Cantors Assembly Journal of Synagogue Music

J O U R N A L

OF SYNAGOGUE MUSIC

February 1911 / ADAR 5131

Volume VII

Number 2

CONTE NTS

A Unique Chapter In The History Of

The American Cantorate (II) Max Wohlberg 3

The Synagogue Youth Choir:

An Experience In Education J erome B. Kopmar 16

Some Preliminary Notes For A Future

History Of Hazzanut In America 1/1/. Belskin Ginsburg 23

The Contributions Of Sholom Kalib Richard Neumann 43

J ewish Music Versus J ewish Worship J oshua R. J acobson 47

DE PARTME NTS
Record Review

J 'OURNALOF SYNAGOGUE MUSIC, VollMie VII, NlJITlber2

F ebruary 1977 / A dar 5737

editor : Morton Shames

>itor : 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; IvanPerlman, Treasurer;
Jacob Barkin, secretary; Samuel Rosenbaum, Executive Vice
President.

;xc 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 © 1977, Cantors Assembly

A UNIQUE CHAPTER IN THE HISTORY OF
THE AMERICAN CANTORATE (II)

Max Wohlberg

Dr. Wohlberg concludes his record of "a short-lived attempt of
a number of hazxanim, in the last years of the 30's, to re- fashion the
character of the cantorate in America and to divert its course into
new channels."

The first half of this short history appeared in the last issue
of the JOURNAL OF SYNAGOGUE MUSIC (November 1976/
Heshvan 5737) and took the Cantors' Ministers Cultural Organiza-
tion from its birth, late in 1938, through a bit more than a year of
genuine effort, controversy, opposition and some small success, and
concluding with an outstanding concert in memory of Solomon
Sulzer on the 50th anniversary of his death.

For the benefit of readers who may not have had an opportunity
to read the first half of this interesting record we reprint here the
author's short preface.

S.R.

I hope that in the not too distant future an exhaustive history
of haxxanut 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.

I n 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 haxxanut, so long as they were willing to pay dues. Asa result our
colleagues included shamoshim, shochtim, melamdim, 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.

Business Meeting, February 21, 1940

Glantz — Chairman

Wohlberg reports on Sulzer Memorial Meeting.

Chairman reports that thanks of our organization were sent to
Congregation Sharei Zedek, Rabbi Goldberg, L. Saminsky and Roit-
man. He expresses appreciation to Schwartz, Katchko, J assinowsky,
Beimel, Ringel, Erstlingand Wohlberg.

Schwartz deplores the mistakes made in the printing of pro-
gram and in the publicity. Wohlberg attributes these to the last-
minute rush.

I n the absence of Putterman, Chairman of our School Com-
mittee, Wohlberg reports that it is proposed that the courses to be
given for our members begin on March 4th and end on May 20th 1940.

Sherman, Schwartz, Meisels, Goldenberg, Wohlberg, Postolow,
Greenblatt, Glantz, Kwartin, Steinberg and Brodsky discuss pro-
posals for courses which are then accepted unanimously. Details are
referred to School Committee, which — with Presidium and Board
of Directors, is to select instructors.

Ringel asks all to fill out application blanks and to pay dues.

Glantz reports on the meeting of our committee with the com-
mittee of the Farband discussing amalgamation.

It is decided to meet again with that committee for discussion
on the proposal of forming a Board or Presidium to consist of one
member of each existing cantorial organization and to have a larger
Board of Directors made up of three representatives from each.

Glantz proposes the creation of ensembles for performing the
compositions of such old masters of hazzanut as : Belzer, Rovner etc.
He also favors the institution of compositions in various forms.

Kwartin urges the founding of his proposed "Chov'vei
Chazanim."

Goldberg suggests we invite a recent refugee who collected
many records of prominent (now deceased) European cantors and
have some of these played at one of our meetings.

A committee consisting of Schwartz, Brodsky, Kritchmar,
Steinberg and Roitman is appointed for Kwartin's "Chov'vei
Chazanim" and for other fund raising activities.

Congratulations are extended to Postolow upon his engagement
in a prominent Brooklyn synagogue. Katchko proposed that a con-
gratulatory letter be sent to his congregation.

In connection with the planned courses, Putterman correspond-
ed with a number of would-be instructors.

I am indebted to him for this correspondence. By coincidence
the following three letters bear the same date: Feb. 27, 1940.

My Dear Mr. Putterman ;

The invitation you kindly extended to me honors me but to my
deepest regret I am not able to accept it. Several reasons, not the
least — my health, prevent me from assuming the task of such a
course of lectures. At the moment I would not be able to give even
one single of these lectures, maybe later on I will be in the position
to offer one single lecture.

With best regards,

Very sincerely yours,
Ismar Elbogen

(This renowned author's "Der Juedische Cottesdienst" is now

available in Hebrew Translation.)

My dear Rev. Putterman :

In reply to your letter of February 26th, I wish to inform you
that I am available on Monday afternoons and I shall be glad to
arrange with you the lecture courses on Elementary Theory and
Rudiments of Harmony to which you refer.

It would be most convenient for me to see you at my place
either tomorrow (Wednesday) or Thursday afternoon for discuss-
ing the details of the arrangement. May I ask you to call me upon
the receipt of this letter, so that we may make a definite appointment
for our meeting.

With kindest regards, I am

Very sincerely yours
J oseph Yasser

(Yasser, an eminent musician and true savant, is the author of the
highly original and challenging "A Theory of Evolving Tonality.")

To The Renowned Chazan R. David Putterman,

I truly rejoiced reading in your letter that you are planning to
arrange for lessons in our language and literature and was flattered
that you selected me as instructor.

However, to my regret, time does not permit me to get involved
in this holy task neither for remuneration or in its absence.

I, therefore, suggest that you invite the well-known poet Abra-
ham Regelson. He possesses two advantages: He is a master of
English, and he has a wife and five children to support with insuffi-
cient means. If help will be needed, I will always be available for any
teacher of Hebrew you will choose.

With esteem and blessings
Daniel Persky

(The above is a translation from the original Hebrew. Its author is
the famous grammarian and outstanding stylist and historian of
Hebrew literature. He was my teacher of dikduk at the Herzliah
where, incidentally, Moshe Nathanson introduced us to the songs of
reborn Israel. As a result of this letter, Putterman immediately got
in touch with Regelson and arranged for five one-hour sessions in
Hebrew Language.)

Meeting of Board of Directors, Feb. 29, 1940

Glantz — Chairman

It is announced that Prof. Arthur Wolf of Vienna will speak on
voice culture at our next general meeting.

Putterman reports on courses which are scheduled at Anshei
Chesed on March 11, 1940. Instructors are to be: Yasser : Theory
and Harmony ; Regelson : Hebrew ; Dr. J . Krengel : Liturgy (one
lecture by Elbogen) ; Beimel : Nuschaot ; B. Kwartin : Voice ; Zil-
berts : Improvisation ; Goldenberg Dinei Tefillah.

Report accepted unanimously.
(During the week prior to the inauguration of the courses an ad
appeared in the Yiddish press indicating the seven areas to be
covered by the distinguished instructors. The sessions, it was em-
phasized, will be opened to all cantors, regardless of membership.
Those seeking further information were advised to contact Putter-
man at his home or at Anshei Chesed. Finally, a list of officers and
directors was added. On March 1, 1940, the foil owing letter was
mailed to our members :)

Dear Colleague:

We offer you an opportunity to avail yourself of a series of 12
Monday afternoon (from 2 to 5 P.M .) lecture courses for cantors,
commencing Monday, March 11, promptly at 2 P.M. in theCantor's
Study of Temple Anshei Chesed, 100th St. and West End Ave. New
York City.

The courses are as follows :

1. Hazzanut:

a) Neginot and Teamim l . . R . ,

b) Nuschaot and Modes \ i aCOb Beimel

c) Improvisation and Recitative : Zavel Zilberts

a) Elementary Theory i . . Y

b) Rudiments of Harmony \ J oseph Yasser

c) Voice Training : Bernard Kwartin

3. Hebrew:

a) History of Liturgy — Prof. Ismar Elbogen and

Dr. J ohannes Krengel

b) D/nef Tefillah: Asher Goldenberg

c) Hebrew Language : Abraham Regelson

We are privileged with a faculty of well-known authorities in
each respective subject. The classes will be divided in three sessions,
of one hour each, every Monday afternoon and will be classified as
the study of 1) Hazzanut. 2) Music and 3) Hebrew.

The fee to members of our organization for all the lecture
courses for the 3 subjects will be $6.00 or $2.00 per subject. For
non-members $9.00 for all courses, or $3.00 per subject.

Please register on the enclosed card and return it without delay.
Sincerely
David Putterman,

Chairman, Committee on Education
I. Ringel, Secretary
(Return-card enclosed)

Cultural Meeting - March 6, 1940 at Steinway Hall

Katchko — Chairman

The Chairman stresses the importance of vocal control for
cantors and introduces Prof. Arthur Wolf who speaks on the causes
of and cures for vocal abuse.

March 13,1940
Dear Mr. Putterman ;

I was sorry to hear that you had to postpone the classes to the
early fall, and the more so, as I had prepared my first lecture. But
it will surely not lose its flavor till that time, "Neither its taste nor
its aroma will change" [The last sentence is translated from the
Hebrew].

I would be thankful to you, if you would have the kindness to
recommend me occasionally for lectures, sermons, instruction in
talmud etc.

Yours very truly,
Rabbi Dr. J ohn Krengel

Board of Directors Meeting on March 27, 1940

Putterman reports on the poor response of our members to the
planned courses. He also informs us that because of the few appli-
cants he notified Messrs. Regelson, Yasser, Zilberts and Krengel
that due to the lateness of the season their courses are postponed for
the fall.

On recommendation of Putterman it is decided to limit our
courses to 24 (instead of 36) lectures. Students will be informed of
these changes.

As Chairman of Membership Committee, Putterman reports
that, as of today, the following have fulfilled requirements for Mem-
bership: Roitman, B. Kwartin, Brodsky, S. P. Postolow, Kritchmar,
Wohlberg, Putterman, Glantz, Goldenberg, Kwartin, Katchko,
Schwartz, H. Greenblatt, Beimel, D. M. Steinberg, M. Weisfield and
Ringel. These are accepted.

It is decided to ask again those who have not yet filled out their
application blanks to do so immediately.

Board of Directors Meeting on April 1, 1940

Glantz — Chairman

Putterman bemoans the fact that some of our members are i n-
volved in establishing a Cantors Seminary in seeming competition
to our own courses (see note below) and that some of our leading
members are soloists at concerts of the Farband.

Kwartin sees no reason why our members should not sing solos
at Farband concerts. Wohlberg, Steinberg, Roitman and Ephros are
of the same opinion. Katchko, Brodsky, Ringel, Glantz and Golden-
berg speak in opposition.

Putterman moves to forbid our members to be soloists at con-
certs arranged by other organizations of cantors. Kwartin believes
this move would cause friction. (It is not clear from my minutes
whether a vote was taken.)

Schwartz announces that he withdraws from teaching in the
new so-called, Cantors Conservatory.

It is decided that no member of our organization is to give com-
mercial endorsements in the newspapers, unless it is for a musical,
literary or art event.

A motion is made that our Board looks with disfavor on those
of our members who assist morally or materially, private institu-
tions purporting to be genuine national conservatories.

A letter received from the Farband will be submitted to our
general meeting.

(Note : The following advertisement appeared in the Yiddish Press :)

CHAZANIM CONSERVATORY OF AMERICA

will open at the

Metropolitan Opera House Studios

on Monday, March 25th

under the auspices of the two prominent leaders Pinchos J assinowsky

and Louis Lipitz (past President of Chazanim Farband).

A modern Institution for all phases of Chazanut

Curriculum :

1) Chaxanut-Nusach, Modes and Improvisation. Modern, Orthodox,

Conservative and Reform. Teachers: P. J assinowsky and L.
Lipitz.

2) Music — Theory, Solfeggio, Harmony and Composition. Teach-

ers: Prof. J acob Weinberg and Madam J assinowsky.

3) Hebrew —Dinei Tefiloh, Minhagim, Canti Nation, History of
Liturgy. Teachers : A. Regelson, A. Wolitzky and A. Goldenberg.

4) Voice Culture — Maestro Arturo Vita.

5) Choral singing, Elocution, English: Prof. Herbert L. Hekes.

The aim of the institute is to systematize chazanut and to pre-
pare chazanim for the current scene. Talented young men with good
J ewish background should apply for interviews and free examina-
tions to the office of the Chazanim Conservatory (closed on Satur-
day and Sunday) at the

Metropolitan Opera Studios
1425 Broadway Phone : Pen. 6-2634, Ext. 47

Business Meeting on April 3, 1940

Glantz - Chairman

Minutes read and corrected.

Glantz and Wohlberg report favorably on courses. The meeting
heartily endorses the conduct of courses and decides to secure weekly
notices in the press regarding them.

The recommendations of the Board of Directors, not to assist or
associate with individual cantors, conservatories and not to give
commercial endorsements are accepted. Our members will be notified
of this decision.

The motion of the Board to forbid our members to be soloists at
concerts of other cantorial organizations is accepted.

11

The Board of Directors is authorized to discuss the proposal
of Mr. Goldberg of the Brooklyn J ewish Center to arrange an
illustrated concert, at that institution, whereby we may benefit
financially.

The Board will arrange for the organization of ensembles.

Congratulations are extended to Kritchmar and Katchko.

Board of Directors Meeting —April 10,1940

Glantz — Chairman

The Chairman reports on the decisions made at our last meet-
ing. In connection with our suggested ensembles, he reports, Leo
Low was approached and his reply was favorable. The Board is
pleased with the choice. However, further inquiries will be made.

Our Cultural Meeting on April 17th will feature illustrations
of the three (Magen Avot, Yekum Purkan and Ahavah Rabba)
modes. Two selections in each mode will be sung by sixchazanim.
Glantz, Steinberg and Kwartin will represent the Orthodox tradition
while Brodsky, Katchko and Putterman will portray the Conserva-
tive style. Goldenberg will introduce the program.

Board of Directors Meeting on May 9, 1940.

The Presidium is authorized to investigate the commercial en-
dorsements, given by some of our members, in spite of our previous
decision not to do so, and to report back to the Board.

Since Roitman, Hyman and Postolow were soloists at a Farband
concert it is decided, by majority vote, to telephone these men and
remind them of our ruling in this matter. Roitman will be asked to
appear before us tomorrow.

It is decided to send out letters to our members, with return-
cards enclosed, asking them to join an ensemble, sponsored by us,
under the direction of Leo Low.

Motion is made by Schwartz to conclude our season with a social
get-together where the presentation of our charter will take place.

General Meeting on J une 27, 1940

The Chairman, Glantz, reports that not withstanding the crit-
ical world-situation which retarded, somewhat, our progress we
accomplished a great deal, such as the 24 study sessions, lectures by
Sandberg and others as well as the Idelsohn and Sulzer memorial
meetings.

General thanks are expressed to the Chairman, members of the
Presidium and officers, for their work during the past year.

Elections take place.

(Here end my own notes. The following was, I believe, written by
Harold Greenblatt who gave it to me.)

J assinowsky proposes to re-elect all officers, to ask them to
work with more fervor and to change the Chairman every three
months.

Erstling objects. Katchko charges dictatorship.

Unanimous vote to have our President and two others as mem-
bers of the Presidium.

Glantz, Kwartin and Katchko are nominated for the Presidium ;

Schwartz and Roitman for Treasurer ;

Ringel for Financial Secretary ;

Wohlberg respectfully and definitely declines to accept office
for 1940-1. A vote of thanks is extended to him for his splendid work
and co-operation, while regret is voiced, for his declination.

Friedman and Greenblatt are nominated for off ice of Recording
Secretary. The latter, with the proviso that he withdraws from the
Farband. Greenblatt is elected and promises to resign his office at
Farband.

For the Board of Directors the following are elected: Beimel,
Brodsky, Ephros, Erstling, Friedman, Goldenberg, Hershman, J as-
sinowsky, Kritchmar, Meisels, Putterman, Roitman, Steinberg and
Wohlberg.

A letter from the Farband is read asking us to appoint a com-
mittee of three to meet with similar committees of the other cantorial
organizations to discuss the welfare of our profession.

Erstling is opposed to such a committee. Katchko and Schwartz
are in favor.

It is decided that the Presidium appoint such a committee, which
is to include Erstling.

Glantz reproaches Roitman for taking part in a concert of the
Farband and threatens imposing fines in order to establish disci-
pline. Schwartz suggests that Roitman should pay for the refresh-
ments at our next meeting. A fine of five dollars is voted.

Glantz voices a complaint against Kritchmar, Ringel and Erst-
ling for permitting their names to be used in commercial ads. The
latter maintains that he offered $25.00 for the agency to drop his
name, from the ad, but his offer was refused.

Friedman stresses the evils of our involvement in such cheap
publicity. Schwartz proposes expulsion for those breaching our rules.

J assinowsky suggests that each of the three violators be fined
five dollars. His suggestion is accepted.

13

My notes on the Cantors Cultural Organization end at this point.
Although its membership consisted of less than 75 cantors it did
include most men of prominence residing in or near New York.

In addition to those, whose names appear more or less frequent-
ly in the minutes quoted above, its roster includes — among others :
M. Adolf, Bashkowitz, Kaplow, Brockman, Eskowitz, Gertler, Gan-
choff, Hyman, Kalish, Kahan, Lowy, Lange, Z. Margolies, Oppen-
heim, Perle, J . Rapaport, Robyn, A. J . Rose, Rosofsky, A. Shapiro,
A. I . Sherman, Schram, Saitz, Vigoda, R. Tucker, Yavneh, A. J .
Wohlberg (an uncle of this writer), M. Nathanson, S. Meisels,
Weisser and Zaslavsky.

Since, as I believe, civilization begins with history, our concern
with this organization, as a unique phenomenon, is a legitimate one.

In retrospect, I would attribute its decl i ne to two factors. De-
cisions, and particularly their implementation, were made on a too-
narrow basis. Glantz was inclined to exert too great a pressure for
which few cared or could oppose, and 2) the organization had no
national aspirations. It thus remained a local organization, catering
to the needs (or pretentions) of a few.

Perhaps a third reason, was even moredecisive. Since its chief
concern, was the dissemination of culture, a not easily digested di-
version, while it scrupulously avoided problems related to positions
and toeconomics, its attraction diminished gradually.

It would be worthwhile to locate Harold Green blatt, a man of
talent, who succeeded me as Recording Secretary to find out if he
could shed light on the final period of this organization. According
to information I received some years ago, Greenblatt was on the
music faculty of some college or university.

In 1941, I left New York for Minneapolis, where I remained for
four years. I believe, that in the same year, Glantz left for Los
Angeles. But, at least in the beginning of that year, the Cantors
Ministers Cultural Organization functioned as attested to by the
following letter dated, J an. 8, 1941.

Dear Colleague:

Once again we offer you an opportunity to avail yourself of a
series of 12 Monday afternoon lecture courses for cantors, from 3 to
5 P.M., commencing Monday, J an. 20th promptly at 3 P.M., in the
Cantor's study of Temple Anshei Chesed, 100th Street and West
End Ave, New York City.

The courses are as follows :

Liturgy by Prof. E Ibogen or Dr. Krengel

Study of history of liturgy

H ebrew by Abraham Regelson

Study of Hebrew language

Music by J oseph Yasser

General knowledge of music for the needs of cantors

Hazxanut by J acob Beimel

a. Review of lectures of last semester

b. Nuschaot

c. Analysis of cantorial compositions

d. Congregational singing

e. Requisites for choral groups

The classes will be divided into two one-hour sessions, classified
under the above 1 and 2 groupings.

The fee to our members will be $4 for all the courses, or $2 per
grouping. For non-members, but those who are qualified cantors,
$6 for all the courses, or $3 per grouping.

Please register for your courses on the enclosed card and mail
it without dd ay.

Sincerely,

David Putterman, Chairman

Committee on Education

The need for a school for the training of cantors did not auto-
matically burgeon from the cantorial organizations. The idea needed
years for fermentation.

Unfortunately I have not recorded the date, but it was sometime
between 1937 and 1940 that Putterman and I, accompanied (to the
best of my recollection) by Beimel, Glantz and someone else, went
to see Dr. Cyrus Adler (President of the J ewish Theological Sem-
inary) regarding a school for cantors. He received us warmly, ex-
pressed agreement with our aims and promised to consider our re-
quest. His passing in 1940, was a serious loss to our cause.

15

The courses arranged by the Cultural Organization were an
appropriate harbinger for the School of Sacred Music and for the
Cantors Institute of the J ewish Theological Seminary.

In assessing the accomplishments of the Cantors Ministers Cul-
tural Organization, we are justified in crediting it with raising the
cultural horizons of the cantorate and with being the forerunner of
the most viable and vibrant cantorial organization: — The Cantors
Assembly.

THE SYNAGOGUE YOUTH CHOIR:
AN EXPERIENCE IN EDUCATION

J EROME B. KOPMAR

J ewish educators have for years, tried to find ways and means
to attract youngsters, to more meaningful and exciting ways of
learning. Merely to put a child in a classroom and inundate him with
facts and figures, has often proven to be a way to alienate, instead
of drawing him closer. Of late, educators have come to accept the
approach of educating through other means, such as drama, art
and music. The approach of teaching J udaism, through means other
than the traditional forms, is still frowned on by many an educator,
but the fact, that other methods are a necessity is quickly, even if
reluctantly, becoming accepted.

Perhaps, the approach that I will discuss, is one that will work
only in a particular situation, and perhaps, the program to be dis-
cussed, is of a unique nature. However, I feel, to a smaller or larger
degree, this method of educating can be useful. Of course, it is in no
way intended that this method should totally negate the traditional
forms of education; it is rather meant as an accompanying form.
Both should go hand in hand.

The synagogue youth choir, if used properly, can be a marvel-
ous tool for educating and not just as a performing tool. Perhaps
my main premise is to educate, without making the child aware
that he is being educated. It is a painless way of educating, and I
I ike to refer to it, as educating throught the back door. If we should
tell children that we are going to study about the Sabbath and the
holidays, or for that matter any subject, chances are very good, that
unless the approach is an exciting one, they will be turned off in a
very short time. However, should you teach a subject through a
dynamic and meaningful musical expression, the student will have
to absorb the meaning of the subject, without even realizing it.

Hazzan Jerome Kopmar is a graduate of the Cantors Institute of the Jewish Theologi-
cal Seminary of America and has been, for over a decade, the hazzan of Beth Abraham
Synagogue in Dayton, Ohio. His work with young people choruses has gained him
national recognition.

17

Yet before this can really be effective, it must be a prime goal
to make the choir a thing of excellence. There must be a pride in
the members, that will make it possible for them, to be able to accept
a high degree of dedication, hard work and discipline, and not be
turned off by it, I believe, that you can make a child do just about
anything, provided that you make him believe, that what he is do-
ing, will put him in a prestigous position. Young people like to
identify with a successful venture, one, that will give them a great
sense of pride, and make them feel special, among their peers. I see
no difference in creating a feeling of excitement, within a youngster,
that he will find in, say a winning athleticteam, than by being part
of, an excellent musical group. The pride, and marvelous sense of
accomplishment, will be the same, as will his eager acceptance, to
work hard, in order to attain it.

Let me cite some examples of educating, that I have experienced,
with our youth chorale, that I think will explain my point.

The Holocaust has become an integral part, of the educational
program, of most schools. We feel that it is important, that our youth
be aware, of what befell our people, and hopefully, their realization
and understanding of what happened, will prevent it, fromoccuring
again. Many devices have been utilized in Holocaust education.
There are films, books, articles, art works, and songs. By showing
the student the horrors that took place, we hope that they will real-
ize, if only minutely, the enormity of the tragedy that transpired.
And yet, with all these tools at our disposal, I have rarely seen a
youngster personally identify with the horrors of the Holocaust.

As one of our projects, a few years back, we prepared Charles
Davidson's "I Never Saw Another Butterfly", in which he set to
music the poems of the children of the Terezinstadt concentration
camp. I don't want to comment on the musical values of the work,
which I think are numerous, but rather on the educational impact
it had on us. At first, I never stressed any of the educational points
on the Holocaust, except in giving the work a general introduction,
prior to working on it, I let the words and music speak for them-
selves. We were studying a musical work, like many other works we
study, a work to practice until it is perfected and then performed.
Yet, as we got more and more involved in the work, as the musical
aspects became more perfected, I gradually began to emphasize, in
more detail, the background of the texts, as part of my way of trying
to improve the interpretation of the work.

Soon, it became more and more apparent to the kids, that the
poems they were singing, weren't just ordinary poems. They began to
realize, that these words were written by children, pretty much like
themselves, but who were unfortunate enough, to live at a different
time, and in a different place. It became apparent to them, that the
children of Terezin were the same age as they, and their dreams and
aspirations were remarkably, very similar. Slowly, the music began
to take on a dimension, that took it beyond just another performance
work. They began to sing it, as if they were the children of Terezin!
They became more curious about who these children were, what
possessed them to write such words, and what heinous conditions
they had to live with, and the reasons that placed them in their situa-
tion. The Holocaust became a reality to them, in a manner like no
other. Sure, they had seen the films of the Holocaust, they heard
their parents and teachers talk about it, they dutifully attended
many assemblies to commemorate it. But, for the first time in their
lives, they were able to identify themselves with it.

We have since performed the work many times, and even re-
corded it, but never, have they been able to complete a performance,
without becoming so involved, that they would cry — in spite of the
many lectures I gave them, that in performance, their mission was
to move the audience and not themselves. The Holocaust will never
be the same to these children. To them, it is a very, real thing, since
they feel a personal association, with the children of Terezin. They
have adopted the children of "Butterfly" as their friends, and have
committed themselves, to preserve their memory, by performing
their poems as a memorial to them, and to the six million that per-
ished with them.

"Butterfly" went beyond a musical experience. It became, a
deeply, emotional and educational one as well, not only for them, but
for the thousands that have heard them perform it. I don't think
these youngsters wi 1 1 have to be remi nded what the H olocaust was;
neither will they have to be shown films to demonstrate its horrors.
In a small way, they live through the torments of the Holocaust,
every time they perform "Butterfly," and it was through a musical
experience that this realization came about.

Another example. This past year, our commissioned work was
the High Holiday services. Like every other commission we have
initiated, and we've had seven, in the past four years, our purpose,
was to have a musical work created for us, that would serve not only
our musical needs, but our educational ones as well.

19

The High Holiday liturgy is very complex, as we can all attest.
The nusah isn't too familiar since it is heard, only once a year. In
most cases, our youngsters are shunted off to a service, other than
the main service, in which the music of the holidays, as well as the
educational significance of the days, aren't as vivid, as they are in
an adult service. As a result, our youngsters know very little about
the High Holidays, both from the liturgical and musical standpoints.
It was our intention to try to rectify this, as much as possible.

The work we commissioned, 'The Days of Awe" by Sholom
Kalib, contains the major selections from the High Holiday service
from Selihot through N'ila. I wanted the work written in a very
traditional style, not only because it is the style I personally prefer,
and what I think the congregation prefers, but more importantly,
I wanted the members of the chorale to experience a service, that is
as traditionally authentic as possible, a work that they would as-
sociate, in their minds, as truly representative of no other occasion,
than the High Holidays.

Once again, as with all our works, the initial intention conveyed
to the chorale, was that we were preparing a work, that would be
performed in concert. No mention was made, on my part, that it
would also be a device, to teach the High Holidays, both musically
and liturgically. Never did I mention, that it would be used as a
synagogue work, as well. Our first responsibility, was to prepare
the music, in a manner, that would coincide with our goals of per-
fection and high-level performance standards.

This time, I experimented with something that had only limited
success. I prepared a study guide, of the music, discussing in detail,
the music as well as the liturgical meanings. They were to keep this
guide in their choir books and refer to it whenever they desired.
They were also encouraged to take the material home and study it,
but at no time, were they made to feel, that they were required to
know, what was in the study guide. I just wanted to see what the re-
sults would be, if a written study text were given to them to study, on
a voluntary basis, and to no surprise to myself, the guide was quickly
discarded, and except for a few, it was only briefly referred to.

There is so much in the High Holiday liturgy that warrants
study, that it would have taken forever to complete the music — 256
pages, as it was, if we went into great detail with all the texts. A
general idea, of the meanings of the prayers, were given and, with
some greater detail, stressed. I did put great emphasis on the ideals

contained within the liturgy, but all within the context of the musical
preparation of the work.

Slowly, but most definitely, these youngsters began to attain a
knowledge and understanding of the High Holidays and its liturgy
that they could never have received in a classroom. The music
brought the prayers to life, and no longer were they just cold words
on unfamiliar pages, but rather, they became living ideas and ex-
pressions. As with all our music, it was memorized and thus these
children now know huge sections of the Machzor by memory, not to
speak of the nusach that they learned.

We even went a step further, and it was unquestionably a most
important step. To learn the work as a concert service was good, but
we decided to put the work where it belonged, in the synagogue. It
was decided to have the chorale take part, with the cantor, at the
services. In this manner, the youngsters would associate the music,
within its proper domain, and not only in the concert hall. It would
also give the chorale the experience of actually participating in the
service. They would become rel event and viable parts of a service
that ordinarily they would only be able to observe, if permitted to
attend at all. The congregation was also telling the chorale, in effect,
how important they are, by permitting them to be an integral part of
the most important services of the year. There were many logistical
problems, such as taking out two rows of seats in order to extend the
bimah ten feet, so as to be able to accommodate the sixty-five mem-
ber chorale. It was also necessary to abandon the use of the adult
choir, that was normally used. On every matter we had the utmost
backing from the congregation.

The experience was one that will never be forgotten. Even
though we had grave fears, that the service might turn into a con-
cert, it never did. The chorale sat on the bimah for each service,
Selihot through Musaf of Yom Kippur, sometimes as long as three
hours, with the utmost dignity and reverence. The great beauty of
the service was unquestionable, but most important, and the point
that gives us the most pride, is the unbelievable religious and edu-
cational experience it was, for the chorale. The High Holidays can
never have the same meaning to these youngsters. For as long as
they live, the High Holidays will have a personal and special mean-
ing to them. The service came to life for them; they were the service,
and along with the rabbi and cantor they shared in the responsibility
of inspiring and bringing an entire congregation to a deep spiritual
awareness of these Holy Days.

21

The following and final illustration is an experiment that we
are presently in the process of trying, the success of which will have
to be determined at a later date. I have a strong feeling, however,
that it will work, and since it gives credance to our educational goals,
I will discuss it.

This year, we are going to make the educational emphasis
greater, and for the first time we are going to bring it through the
front and not the back door. No longer are we going to disguise our
educational intentions, but we are going to make it an open and in-
tegral part of the chorale program. We have reached the point in
our development, where an open education policy will not frighten
our members, and we believe, that they are now conditioned to want
to learn and study as much as possible, as long as it is within the
realm of their chorale experience.

This year's commission is, the Book of Ruth. It is a very beauti-
ful book, that isn't ordinarily a part of the Hebrew school curriculum.
An important part of the chorale's overall program is their partici-
pation in the Shabbat morning service on Shabbat M'varchim. Be-
cause of the size of the bimah, no more than forty members can be
used on each shabbut, although the chorale has a membership of
eighty-five. We therefore choose forty members each month, on an
alternating basis. In the past, only those that sang were required to
attend the service. This year, the entire chorale, whether or not they
are singing, will have to attend. After the service, there will be a
luncheon for the chorale and their families, and whoever from the
congregation that wishes to come, after which, the rabbi will teach
the Book of Ruth. No longer will the educational aspects of our work
be done only as part of the rehearsal, but now it will be given a
special emphasis, and placed in a role by itself. It is a statement with-
out any qualification that our work is not only musical, but educa-
ttional as well, and thus the educational aspects will be treated as a
special entity, just like the musical ones.

I believe the chorale is now prepared to accept that additional
responsibility. They are prepared primarily, because it has been a
function of the group, since its inception, even though it wasn't as
openly pronounced. The chorale will be, as it always was, a mean-
ingful and important way, in which our children will learn of their
heritage, religion and culture.

There is never a musical work, in which the chorale doesn't
learn something. Whether it is their link to Israel through their
repertoire of Israeli songs, or the liturgy of the Shabbut and Holi-

22

days they learn through their participation at these services. They
have studied about Yehuda Halevy and the Baroque musical style,
the philosophy of hassidism, by singing the music of the hassid, and
they have become aware of the great legacies in our Yiddish culture
from the Yiddish songs that they sing. They have also learned other
great values that will benefit them in life, such as discipline, the
realization that one can receive great success and joy by doing some-
thing J ewish. Since our group encompasses a wide age range-nine
through eighteen-they are learning how to get along with one an-
other and to work for a united goal.

I would be terribly naive if I felt that this is the answer for all
our educational problems, and that it is the solution for all that ails
J ewish education. I would also be foolish to believe, that the members
of the Beth Abraham Youth Chorale will all grow into educated and
enlightened J ews, because of their experience in the chorale. But I
do sincerely believe that music, especially when treated in a serious
manner, can be a marvelous tool in educating our youngsters.

This method can be applied to other areas such as drama and
art for those that have no interest in music, or for that matter, any
activity, provided that you aspire to a high level of excellence. Then
it will command respect from the community, an eagerness to partic-
ipate from those who aren't a part of it, and a great source of pride,
for those who are. But most importantly, it will serve as a great
educational experience. Youngsters will learn of their J ewishness
even though they are not necessarily aware of the fact that they are
learning. At first, they will be learning through the back door, and
hopefully, some day, through the front door.

SOME PRELIMINARY NOTES FOR A

FUTURE HISTORY OF HAZZANUT IN AMERICA

W. Belskin Ginsburg

This is a very preliminary endeavor to encompass the tremen-
dous mass of available material into what must eventually be a
history of American hazzanut. There are countless charts to be
examined, minutes of hundreds of congregations, historical data of
hundreds of communities in all parts of this country to say nothing
of the countless articles on hazzanut which have been published in
the English and Yiddish press in the past century. A large number
of historical works which have appeared in the last two or three de-
cades have not even bothered to index their references to hazzanim
or hazzanut.

A detailed story of hazzanut in the United States must be writ-
ten, but, as indicated, it is a colossal project which would take years
of study and I commend it to the students of the Cantors I nstitute as
a project worthy of consideration.

In this bicentennial year of American history, it might be well
simply to review, in a superficial way, some of the highlights of the
history of hazzanut to evaluate them, and to consider the direction
in which hazzanut in America seems to be moving.

Hazzanut in the United States followed the tides of immigration.
First came the Sephardim from Spain, Portugal, the Netherlands
and from some of the South American settlements. By the time of the
Revolution when the total population of all of the colonies was about
three million, there were barely 2500 to 3000 J ews here. Then the
Ashkenaxim began to arrive and in 1840, there were 15,000 J ews in
the U.S. when the total population was seventeen million. By 1850,
50,000 ; by 1865, 150,000 ; by 1880 there were 250,000.

In thel860's a small influx of Polish, Russian, and Rumanian
immigrants began to arrive, sparsely at first, but bursting into a
veritable torrent after the 1880's and far outnumbering both earlier
groups. In nine years from 1891 to 1900, 600,000 came to these
shores. By 1914 there were over two and one-half million J ews in
this country, and just before the first World War it is estimated that
there were three mi 1 1 ion J ews here all of whom, with the exception
of about a quarter of a million, had arrived since 1880.

[ Belskin Ginsl i i Id Iphn Pa. for thirty years.

He is a life member of the Executive Council of the Cantors Assembly. A Fellow of
the Cantors Institute, Hazzan Ginsburg holds a law degree from Temple University
and has written and lectured on various aspects of Jewish music and hazzanut.

24

The first J ewish group came to New Amsterdam in 1654. Very
soon after, there were settlements in Charleston, South Carolina;
Savannah, Georgia ; Newport, R.I. and New Orleans, La. Most of
the earlier settlers remained in these settlements, but the later Ger-
man settlers were more enterprising. They pushed out into the
South, the Middle West, across the desert and the mountains to the
coast so that there are records of the establishment of synagogues
in Cincinnati, Ohio, in 1824; in Chicago in 1847 and in Missouri,
Alabama, Louisiana and Minnesota around that time and there was
even a minyan for Yom Kippur services in San Francisco during the
great gold rush in 1849. The next year, there were two congregations
organized in San Francisco — one of them by the Germans and the
other by English and Polish J ews.

When the great mass of Eastern European immigrants came,
they remained concentrated in great centers. Separate groups with
customs and ideals in common desired to live together and they each
developed strong group consciousness. As a result, huge ghettos were
established in the large cities such as New York, Chicago and Phil-
adelphia.

Here in the New World, there soon began the process of inter-
mingling of the cultural and religious ideas of this mixed mass of
humanity. Certain, American traditions had taken root before their
arrival and it was inevitable that these traditions should affect the
established customs of the newcomers. A type of J udaism was being
born, and at this date is still in the process of formation. Out of it
will come the American J ew of the future.

It is quite natural that following the trends of immigration, the
earliest congregations organized were Sephardic. As a matter of
fact the only congregation in New York for over a hundred years
was Sephardic. Their ritual was Sephardic and si nee there were no
competent American born or trained hazzanim, the congregation
imported them from abroad as soon as they were able to afford them.

Although the office of Hazzan in the Sephardic synagogue is
closer to that of the Rabbi, it is not equivalent as is evidenced by the
fact, as we shall see later, that a clear distinction between the two
offices is stressed.

Surely in a discussion of hazzanut in the United States, the
hazzan in the Sephardic community must be included for the fol-
lowing reasons :

25

1. The early history of hazzanut here encompass both the
Sephardic and the Ashkenazic.

2. The influence of the former upon the latter in social and fi-
nancial matters is clear.

3. In the early American congregations the Sephardim and
Ashkenazim were intermingled and influence must have been exert-
ed by one group upon the other.

4. Some of the early Sephardic hazzanim were of Ashkenazic
origin (and vice versa).

5. The "growing pains" of hazzanut in the United States af-
fected both groups, hence our consideration will, of necessity, in-
clude both groups.

The City of Charleston, South Carolina, had one of the largest
settlements in the early history of the country. Beth Elohim was its
first congregation. It was organized in 1749. Its first hazzan was
I saac Da Costa who came from London. As it was i mpossi ble to pay
him or other later hazzanim sufficient to be ableto maintain them-
selves completely from the stipends which the congregation was able
to afford, many of the hazzanim engaged in other trades. We find
Da Costa referred to as a "merchant" and "shop keeper". Others en-
gaged in shipping, real estate, secretarial work and importing. The
same situation was true when the Polish and Russian J ews came
and some of their hazzanim were obliged to engage in other busi-
nesses to sustain themselves.

In the exhaustive notes in the "Rise of the J ewish Community
in New York" by Hyman B. Grinstein, there are some very interest-
ing tables.

In Appendix II he gives the names of the earliest congregations
in New York, when they were formed, the type'of congregant, and
the location covering the period up to 1860. Thus he begins with
Shearith Israel, 1655, consisting of Portugese and Ashkenazic con-
gregants.

The 2nd Congregation, B'nai Jeshurun was formed in 1825. In
all, he names 27 congregations in New York up to 1859 consisting
of English, Dutch, German, Polish, Bohemian, Russian and French
origin.

The same pattern of congregants will be found in the earliest
settlements all over the colonies until the arrival of the German im-
migrants. From that point and until later, East European immigra-
tion the congregants were predominately German.

In Philadelphia, Mikve Israel, a Sephardic congregation, was
formed in 1870. RodefSholom followed in 1802 and became the old-
est German J ewish congregation in the United States.

An idea of the earliest congregations around the country after
the Colonial settlements can be had from the following table:

CITY ESTABLISHED

Baltimore, Maryland 1829

St. Louis, Missouri 1837

Louisville, Kentucky 1842

Fort Wayne, Indiana 1848

San Francisco, California 1850

Chicago, Illinois 1852

New Orleans, Louisiana 1853

Macon, Georgia 1859

Evansville, Indiana 1864

Des Moines, Iowa 1872

Pennsacola, Florida 1874

Denver, Colorado 1874

Las Vegas, New Mexico 1884

An excellent and detailed account of the synagogues and haz-
zanim of Charleston, S.C. is given in Reznikoff and Engleman's
"J ews of Charleston" published in 1950. Charleston was one of the
most influential J ewish communities in the early Colonial days.

After the first hazzan of Beth Elohim, I saac Da Costa, resigned
in 1764, Abraham Alexander followed from 1764 to 1784. During the
Revolution, Alexander served as a lieutenant. In 1785, he married
Anna Sarah Huguenin, who was not a J ewess, but she became a de-
vout and strictly observant J ewess and in her will expressed her
faith in the "Almighty God of Israel, my Creator" and requested
that she be buried in a J ewish cemetery.

From 1785 to 1805, Abraham Azuby was their hazzan and after
his resignation, the congregation wrote to London for a "hazzan of
merit and classical education". London sent Benjamin Cohen
DAzevedo, a son of the chief Rabbi of London, but he was soon paid
his expenses and sent back to London.

From 1806 to 1811 various congregants acted as hazzanim.
Then in 1811, Emanuel Nunes Carvalho was elected. He resigned in
1814 and later became the hazzan of Mikvelsrael of Philadelphia.
While in Charleston be became involved in quite a battle with the
authorities of the congregation, who in those days were the supreme

27

authorities of the community. According to a letter written by
Mordecia M. Noah, "he taught the children to sing the concluding
psalm of the Sabbath morning service in a very handsome manner
which in a measure did away with the discordance which attends
every synagogue. For a whim or caper he discontinued the ceremony
and forbade the children to sing. Carvalho, in person, aided and
abetted the confusion and riot which took place and in a short time
the whole meeting, parnass and all were battling with clubs and

bruising, boring, etc The result has completely destroyed the

smali remnant of responsibility and character yet left for Mr.
Carvalho — his duty was not to take the I aw in his own hands, but
to submit with respect to the conduct and resolve of the private
adjunta who are composed of the most respected and indeed the
most enlightened part of the congregation". The case was taken into
court. Disturbing a congregation of Hebrews was an indictable of-
fense at common law, although the offender was a member of the
same faith.

After Carvalho's resignation, Beth Elohim had only lay leaders
for four years. In 1818, Hartwig Cohen was elected hazzan and he
served until 1823. His daughter, Sarah, married Sailing L. Wolfe
and their daughter was Belle Baruch who was the mother of Bernard
M. Baruch. In 1824, a petition for Reform was filed by a group of
members requesting a sermon by the hazzan weekly — an abridge-
ment of the service and less Hebrew. It was refused, and the Reform
Society of Israelites was organized. Carvalho became the first Read-
er without pay.

In 1836, Gustavus Poznanski was appointed as hazzan and min-
ister and two years later, he was elected for life. He had come to
Charleston from an insignificant post in New York, highly recom-
mended by Isaac Leeser, one of the great religious leaders of that
period who was then hazzan of Mikvelsrael of Philadelphia. Poz-
nanski had a German Reform background. When 38 members of the
congregation petitioned for the use of an organ to assist in vocal
parts, they had the support of Poznanski, but the trustees rejected it
by a close vote. When the new synagogue was dedicated in 1840
Poznanski spoke at the dedication service "chiefly in vindication on
grounds of both reason and scripture of the restoration of instru-
mental music in his congregation as an auxiliary to divine worship
and the beautiful and salutary as well as scriptural propriety of
praising Him with stringed instruments and with organs".

Isaac Leeser wrote several articles in the "Occident" pointing
out that the introduction of an organ was contrary to Sephardic cus-
tom and warned that this innovation would lead to great dissension.

The organ went into the new synagogue building however, and
Poznanski introduced portions of the service in English and preached
against the observance of the 2nd days of Festivals. He ran into
trouble with the Trustees constantly with his outspoken Reform
views. He was referred to in the minutes of the congregation as the
"Rev. Chason". His duties were chiefly those of a reader or cantor
and he refused to preach. Ultimately, as a result of ill feeling be-
tween dissenting groups, a lock was put on the door of the synagogue
and the matter got into the courts.

Apart from the legal issue involved, the court said that the
musical restriction would be "an attempt to anticipate the decision
of posterity on matters that must be affected by the progress of art
and the general tone of society and which could not be controlled by
arbitrary legislation".

Poznanski resigned in 1843, but he served afterwards without
compensation. He offered to resign again in 1847, but he was urged
to remain as a bulwark of the new Reform J udaism. He remained a
member of the congregation even after he moved to New York,
where in 1879, he was struck on the head by a horse and died.

In 1850, Isaac Mayer Wise, who later was to become the leader
of Reform J udaism in the U.S., filed an application for the position
of Hazzan in Beth Elohim, but he refused to accept it when it was
offered, on the grounds of illness. He had met Poznanski and re-
ferred to him as "stiff, cold, rich, proud and self satisfied."

The German and Polish J ews of Charleston formed a new con-
gregation in Charleston — Berith Elohim, in 1855.

After the Civil War, there was a consolidation of both syna-
gogues but there was continuous dissension. 'The leader of the choir
was willing to sing the old tunes (that the Orthodox wanted), but
he would also sing the "new tunes" (equally cherished by the other
portion of the congregation) and this without "rule or time for so
doi ng".

Eventually, Beth Elohim, the old Sephardic orthodox congre-
gation, joined the reform Union of American Hebrew Congregations
in 1873.

In 1874, an orthodox congregation, Beth Shalom, was orga-
nized and by 1945, it had a membership of 280 members. There are
two other synagogues, Beth Israel and Synagogue Emanu El which
are offshoots of Brith Shalom. A conservative congregation, Emanu
El, was organized in 1947.

Almost all of the old communities developed in a similar pattern
and a study of one or two communities will serve to reflect the his-
tory of most of them.

In New York until 1825, the only place of worship was Sephar-
dic, even when the Ashkenaxim were in the majority. But ritualistic
differences and, later, congregational politics caused many seces-
sions and new Ashkenazic synagogues were formed. Rodef Sholom
in Philadelphia was formed by secession from Sephardic Mikve
Israel in 1802, and BnaiJ eshurun was formed, in New York, by se-
cession from Shearith Israel in 1825.

Then there followed a number of other secessions. In 1839,
Shaarey Zedek. Then followed Shaarey Hashamayim. In 1824, Ro-
deph Shalom. Then Beth Israel, in 1843. Even Temple Emanu El,
which was organized in 1845, may be viewed as a secession from
other German synagogues. Shaarey Tefil ah was organized in 1845.
AnsheChesed, in 1850, was the largest Ashkenazic synagogue in the
country.

Some of these congregations, having begun with a majority of
German J ews maintained that character ; others, like Bnai J eshurun,
which started with English and Dutch J ews, absorbed the German
element and later the East European J ews.

The first Ashkenazic hazzanim in America were employed by
Bnai J eshurun. From 1827 to 1845, they were Phineas A. Hart,
Alexander Hart, Mr. Miers, Samuel Mayer Isaacs and Ansel Leo.

New York City, and in fact the entire country, knew no rabbi
until the 5th decade of the 19th century. The hazzan was already
considered a "minister" in the 18th century. This status was due to
many reasons. 1. The J ews of New York frequently had to be repre-
sented to the general public by a "minister", and the hazzan was
the only official who could serve in that role. 2. The J ews of New
York had very littlej ewish knowledge. However poorly trained the
hazzan was, his was better than their's and in the absence of more
authoritative sources of information, he was naturally looked upon
as a religious leader and was consulted frequently on points of J ew-
ish law. 3. Gershon Mendes Seixas held the position of hazzan. He
was born in New York in 1745. I n 1786, when he was 23 years old he
was elected as the hazzan of Shearith Israel for the period of "de-
cent and good behavior". During the revolution, he used every pos-
sible means to win the support of his congregation for the American
cause. His task was all inclusive. He was a preacher, reader, teacher,
and community servant. He was respected by J ews and Christians

30

alike and his personal prestige raised the position of hazzan to a
very high level. He was received as a "minister" by Christian col-
leagues.

J acques J udah Lyons came to minister as hazzan at Shearith
Israel in 1840. He did not preach but through ministerial work such
as visiting the sick, comforting those in sorrow, guiding those who
needed spiritual help, Lyons achieved the distinction of being vene-
rated by the members of his congregation.

One of the reasons ascribed for some of the secessions, especial-
ly by the German, Polish and Russian arrivals, was the rising power
of the Hazzan in the Sephardic congregations.

In the old days, especially among the Ashkenaxim, the hazzan
who led the services was a layman like every other worshipper. I n
fact, any observant J ew who had a good voice and knew the melodies
of the service could serve as a reader. No special training was nec-
essary for this office nor was any form of ordination required. The
volunteer hazzan was more in evidence than the regularly paid
official. Professional specialization had developed only with respect
to the Sabbath and Holy Day services.

The rabbi in early modern times was rather an official of the
J ewish community, — the interpreter of J ewish religious law and
head of thej ewish court. I n some places he added leadership to
Yeshivot I n Eastern Europe, he preached twice a year : before Yom
Kippur and before Pesah. The sermons were usually discussions of
legal matters rather than exhortations on religious subjects. No-
where did the sermons or lectures serve as an integral part of syna-
gogue worship. Shearith Israel, until 1860, never engaged as its
Minister a man who had rabbinical ordination ; all its ministers were
Hazzanim. This was true of all Spanish and Portuguese congrega-
tions.

Grinstein, in Appendix V, gives a list of Rabbis, lecturers and
hazzanim holding office in New York City until 1860. Except for
about seven rabbis, all of the ministers of the 27 congregations in-
volved, until 1859, were hazzanim, or, in later years, hazzanim and
lecturers.

In America, many changes occured in the traditional pattern.
Complications arose because of the rise of the hazzan who, in addi-
tion to his duties of reading the service, engaged in preaching and
other ministerial functions. Regular preaching during services was
instituted in New York by the Hazzan Samuel M. Isaacoin 1839 in
Bnai Jeshurun and later at Shaarey Tefiluh.

31

4. The early Colonial law of marriage enacted in 1864 author-
ized the performance of a ceremony by only two officials, a minister
of religion or a J ustice of the Peace. Until 1830 when the law was
changed to permit J ews to perform marriage ceremonies in accord-
ance with their own customs, the J ewish community had to recog-
nize a "minister". By 1835, any J ew could perform the ceremony of
marriage even though not a minister of religion, but the synagogues,
with which the person was affiliated, could have penalized him for
violating a synagogue regulation which permitted only the hazzan
to perform marriages.

5. Also because in the State laws of 1784 of New York, on the
incorporation of religious societies, mention was made of "minis-
ters", all New York clergymen were titled Reverend and in one case
even "Pastor". As a result of this new status, hazzanim considered
it beneath their dignity to do manual labor or engage in any business.
The press began to refer to hazzanim as the "J ewish Clergy" and at
times even as "divines".

After the arrival of many Polish and German J ews, opposition
to the important role assumed by the hazzan soon arose. The Ger-
man J ews maintained the tradition that a rabbi was superior to a
hazzan and admitted to preaching only men with rabbinical ordina-
tion. The Polish J ews came to America with their old traditions in-
tact. Both groups united in objection to making the hazzan a spiri-
tual leader. As a result, chaos reigned and each synagogue, each
group, even each individual made his own choice of hazzan, rabbi,
lecturer, or talmudic authority.

During this period also the great struggle between reform and
orthodoxy was taking place in America. Reform J udaism grew in a
large measure because of the able leadership of the movement.

Isaac Leeser, who was the Hazzan of Mikve Israel of Philadel-
phia, but had no rabbinic training, was a tower of strength in de-
fense of Orthodoxy, although he was ready for certain modifications.
He introduced the English sermon as a regular feature of the service
in Philadelphia, even before Hazzan Samuel Mayer Isaacs of B'nai
Jeshurun in New York and Morris J . Raphall in Ashkenazic Syna-
gogues.

Gradually, some of the German congregations which had joined
the Reform movement discarded their hazzanim. Others Wke Adath
Jeshurun in Philadelphia and B'nai Jeshurun in New York stemmed
the tide, but introduced innovations which were followed in other

32

congregations. Thus, in 1833, Adath Jeshurun of Philadelphia was
the first congregation to introduce late Friday evening services. A
great many congregations throughout the country did not employ
either hazzan or a rabbi during their earliest years and many of
them, especially the orthodox group, employed hazzanim from time
to time, especially during the High Holy Days long before they em-
ployed permanent rabbis.

East European congregations held firmly to the old customs of
their place of origin, in which the hazzan played a prominent role.

In the early days it was difficult to procure the services of a
hazzan. The congregation refused to give long term contracts and
the hazzanim, who were men of prominence, refused to leave Europe
without some guarantee of permanence and security. They came up
annually for election and frequently failed to receive endorsement
of electors, but towards the end of the 19th century, many of the
important congregations began to compete with one another in the
selection of cantors. Each wanted to surpass the other in employing
a greater "star" among the hazzanim.

J ust before the Civil War, New York first greeted the arrival
of hazzanim, gifted with good and well trained voices who were the
forerunners of those world renowned hazzanim of whom New York
boasted at a later time. Perhaps the first of them was Rev. Leon
Sternberger of Warsaw, who arrived in America in 1849 and be-
came Hazzan at Anshe Chesed. They already had a hazzan, Rev.
J ames Hecht, but he was made Sternberger's assistant. A non-J ew,
Mr. Sauer, acted as authority on voice in a committee appointed by
the members, to ascertain the musical qualifications of the appli-
cants. Sternberger organized and instructed a choir. He thus en-
hanced the prestige of the synagogue and i ncr eased its attendance.

Other synagogues followed. Bnai Jeshurun, in 1855, elected
Ignatius Ritterman of Cracow, who had studied music in Vienna.
He also organized a choir but he remained only three years when
Rev. J udah Kramer of Wilna was appointed.

Emanu El, from its formation until 1852, had the services of
Hazzan G. M. Cohen, who seemed to have used his own musical set-
tings as well as compositions in use in Munich, Vienna and Paris.
The scramble for better trained men led them to dismiss Cohen and
elect Adolph Rubin. Cohen refused to give up music to his successor
and it was necessary to resort to legal action to force him to do so.

33

It might be interesting at this point to read the requirements
to which some of thehazzanimof this period contracted. In general
the duties of the hazzan were to attend and lead all services and to
perform the rites of marriage and burial and in some synagogues to
read theTorah. When a rabbi was engaged he relieved the hazzan
of some of his duties, particularly that of conducting the marriage
service.

Hazzan Cohen's duties at Emanu-EI, as described in the minutes
of the congregation of April 12, 1848, which at that time were kept
in the German language, were as follows :

1. To be present and officiate at every service.

2. To be present and cooperate at all choir rehearsals.

3. To write al I of the music requi red for the services.

4. To consult with the lecturer or rabbi for instructions, four-
teen days before the holidays and other public functions.

5. If a school should be erected, to function in such a way as he
shall be directed.

6. If it should be required, he shall act as assistant secretary,
for which he shall receive an additional salary.

The duties of Leon Sternberger, as taken from the meeting of
the trustees of Anshe Chesed of N ovember 29, 1849, were as fol lows :

A. To read on Friday night from Lekhu neranena until the
service is over.

B. To read on Shabbat morning from Nishmat until the SeFer
Torah is on the shulhan and then again from YekumPurkun
until the service is over.

C. To be in the synagogue Shabbat to Minha but not to read.

D. To be in the synagogue on Yom Kippur Katan and to read
if the Board of Trustees shall request him to do so.

E. To perform the celebration of marriages provided that he
has received the written permission thereto from the Board
of Trustees, and at such celebration to wear his silk cloak;
his duty of performing the celebration of marriages to cease
from the moment that this congregation shall get a Rav on
whom this duty would devolve.

F. To attend the levaya of any member or of his wife or of his

children, if such have attained the 3rd year, who may hap-
pen to die and to be buried on the burial ground of this con-
gregation, also to wear his silk cloak on such occasions.

G. To read the prayers in the synagogue on such days as the
State government may designate as days of religious cele-
bration and observance for all religious denominations.

The hazzan in older synagogues wore a special cloak and hat
while officiating. This practice first started at Sheahth Israel. At
Anshe Chesed a peculiar three-cornered hat had to be worn by the
hazzan, but it was discarded in 1842. Hazzanim tied white handker-
chiefs around their necks, during the rendition of the service.

All of the ministers, hazzanim, preachers or rabbis were under
the strictest control of the president of the congregation. No mar-
riage ceremony could be performed without his sanction.

Grinstein has another chart showing the salaries of hazzanim
during the early period of Sheahth Israel which may be taken as an
index of the salaries paid by other congregations.

I n 1750, the annual salary of a hazzan was £ 50, six cords of
walnut wood and matxoth for Passover; I n 1765 it was £ 80 in addi-
tion to a residence. In 1808 it rose to £ 250, in 1820 it was $1200
dropping in 1830 to $700 and in 1839 to $1500. 1 n evaluating these
figures, it must be remembered that the purchasing power of a
dollar in 1839 was easily three to four times its present value.

In the late 1850's, Shearith Israel paid its Hazzan Lyons, $2500.
At the same time the lecturer, or Rabbi, was paid $2000. At the same
time, Anshe Chesed paid $1000 to its Cantor Sternberger, $1200 to
its lecturer. Shaarey Tfila paid Isaacs $2000.

B'nai Jeshurun elected Rev. Edward Kartchmaroff as its Haz-
zan in 1876. In 1912, the congregation celebrated his 35th anniver-
sary and elected him Hazzan Emeritus at a salary of $2500. Then
after one year of Rev. Reuben Rinder, (Rinder went to Temple
Emanu El in San Francisco) Rev. J acob Schwartz was elected and
he remained for over 40 years until his death. Both Kartschmaroff
and Schwartz had served as President of the Cantors and Ministers
Association. Schwartz was also Chairman of a Committee on the
establishment of a Cantors Seminary appointed by the United Syna-
gogue of America.

35

Quoting from Rabbi Goldstein's history of the congregation, he
says "Under direction of the Cantors, the Congregation's musical
service added much to the reputation of B'nai Jeshumn in the city
and attracted many who felt drawn by the artistic and thoroughly
J ewish rendition of the ancient ritual."

It was the religious services which helped spread the reputation
of the congregation. New congregations sought to establish a kind of
service, which while retaining the essentials of orthodoxy, should
permit a few innovations-organ-family pews and mixed choir.

Regulations to increase the beauty and dignity of the service
began early. Before the middle of the 19th century only Shearith
Israel made provision for any congregational singing. As early as
1805, no member of Shearith Israel could begin singing, until the
hazzan had given the key, and no one could raise his voice above
that of the hazzan. I n 1834, the hazzan was asked not to pitch the
tone too high. In 1856, Beth El introduced congregational chanting
and during the same decade, congregational chanting of Mizmor
L'David, En Kelohenu and Adon Olom.

Hazzan Sternberger introduced a study period for Kohanim to
sing together and later in harmony. Only those who received instruc-
tions were allowed to bless the congregation. Great problems were
involved however, in the development of choirs and choir rivalries.

Formation of a choir for general services on Sabbath was dis-
couraged, at first, as an innovation. They began to rise during the
middle of 19th century. Temple Emanu-El 1845 inaugurated the
practice and in a short time great rivalry resulted from others be-
cause of competition-each vied with the other for better trained
hazzanim, better vocalists and choristers.

Emanu El-1845 had a male choir consisting of its members.
Free membership was given in exchange for singing ; there were also
children in the choir-each child received a suit of clothes each year
as a gift. A choir leader was introduced in 1848 at $75. a year. Aver-
age compensation in 1848 was $25 for unmarried persons-married
persons-2 seats. Two years later, Singer became director at $75. a
year. He had 8 paid choristers.

Sternberger came to Anshe Chesed in 1849 and began to give
instructions to a choir. He used a violin, 16 adults, both men and
women and 11 children and sang Sulzer's "ShirZion". Choir Com-
mittee reports presented a record of constant changes and difficul-

ties. The question of a mixed choir received little notice at Anshe
Chesed which began to tend toward reform in 1849.

J onas Hecht, the hazzan sheni who sang with choristers, was
asked to leave the choir on the ground that it was not proper for the
hazzan to sing with ladies in one choir and to run in and out twice
during the service. Hecht replied that the singing of the hazzan with
ladies in one choir was not prohibited by any J ewish laws, but that
the singing of the ladies itself was not in accordance with the rites
of thej ewish religion. The trustees ordered him removed from the
list of the choristers.

The third choir was that of BnaiJ eshurun organized in 1850 by
Hazzan Ritterman, who trained a paid choir consisting of men and
boys only. On Friday nights and Saturdays, they dressed in special
robes and caps. Sulzer's music was used and they wrote for music
from Europe.

There were many other choirs organized by other congregations
and later by choir directors who attained great prominence such as
Zavel Zilberts, Leon Kramer, J oseph Rumshinsky, Herman Wohl, M.
Machtenberg and Leo Low. Most of the choirs were all male, and
men sang the soprano parts in falsetto. There are still a number of
such choirs in Orthodox congregations while most of the Conser-
vative have mixed choirs of J ewish singers. Most of the Reform
temples use mixed choirs, male and female both J ewish and Gentile.
The organists are usual ly Genti le as there is a great dearth of com-
petent J ewish organists.

When the first Russian and Polish J ews arrived in this country,
they joined the established German congregations, but in 1852, they
established their own first congregation in New York-Beth Hami-
drash Hagodol. Beth Elohim was organized, in Brooklyn, in 1854. As
early as 1872 there were 29 synagogues of the Orthodox Eastern
European minhag in New York City. There were some in Philadel-
phia, Boston, and Baltimore and Chicago, and in dozens of other
cities as far west as California. When the great tide of Russian and
Polish J ews came, beginning with the 1880's, they soon began to
organize great numbers of separate che/res in private dwellings, in
stores and in halls. Some of them soon were able to build their own
synagogue buildings. So great was their growth that in 1918, there
were 1127 places of worship in New York. 730 were Orthodox. I n-
cluding the handful of established synagogues there were only 237
synagogue buildings.

37

In the great concentrated centers it was only the largest con-
gregations who could afford the luxury of maintaining yearly can-
tors at reasonable salaries and in many, he was the only religious
functionary. The smaller congregations, for the most part, subsisted
upon the income from the sale of tickets for seats during the H igh
Holy Days. It therefore, became vital for each of them to put their
best foot forward during that season and great competition arose
among them in the selection of their hazzanim and the size and
quality of the choirs. Large placards, greatly exaggerating the vir-
tues and capabilities of their respective hazzanim and choirs were
hung across the fronts of synagogues, halls and theatres and many
congregations "mushroomed" into existence for the Holy Days only.
There were not enough good cantors to go around and consequently
many pseudo-hazzanim arose to fill the gap. It was also necessary to
change the attraction each year.

This was the era also, when many young boys, "wunder kinder"
arose as hazzanim and were ecstatically received by the Orthodox
J ewish population.

The great competition and the lure of lucre lead to the importa-
tion of many renowned European cantors who appeared as "stars"
in Orthodox congregations all over the country. Some of them be-
came the official hazzanim of prominent congregations at large
salaries ($10,000 or more per annum in some) with the privilege of
augmenting these salaries with guest or concert appearances else-
where. I mention only a few of such stars whose names became re-
nowned in the last generation or so-Sirota, Karniol, Moshe Shtein-
berg, Kwartin, Hershman, Kapoff-Kagan, Vigoda, Katchko, Roit-
man, Rutman and Yoselle Rosenblatt.

The appearance of these hazzanim, each with his individual style,
in wide areas, necessitated the use of booking agencies and gave rise
tocantorial agents, who soon began to trade in hazzanim as a com-
mercial commodity, and disrupted the dignity of the profession.

The art of most of these hazzanim was perpetuated on a large
number of cantorial records, which thej ewish populace eagerly
absorbed and many imitative hazzanim arose.

Many of these "star" hazzanim were learned and serious mu-
sicians earnestly devoted to their profession. Their congregants and
audiences had open and receptive minds to the cantorial art, witness
the fact that when the Cantors Ministers Association had its 30th
Anniversary Concert in Madison Square Garden in New York in

38

1927, 15,000 persons were present and thousands were turned away.
There were also concert artists who became hazzanim for the
holidays and attracted large audiences, but such performances add-
ed nothing to the dignity or permanence of hazzanut as a profession.
There arose a number of hazzanim without special learning and
without musical background and whose cantorial foundation con-
sisted of a few years of singing with a choir and a few lessons with
established hazzanim and the study of a few hazzanic recitatives and
records. They could hardly be expected to command the respect of
the populace and maintain the dignity of the profession.

An article written by Rev. N. Abramson, President of the J ew-
ish Cantors Association for thej ewish Communal Register of 1917-
18 states: 'The problem of the cantor or professional hazzan may
be summed up under three heads: the trial performance, the short
term contract, and the congregational politicians causing humiliation
and degradation. The hazzan combines both the artist and religious
functionary and ill treatment not only debases his art, but degrades
his communal activity. Trial performance is petty graft. The remedy
is to insist on payment for trials. Dismissal of a hazzan from his
congregation, is no more thought of, than discharge of an operator
from a tailor shop. U nder a short term contract, he never knows
when he will have to fold his tent".

He speaks of the organization of a Cantors' Seminary as a com-
munal project. There were no cantorial schools. There were however,
a number of recognized hazzanim-Lipitz, Schwartz, Katchko, Weis-
ser, Reisen, Beimel and later Wohlberg, who taught men who were
willing to devote their lives to the profession and the hazzanic art.
Many of these young men now occupy prominent positions and have
broadened their knowledge throughout the years and gained the re-
spect of their colleagues and congregants.

In the past decade or so, a goodly number of European hazzanim
who had occupied leading positions in prominent congregations, fled
from the Nazi terror and established themselves in this country.
Most of them are excellent musicians and full of hazzanic knowledge
and tradition and have added dignity and stability to the profession.

The need for a school to train hazzanim was keenly felt as early
as the 1840's and 50's.

In 1841, Isaac Leeser discussed with Rev. Louis Solomon of
Rodeph Sholom congregation of Philadelphia and proposed a meet-

39

ing to consider a plan for uniting synagogues in the country. He
suggested the establishment of a group to supervise all religious
functions, examine hazzanim, shohtim, etc. It also included the es-
tablishment of a central school for training hazzanim, lecturers and
teachers. He failed to get cooperation and he tried again, in 1845 and
1849, but he failed both times.

The Cantors and Ministers Association of America had the es-
tablishment of a school as their primary objective for many years
-in fact a large sum of money was raised by them in 1940 when the
establishment of a school was their slogan, but for various reasons
no school was created by them.

In 1948, the H ebrew Union School of J ewish Sacred Music was
organized and for the first time a regular course of study for the
profession with able teachers became a reality, Its graduates have
just begun to enter the ranks of regular full-time hazzanim.

In 1952, the J ewish Theological Seminary, implementing the
ardent desire of our own Cantors Assembly, created the Cantors
I nstitute with a 6 year course of study, a curriculum carefully con-
sidered and with renowned teachers. There was also the creation of
a cantorial school by the Seminary of Yeshiva University.

Several cantorial organizations arose in this country, which
played important roles in hazzanic history. There was the "Society
of American Cantors" founded in 1894-P resident Alois Kaiser-
object 'To develop the music of the synagogue and promote good
fellowship among the members of the profession".

There was the Cantors Association of America organized J une,
1908, which succeeded the Society and which was not really a pro-
fessional organization. It was more of a cantor's club and was
dominated by the German Ashkenazic group. Later it was dominated
by the Yiddish speaking East European group who attempted to
establish it on a more professional basis. The name was changed to
J ewish Ministers Cantors Association of America. The reform
group broke away and formed their own organizations. Also a Can-
tor's Cultural Organization was formed and another group known
as the Cantor's Federation. There was great internal strife among
the members of the latter and at one time, they even declared a sort
of stri ke agai nst the synagogues on the eve of the H oly Days to cor-
rect intolerable practices which had been adopted by the synagogues.

40

Their dream, as above set forth, was the creation of a Cantorial
School which did not materialize. They are functioning today as the
J ewish Ministers Cantors Association with its members mostly of
the Orthodox group.

There are a number of so called branches in Philadelphia, Balti-
more, Chicago, Canada, the West Coast and New England. All of
these are now autonomous and are not governed in any way by the
New York group.

About 1940, the writer attempted to organize the Cantors on a
national basis. A constitution and by-laws and rules of ethics were
drawn up. Several meetings were held in New York with the various
cantorial organizations. The primary objective was the organization
of a cantorial school. A great deal of enthusiasm was engendered
and some money was raised. But the movement failed because the
New York representatives were unwilling to cooperate unless they
controlled the organization.

In 1946, the Cantors Assembly was organized in conjunction
with the Music Department of the United Synagogue. In a few years
of intensive activity, the Assembly has become the most prominent
and authoritative organization of hazzanim in America.

An association of certified cantors was organized in 1953 for
the purpose of acting as an organ for all cantors, whom a certifying
Board, set up by various groups, will admit. The organization is too
young to be able to evaluate it.

In the past few decades conservatism has moved forward and
a large number of rabbinical graduates of the Seminary have become
spiritual leaders of many congregations which have undergone a
transition from orthodoxy to conservatism. Conservatism runs the
entire gamut from almost orthodox to almost reform, and while
there is no official standard pattern of unified service in all con-
servative congregations, a definite pattern is being formed in the
use of standard siddurim, etc., in the adoption of the sermon as an
integral part of all Sabbath and holiday services, in the introduction
of late Friday evening services, in the limitation of time making it
imperative that the entire service be squeezed into an alloted time.

The pattern of service, even in orthodox congregations, where
cantors might have a freer opportunity for improvization, is moving
towards the conservative pattern, and there is no time for excess
hazzanic pyrotecnics, even if there is a taste for it. All of this, in the
long run, must stifle the growth and practice of the old type hazzanut
in this country.

The congregants are no longer saturated with the synagogual
motifs-most congregants cannot daven, let alone before the amud,
as in the days gone by.

On the face of this, it seems very discouraging, but should not be
misinterpreted to mean that the growth of hazzanut in this country
is at an end. On the contrary, it is just beginning. A new type of
American hazzan will, of necessity, evolve. Traditionalism vs. mod-
ernism in synagogue music is a live question and composers like
Weiner, Milhaud, Fromm, Helfman, Freed, Vinaver, Bloch pointing
the direction which synagogue music will assume. Men like David
Putterman, Moshe Nathanson, Max Wohlberg, Gershon Ephros, and
many others are constantly producing or encouraging the production
of new music as well as music based upon ancient modes, having in
mind the limitations of the service. J ews are again slowly realizing
that the soul of the synagogue service is the music and that a true
religious inspiration and experience is unthinkable without music.

Even the reform element is seeking to stimulate synagogue
singing in order "to infuse life and warmth into the services by the
singing of the Hebrew responses and hymns".

An authoritative and universal stabilization of the areas of
authority in the religious services is required. This will eventually
come about by the meeting of the minds of hazzanim, rabbis and
synagogue authorities. When this occurs the hazzan will be able to
devote himself more assiduously to the task of building the musical
portion of the service with tradition, beauty and dignity and with a
proper regard for all of the other modern elements which form a
successful service.

BIBLIOGRAPHY

Charles S. Bernheimer, The Russian Jew in theU.SA. (A study
of New York, Philadelphia, Chicago).

Isadore Blum, The Jews of Baltimore.

Barnett A. Elzas, The Jews of South Carolina.

Dr. Louis Finkelstein, The Jew s-T heir History, Culture, and
Religion.

LeeM. Freedman, Early American Jews. (Massachusetts, New
York, and other states)

Simon Glazer, The Jews of Iowa.

Dr. Goldstein, A Century of Judiasm in New York, B'nai
Jeshurnn (18251925).

Albert I. Gordon, yews in Transition (Minneapolis).

Hymen B. Grinstein, TheRiseof the Jewish Community of New
York.

MorrisA. Gutstein, TheStory of the Jews of Newport.

Jewish Communal Register of New York City (1917-18).

Guido Kisch, In Search of Freedom (History of American J ews
from Chechoslovakia) .

Bertram W. Korn, American Jewry and the Civil War.

J acob R. Marcus, Early American Jewry.

Henry S. Morais, The J ews of Philadelphia.

Charles Reznikoff and Uriah Z. Engelman, The Jews of
Charleston.

Dr. Abraham L. Sachar, History of the Jews.

J oshua Trachtenberg, The Jews of Easton, Pa.

J acob Voorsanger, DibreYeme Immanuel, San Francisco, Cal.

Leon J . Watters, The Pioneer Jews of Utah.

Peter Wiernick, History of the J ews of America.

American Jewish Year Books, J ewish Publication Society.

THE CONTRIBimONS OF SHOLOM KAUB

Richard Neumann

In a recent issue of this J ournal, I was privileged to review
briefly some of the music of Hazzan Todros Greenberg, of blessed
memory. At that time I was unaware of the fact that a great deal
of Greenberg's music could not have come to our attention if not for
the devoted work of Sholom Kalib, who arranged and edited most
of those works.

Dr. Sholom Kalib is a relatively new voice in the world of J ew-
ish composition. Born in Dallas, Texas, he spent most of his life in
Chicago where he arranged and composed music for Chicago's lead-
ing cantors. Sholom Kalib holds Bachelors and Masters degrees
from De Paul University and received his Ph.D. in music from
Northwestern University in 1973. He is now professor of music at
Eastern Michigan University and serves as cantor for Congregation
Beth Moses in Detroit.

Within the last two years, Dr. Kalib wrote two works, com-
missioned by the Beth Abraham Youth Chorale of Dayton, Ohio,
which is under the direction of Cantor J erome Kopmar. One of these
works is a setting for chorus and orchestra of eight Hassidic nig-
gunim into one "Suite", under the title "Rejoice And Sing". The
other work is 'The Days of Awe", a concert setting of the high holi-
day liturgy for chorus and cantor-solo, with orchestra, composed in
four movements : 1) Selichos: God The Listener, 2) Rosh Hashonah :
God The King, 3) Yom Kippur: God The J udge and 4) N'iloh: God
The Forgiver.

Richard Neumann is director of Music Education for the Board of Jewish Education
of Greater New York and conductor of the Cantors Concert Ensemble of the New York
Metropolitan Region of the Cantors Assembly.

44

Both works were beautifully recorded on Amim Records, with
J erome Kopmar's Youth Chorale. The "Days of Awe" soloist was
Cantor J acob Barkin. The Hassidic Suite "Rejoice And Sing" is
available in print from Tara Publications of New York. This pub-
lication, however, is scored only for chorus and piano accompani-
ment, which cannot be compared with the lovely orchestration of
Sholom Kalib, as performed in the recorded first performance. The
orchestration is also avail able from Tara Publications.

While the earlier "Hassidic Suite" is based on given hassidic
tunes, the "Concert Service" is an original composition, also based
on the traditional Nussach Hatfilah of Ashkenazic J ewry. Both
works are most usable for congregational youth or adult choirs. The
orchestral accompaniment, although quite skillfully and imagina-
tively written, is purposely only a secondary element of the compo-
sition, so that the entire work could also be used a Capella.

It is the usability of both works, spanning the whole ideological
spectrum of J ewish concert and synagogue music, which is the van-
tage point from which I would like to comment on them and on Dr.
Kalib's contribution. A great deal of Synagogue music of fine caliber
has been brought to the concert stage, and vice versa, during the past
half century. But how much of that fine music can be claimed by the
total J ewish community? How many hazzanim and choir directors
can really utilize all the splendid contemporary works which were
created by J ewish composers within the past few decades, spanning
the three major groups of ideology in American J ewry? Surely, with
a little effort, to embrace the available music of the past half cen-
tury, many works by Zavel Zilberts, Leo Low, Max Helfman, Lazar
Weiner, Abraham Binder, Herbert Fromm, to name only a few,
could become the collective expression and property of all J ews, both
in and outside the synagogue.

I am even optimistic enough to predict, that, where it is not so,
yet, this will be the case, just as Sulzer, Lewandowski and Naum-
bourg of the 19th century are now "classics" of all synagogue music.
But what we need now, among other things, is some way to "talk to
each other" musically, some medium which speaks for all of us, per-
haps a modest medium of simple humility. I think Sholom Kalib,
and I am sure others, who are occupied in creating usable musical
works, may provide this needed medium of a musical expression for
K'lal Yisrael. Another, if not the most important element of Dr.
Kalib's contribution is the choice of his performers for the works
which I am discussing here. His choice was a Youth Chorale of about
80 young J ewish people from "middle America", the Beth Abraham

45

Youth Chorale of Dayton, Ohio, led by Cantor J erome Kopmar.
Kalib's works served as an educational tool of great importance,
which Hazzan Kopmar knew how to use. Through the "Hassidic
Suite", these 80 boys and girls, ages 8 to 18, whose only other J ewish
educational opportunity is a congregational Hebrew school, perhaps
three times a week, experienced the teachings of Hassidism by get-
ting totally involved in the spirit of Hassidic niggunim, while at the
same time, acquiring the necessary discipline of professional mu-
sical performance. These youngsters learned to "find themselves",
to identify with their tradition through music, without taking the
"far-out" road of equating Hassidic spirit with commercial, quasi-
rock music of many of their confused contemporaries.

Through the "Days of Awe" concert service, which they even-
tually sang for a worship service in their synagogue, they joined
their cantor to become a collective Sh'liah Txibur for their com-
munity and learned a tradition by an experience which will remain
with them. Thus, his music became a valuable live extension of J ew-
ish education, far more effective than most of our formal classroom
education. We need hundreds of such educational experiences, and
it is for these experiences that the kind of functional works, this
kind of J ewish Gebrauchsmusik should be written. This may well
be the necessary medium for K'lal Yisrael to talk to each other and
it also may become a foundation upon which more creativity in J ew-
ish music will be understood.

Dr. Kalib's choice of the melodic material for his "Rejoice And
Sing" Hassidic suite is based on tunes which are the daily diet of
young people, growing up in the new atmosphere of newly found
identity, in the youth movements of all J ewish ideologies of the
1970's. It is a reality that this new consciousness of some of our
youth, whether in the yeshivot of the Orthodox persuasion, the
Raman camps and USY-movement of Conservative] ewry or the
Reform NFTY groups and camps, is to a large degree inspired by
Israel, its Hassidic and other music festivals. It is also a reality that
this consciousness is one of the most necessary elements in our
struggle for survival, both in Israel and here. If for no other reason,
the choice of the lively tunes in Kalib's, "Rejoice And Sing" is a
timely affirmation of J ewish music today.

One may be more critical about his treatment of the material,
but I would rather be constructively critical: it seems to me, we
could expect more of our vocal groups, youth and adult choruses,
in the 1970's, than the "thirds" or "sixths" which Dr. Kalib uses in

his three-part choral arrangement of the Suite. I fully understand
that his primary goal, was not to dilute or over-arrange the simplici-
ty of Hassidic tunes, but even within these guide-lines, Kalib could
have been more challenging. I also think, the accompaniment of the
Suite, although far better in the orchestration than in the printed
piano version, should have been more of an extension of the total
score than merely a chordal support for the voices. Again, I think
the capabilities of contemporary choral groups can take more, if
demands are made on them. An extension of the accompaniment
would have added another dimension to the very well -conceived total
musical picture.

While I believe that Dr. Kalib's musical contribution is one
which undoubtedly adds to the necessary consolidation of the strides
in J ewish music of our time, by the unifying appeal which his music
has, I also believe that we should not lose sight of the strides which
the recent generations of J ewish composers have made, who express
themselves through musical idioms of the 20th century. We should
certainly encourage those strides and thereby raise the level of the
musical evolution which takes place all around us.

Finally, I would I ike to point out that in spite of the criticism I
voiced, I think that Sholom Kalib is much closer to the heart-beat
of J ewish musical expression than many of the attempts in which
modern idioms are used, especially those which are the results of
commercial pop-music, whether called neo-Hassidic or rock or what-
ever. He builds on something which perpetuates our J ewish identity.
Both the Hassidic suite, "Rejoice And Sing" and the concert service,
'The Days Of Awe" are genuine expressions of J ewish soul-music.
To this alone, we should say: Dayenu.

J EWISH MUSIC VERSUS J EWISH WORSHIP

J OSHUA R. J ACOBSON

Although I have been actively involved in Jewish music for
sometime, I am a new subscriber to they ournal of Synagogue M usic.
I must say that I am delighted with the caliber and scholarship of
the articles in the magazine. However, I was distressed to find in
somey ournal articles an attitude that troubled me for several years
when I was a synagogue choir director: inverted priorities. Many
cantors and choir directors seem to feel that the synagogue should
serve the highest ideals of music rather than music should serve the
highest ideals of the synagogue.

In order to be able to ask the question, 'What sort of music
would best serve the ideals of J ewish worship?" I feel that we must
keep in mind one special characteristic of J ewish worship.

Tefillah has traditionally meant man relating directly and in-
timately with God. Abraham argues with God about the fate of his
nephew, Lot's town, Sodom. Isaac wanders out to the fields in the
late afternoon to meditate, or as the Hebrew Bible expresses it,
la-su-ach, "to have a conversation". Jacob's dealings with God in-
clude wrestling with an angel (a very physical metaphor for the
same one-to-one relationship), after which he is called "Israel",
meaning "he who struggles with God." Moses speaks with God panim
al panim, face to face.

And yet the Bible shows us over and over again that, as a people,
the J ews are not mature enough to become strugglers with God on
a one-to-one basis. They demand an intermediary. They say to Moses
at Mount Sinai, "Let not God speak with us directly or we would die."
They then force Moses' brother Aaron into the role of mediator
between man and God. Even after Moses, the idealist, destroys the
golden calf, Aaron the priest, provides as a compromise the con-
temporary form of mediation, animal sacrifice. But sacrificial ritual
is surely not the meaning of this new religion. Even in the desert,
the J ewish people are reminded that they are all to be am kohanim,
an entire nation of priests.

The author iS director of the Zamir Chorale of Boston a foundation dedicated to the
perpetuation and performance Of Hebrew choral music of the highest standards, lie
/SalSO assistant profeSSOr Of mUSIC at Northeastern Universitj and conductor of the
Northeastern University choruses.

48

Several hundred years later, when sacrifice has been ritually
established in J erusalem, we still hear the voices of individual psalm-
ists, doi ng thei r own singing directly to God. We sense the ideal ism
of the Prophets, as when Isaiah preaches, 'To what purpose is the
multitude of your sacrifices unto me? Saith the Lord, 'I am full of
the burnt offerings of rams and the fat of fed beasts. Bring no more
vain oblations ; it is an offering of abominations unto me' "

When the Temple in J erusalem was destroyed in 586 B.C.E.,
and the sacrificial ritual was halted, the J ewish people was once
again given the chance to express its religious fervor in direct com-
munication with God ; either as individuals, or as a minyan, a com-
munity of individuals in the newly founded institution of the syna-
gogue. Eventually, 600 years later, the synagogue was to take the
place of animal sacrifice altogether.

Throughout the next millenia, J ews who worshipped approached
God directly, through poetry, prayer, and song. An extreme example
of this intimate (even chutspadik) man-God relationship is that of
Reb Levi Yitzchok of Berditchev who spoke to God as a prosecutor
to a criminal

Under the influence of the Enlightenment, towards the end of
the eighteenth century, a number of J ews in central Europe cast off
certain elements of their J udaic burden. They adopted into the syna-
gogue service many superficial elements of Christian ritual, includ-
ing a superfluous decorum which encouraged passivity in prayer;
they let the rabbi and cantor and choir do their praying for them.
The role of the hazzan changed. For centuries a Shaliach Tsibur (a
representative of the community), he now became a cantor who per-
formed for the congregation ; the congregation rarely opened their
mouths (except to sing hymns which were stolen from the Lutheran
service).

In recent years, some of J ewry's finest composers (Bloch, Mil-
haud, Ben-Haim to name but a few) have written inspiring music
for performance in the synagogue. And one can unquestionably sit
back, and, listening to this music, truly be inspired with "religious
feeling". But inspiration should supplement, not supplant participa-
tion. I am deeply inspired sitting in the concert hall or listening to
recordings. And Bach's, "B - Minor Mass" and Beethoven's late
string quartets can take me into the depths of my soul, just as Bloch's,
"Sacred Service" can. But not in the same way that davening can.

My point is this: tefilah is a personal act, an individual voice
reaching out with the rest of the J ewish community to God. Art

49

music can inspire, but only through the medium of other individuals
who recreate this music for us. Therefore the mitpald must turn to
spontaneous music, to folk music, for his worship vehicle. The "folk
music" I refer to is not tunes by Peter, Paul and Mary or Bob Dylan,
or even Naomi Shemer, but traditional nusach. Furthermore, those
J ews who have a sensitivity to tradition, will reject any, but J ewish
modes and folk melodies. They will avoid singing Sh'ma Yisrad to
the tune of the German tavern song, with which it has been coupled
for a few hundred years ; and they will reject the singing of Alenu to
the tune of a European hymn, of Ve-ne?emar to 'Three Blind Mice"
and of Bayomhahu to 'The Farmer in the Dell." (The insipidness of
the last two should even outweigh chauvanistic considerations.)

But do not think that I am rejecting the idea of J ewish com-
posers composing art musictoj ewish themes and setting liturgical
texts to music. Far from it. As conductor of the Zamir Chorale, I am
constantly performing this music. But I perform it where it belongs :
in the concert hall. For the totality of J ewish experience does not
end outside of the synagogue.

Obviously my views will be unpopular among most readers of
this journal. Cantors, choir directors and organists make their living
providing art music for the synagogue. I am sure that most are not
motivated by money alone, but by a devotion to J ewish ideals and
culture, and by an overwhelming need to express themselves through
the performance of music of the highest quality.

But if the synagogue is to maintain its integrity, its uniqueness,
the cantor must remain a shaliach tsibur, the organist and choir
must not expect to be listened to, but must lead the congregation in
J ewish song. Don't neglect tefilah in the worship service. Don't
neglect the performance of J ewish music in concert. But please,
don't merge the two into one.

RECORD REVIEW

"The Days of Awe"

-by Sholom Kalib

Commissioned and recorded by the Beth Abraham Youth Chorale —

Conducted by Cantor Jerome B. Kopmar and featuring

Cantor J acob Barkin as soloist.

Years ago, a movie starring Trevor Howard, traced the efforts
of one idealist to save the African elephant from extinction. It's title,
'The Roots of Heaven" might apply just as aptly to this latest album
in Jerome Kopmar's unique and growing catalogue. It too, would
rescue from oblivion something precious and irreplaceable: the
sounds to which our Eastern European forebears worshipped on
the High Holy Days.

Certainly the primeval peal of the mastodon as it reverberated
through the bush cannot have been more awesome than the trum-
peted phrase with which the hazzan enters the prayer, "Uvashofar
Gadol Yitaka." The flexible power of J acob Barkin's dramatic tenor
is stunning throughout the recording, but especially so here. His
vocal line remains flawless and its timbre has been burnished to a
mellow gold by years of disciplined use.

Yet, for all its splendor, Barkin's robust instrument perfectly
complements the predominantly soprano quality of the Beth Abra-
ham Youth Chorale. This large children's, choir spans the critical
decade of the boys' voice change, (8-18) and is heavily overbalanced
toward the girls' upper range. The paucity of altos is somewhat
ameliorated by judicious microphone placement. Inevitably, though,
this expedient mars an otherwise consistent ensemble effect.

The four sides of this two-record set represent: Part 1, Selichot:
God, the Listener; Part 2, Rosh Hashanah: God the King; Part 3,
Yom Kippur : God the J udge ; and Part 4, N'ilah: God, the Forgiver.
Instrumental interludes precede and follow each section.

The composer, Sholom Kalib, has so completely immersed him-
self in the musical idiom of Eastern Europe, both secular and sacred,
that it is impossible to separate the folk melos from his own finely
turned phrases. A perfect example is his "Ana Tavo", whose unison
theme has an air of antiquity about it reminiscent of the fourteenth
century Rhineland tunes thought to be as old as the Revelation at

Sinai. Kalib's development of this theme is a gem of concise choral
writing in the great tradition of Samuel Naumbourg and Salomon
Sulzer.

Another outstanding choral effect is achieved in "Hayom Harat
01am", in which the singers really enjoy themselves. In the midst
of all the fun, the altos enter with what is patently the opening state-
ment of a fugue. Precisely then, Kalib surprises everyone by answer-
ing, tutti, with a lullaby to the rhythm of "Oifn Pripitshik", the very
soul of Yiddish folksong.

Two climactic hazzanic recitatives are "Avinu Malk&nu" and
"Shomeia Kol Bichyot". Both are unabashedly derivative of earlier
settings. The first, recalls Joshua Lind's composition, recorded by
Leibele Waldman, and the second, paraphrases J osef Rosenblatt as
well as his protege, Samuel Malavsky. Kalib's modal progressions
are firmly within the established virtuoso framework; Jewish
Phrygian, — minor on the fourth degree; J ewish Phrygian on the
fourth degree, minor on the seventh degree. Both pieces will work
well as concert solos.

If one must fault anything in this inspired world premiere per-
formance it is the balance between chrous and small orchestra. The
interludes are far less important then the care which Cantor Kopmar
has lavished upon them would indicate. The entire work is actually
conceived as gebrauchmusik which, in this case, means unaccom-
panied material for a worship service. (An SATB version is avail-
able from the composer) The elongated rhythm of a High Holy Day
service indicates perfunctory treatment of all connecting material.
This is balanced by greater range' in the dynamics and tempi of the
prayers proper.

However, this generally excellent recording must be viewed as
a concert performance and not as a service. As such it is subject to
one final comment about the Ashkenazic dialect employed. As cloth-
ing marks the measure of a man, so does pronunciation articulate
the atmosphere of a song. To recreate on orthodox mood, Kopmar
would have his singers temporarily unlearn the Sephardic Hebrew
which they have been painstakingly mastering for half their young
lives. To listen even superficially to this attempt is to recognize its
futility.

The album price is $9.00 plus $1.00 for postage and handling.
It may be obtained from the Beth Abraham Youth Chorale; 1306
Salem Avenue — Dayton, Ohio, 45406.

J oseph A. Levine