111.25.
H. Weintraub, Schire Beth Adonai, oder Tempelgesange fiir den Gottesdienst der Israeliten
Konigsberg 1859).
This reprint of a monograph by the well known Israeli musi-
cologist, Hanoch Avenary first appeared in Volume II of "Yuval"
the annual publication of the Jewish Music Research Centre at the
Hebrew University, Jerusalem.
An annual grant by the Cantors Assembly to the Jewish Music
Research Centre helps to make possible the publication of the
Centre's musicological studies.
The transliteration used in Yuval publications follows the
traditional scholarly style and has not been altered.
S.R.
58
FROM OUR READERS
(The autobiographical sketch by Joshua S. Weisser, which was
sent on to us by his nephew, Professor Albert Weisser of the Can-
tors Institute faculty, published in the July 1976 issue of the Journal
of Synagogue Music, evoked the following interesting reminiscences
and comments by a distinguished veteran member of the Cantors
Assembly. We thought it would be in order to share these with our
readers. S.R .)
Dear Professor Weisser :
In a note to your recent article in the J ournal of Synagogue
Music you state that you hoped to write a detailed article concerning
the beginnings of the Cantorial schools. You refer to the deep interest
of Rev. J oshua S. Weisser in the establishment of a Cantorial Sem-
inary and I recall some interesting conversations with him on the
subject.
Prior to 1945, as a result of an enthusiastic meeting of Cantors
in Atlantic City, we organized what was known as The National
Cantors' School for Orthodox, Reform and Conservative students.
Your uncle and I worked assiduously toward this end and had
several meetings in New York, but the New York contingent was
not too enthusiastic and Rev. Weisser wrote me "I don't have to tell
you how disgusted I am with some of the members of my (New
York) group" and he said that he intended to write an article in the
J ewish Morning J ournal about it. I believe this appeared on May 4,
1945 but I do not remember its contents.
Prior to that, the J ewish Ministers Cantors Ass'n. had spon-
sored several concerts in 1920,21,24,26 and 1927 in Madison Square
Garden, Carnegie Hall, Mecca Temple and Rodeph Sholom Congre-
gation for the specific purpose of raising money for the creation
of a Seminary. Most of the concerts were huge overflow successes
and a large sum of money was raised. The fund, however, was dis-
sipated and the project never got off the ground.
A special meeting had been called in April, 1945. 1 presented a
set of by laws which was adopted by the Council and I delivered an
enthusiastic talk, and it looked like we would move forward but
the project failed because the New Yorkers failed to support it. In
fact, some members openly objected to it, for personal reasons.
In 1947, I wrote to Rev. Weisser when I learned that the New
York group was again trying to raise funds for a school.
At that time? the School of Sacred Music (Reform) was or-
ganizing and they actually opened in 1948 and were quite successful.
In 1947, largely through the influence and effort of Cantor
David Putterman who was the Director of the Department of Music
of the United Synagogue, the Cantors Assembly was organized. The
creation of a Conservatory for Cantors was its primary objective.
(See my article 'The Cantors Assembly-its Creation and Growth"
in the special 25th Anniversary booklet.)
In 1948, at the First Annual Convention of the Cantors As-
sembly, a spirited discussion about the creation of a Conservative
Cantorial School took place including speeches by Dr. Louis Finkel-
stein, Rabbi Simon Greenberg, Rabbi Albert Gordon, Cantor David
Putterman and others. Many of us were greatly disappointed by
what appeared to be unnecessary procrastination, especially since
the Reform group was already operating. Several resolutions urging
the Rabbinical Assembly, the Seminary and the United Synagogue
to act were adopted and $25,000 was pledged toward the opening
of the School.
Four years later, in September 1952, the Cantors Institute
finally came into being. Since then, the Cantors Assembly has con-
tributed over a half million dollars to the Institute.
In 1954, the Orthodox Cantorial Training School was born.
In the first few years there was considerable rivalry and com-
petition between the Conservative and Reform schools. Various
Certificates were issued to the Cantors Assembly members and the
Reform group issued Certificates to so called "Certified Cantors".
Attempts were made to consolidate the schools but the best that
could be accomplished was an understanding co-operation.
I have not been too active in the Assembly lately and I do not
know how far this has gone but I am wondering if the suggestion
in my letter to Max Wohlberg of February 18, 1948 that a single
combined school of all shades of J udaism would have produced more
competent cantors with greater loyalty to J udaism and the cantorial
profession than to the respective Alma Maters. After all, a cantor
is a cantor, is a cantor.
Sincerely,
William Belskin Ginsburg
60
(We believe our readers will be interested in the following letter
sent to Mr. Richard Neumann in response to his review of the
creativity of the late Haxxan Todros Greenberg, which appeared in
the lust issue of the "Journal of Synagogue Music. S.R.)
Dear Mr. Neumann :
It made me very happy to see an article devoted to the music
of Hazzan Todros Greenberg in the latest issue of the "J ournal of
Synagogue Music." And as one who has been intimately involved in
the work of Hazzan Greenberg for a long time, it was most gratify-
ing for me to read your warm words of praise of the music. No one
could concur more strongly than myself that the work of H azzan
Greenberg constitutes a truly significant contribution toj ewish
liturgical music literature.
Having been so close to the works you reviewed, I could not help
but feel disappointed for reasons that will become clear in the en-
suing paragraphs. Though very few people know it, it was I who
urged, guided, directed, and encouraged Hazzan Greenberg to create
the repertoire he bequeathed to us. That repertoire, incidentally, is
far more extensive than the selections you reviewed.
My association with Greenberg began when I was 13 years old,
when I was introduced to him by a mutual friend, the late Hazzan
Abraham Kipper, for the express purpose of notating his beautiful
improvisations. As the years passed, and as more and more of his
music was accumulated, it was I who conceived the idea that he
complete areas of musical compositions, as for example, the mis-
cellaneous works included in the "Heichal Han'ginu V'hat'filu," the
Shabbat music, part of which appears in "N'ginot Todros," the
Yamin Noraim, presently in preparation for publication in the near
future, etc. However, Hazzan Greenberg never undertook to create
an accompaniment nor arrange a choral number. He did not have the
background for that. As a matter of fact, his choral compositions
began through and because of his association with me. He entrusted
all details of arrangment to me, including the actual composition
of the choral responses (melody and all) to the cantor solos in many
of compositions, including the Adonoi Moloch and Moox Tzur which
you reviewed. All accompaniments, all harmonies, all contrapuntal
treatments are mine, even the ideas on treatment, such as the fugal-
like approach to the "Eidosecho" section in the A donoi Moloch.
Moreover, when I would ask him to indicate his preferences in ar-
rangement or harmonies, he would frequently retort, "Ai,Sholom'l,
fardrei dirdein kop." Thus every one of the 19 compositions in the
"N'ginot Todros" exist entirely upon my arrangements, and all but
two of the 32 arrangements and accompaniments in the "Heichal
Han'gina V'hat'fila" are mine.
For me, it has been a 34-year period of a labor of love, if ever
there was one. The hours of creative work have reached absolutely as-
tronomical numbers without thought of compensation or reward.
I realize, of course, that you probably had no idea of the history
I have briefly touched upon. But the simple fact that I arranged
and edited both volumes you reviewed is stated on the title page of
the "Heichal Han'gina V'hat'fila." Although my name does not ap-
pear on the title page of the "N'ginot Todros"-which is surely not
due to any oversight on your part, the Prefaces in both volumes
do acknowledge the fact that I am the arranger of all the composi-
tions in each.
As a professional musician of high stature, I am certain you
realize that arrangement, especially when it includes everything in
a composition except the basic melody, veritably constitutes co-
authorship. I can tell you that as a choral conductor of some 30
years of experience, I have never seen a composition in print in
which an arranger's or an editor's name does not appear directly
along side that of the composer, as for example, Bach-Ehret, Bach-
Wilson, etc.
Beside the work involved in making the arrangements, please
think for a moment of what went into each composition: notating from
oral dictation or from a tape, setting the music into barline rhythm,
adjusting the accentuation, deciding on treatment in arrangement
such as a monophonic, homophonic, or contrapuntal texture; solo,
unison, duet, trio, or quartet texture; the appropriate veriety of
the same, choice of harmonies, their distribution and voice leading;
choosing the above so as to bring out the style of the melody as well
as the appropriate atmosphere and spirit of the particular composi-
tion ; re-copying ; inserting dynamic markings and tempo and char-
acter descriptions.
62
Perhaps, now you can understand my feelings when I read the
review with no mention of my name. Or to see the re-printing of two
of the compositions in which most of the work is mine, without some
credit given me for my efforts.
This is more than a matter of pride. The impression given that
Hazzan Greenberg created the arrangements is factually untrue.
Having known and worked with him intimately for 34 years, I can
assure you he would never have expected or wanted to receive
credit for that which was not his. I am sure that we both agree that
his recitatives and his melodies are, in themselves, "gems of Yid-
dishkeit expressed in music," as you described so fittingly.
I am certain that the omission of my name was not intentional,
but I felt that the record should be set straight; and this is the real
purpose of my letter. Should the Editorial Board of the "J ournal
of Synagogue Music" see fit to publish my comments I would feel
that an impropriety had been made right.
With every good wish,
Sholom Kalib
Richard Neumann Replies :
Dear Dr. Kalib :
I appreciate your justified complaint. Without going into de-
tails, which I would rather do in a personal letter to you, I would like
to state that I regret the omission of your important professional
input concerning the works of Hazzan Greenberg, which was not
made clear in the two volumes which I reviewed. The review was
done under unusual pressure to meet the deadline for the summer
issue of the J ournal.
M ay I also add that the editor of the J ournal of Synagogue M usic
agreed that I review your valuable contributions to J ewish music in
one of the forthcoming issues of this season.
I hope this rectification will meet with your approval.
With best wishes,
Richard Neumann
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