Cantors Assembly Journal of Synagogue Music

JOURNAL

OF SYNAGOGUE MUSIC

May 1978 /Iyar 5738

Volume VIM

Number 2

CONTENTS

An American Cantor in Sweden Maynard Gerber 3

In Memorium : Norman Warembud Samuel Rosenbaum 10

A Brief History of the J ewish Music

Published in America Norman H. Warembud 14

D E PARTM E NTS

Music Section Max Wohlberg 21

The Purim Kiddush

Reviewof New Music 28

"Sing to God", Michael Hoint
"V'shamru", Maurice Goldman
"Avot", Samuel Adler
"Some Laughter, Some Tears"

Song Suite, Samuel Rosenbaum and Samuel Adler
"A Sabbath of Thanksgiving",

Norman Simons and Gershon Kingsley

Reviewof New Books Max Wohlberg 37

"The Concise Code of Jewish Law",

by Rabbi Gersion Appel

Volume VIII, Number 2
May 1978 I lyar 5738

Morton Shames
editor: Samuel Rosenbaum

editorial board: J acob Barkin, Gerald H. Hanig, Morton Kula,
Abraham Lubin, Benjamin Z. Maissner, Saul Meisels, Morton S.
Shanok, Abraham Shapiro, Moses J. Silverman, Pinchas Spiro, Max
Wohlberg.

Yehudah Mandel

officers of the cantors assembly: Kurt Silbermann, President;
Morton Shames, Vice President; Abraham Shapiro, Treasurer; Bruce
Wetzler, Secretary; Samuel Rosenbaum, Executive Vice President.

journal of synagogue music 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 <£) 1978, Cantors Assembly

AN AMERICAN CANTOR IN SWEDEN:
AFTER TWO YEARS

Maynard GERBER

My first article about J ewish life here in Stockholm, Sweden,
appeared in the March 1976 issue of 'The Journal of Synagogue
Music." My wife, Debbie, and I have been here now over two years.
We feel that we are much more a part of the J ewish community
now, and I can relate with much more clarity what J ewish life is
like in Stockholm. I am going to touch upon some of the more
interesting things going on here, plus some unusual experiences I
have had.

I. SHABBAT 'MORNING SERVICES

There have been a number of changes in the Shabbat morning
service. First, there is much more congregational participation.
Previously, the service was dominated by Cantor and choir, with
very minimal congregational participation. We are now encouraging
more singing by simplifying some of the melodies, and by adding
some prayers to the service which are sung to congregational melo-
dies. El Adon and Mizmor V David have been added to the service
for just this purpose. (Since these prayers do not appear in the
community's traditional prayer book, copies were made available,
complete with Swedish translation and transliteration.)

Another change is the institution of a procession with Torah
around the congregation as we chant Mizmor V David. Previously,
the Torah was taken directly back to the Ark from the reading
desk at that point in the service, without any procession. Thus,
most of the congregants had no opportunity to have any real contact
with the Torah scroll. (The women still don't, because they sit in the
balcony or "women's gallery".) It was almost as if only the people
on the pulpit were allowed to come into contact with the Torah.
The Torah-procession reinforces the concept that the Torah belongs
to the entire congregation of Israel, and not just to the k'lei kodesh.

When the topic of having a Torah-procession came up at a
religious committee meeting last year, I had hoped that we would
have a procession after the hotsa-a as well. However, it was felt
that one procession during the service was enough of a change to

Maynard Gerber has been serving Stockholm's "Mosaiska Forsamlingen.
(The Great Synagogue) as Hazzan for two years now. He is a graduate of the
Cantors Institute of the Jewish Theological Seminary of America.

make at the present time. It is probably best to take little steps
at the beginning and then build on these over a period of time.

II. THE FUNERAL RITUAL

One facet of community life which has held great fascination
for me, has been the funeral ritual. The community has its own
hevra kadisha, which consists of community volunteers. (It is now
becoming difficult to recruit replacements because young men gen-
erally work for large companies now, and their time is not their own.
Present members of the hevra are mostly retired people or private
businessmen who can take time off during the working day.)

There is a chapel on the cemetery grounds, which is run by the
community. After the usual ritual in the chapel (where men and
women sit separately, and kohanim sit in a special adjoining room),
there is the traditional procession to the grave site. After the casket
is lowered into the grave, each male steps up to the grave one at a
time, casts three small shovel-fulls of earth upon the casket, bows
out of respect for the deceased, and returns to his place among the
mourners. (Women may come up to the grave, but are not permitted
to perform the rest of this ritual.) After everyone who cares to has
come up to the grave, more earth is shoveled upon the casket by the
attendants, until it is enirely covered. Kaddish is then recited and
the funeral is thus concluded.

One of the most interesting parts of the funeral is the garb of
the hevra. The men wear top hats, white scarfs, black coats and
gloves. The rabbi and cantor wear robes during the whole funeral,
including the procession to the grave site. We recently had a visiting
American rabbi here who came to a funeral to see what it was like.
He found it to be quite impressive and very dignified. He commented
that he felt like he had been in a Bergman film during the whole
time. He didn't mean to say that the funeral was theatrical by any
means, but rather that it is something quite apart from what we
have in the United States. (The statement also can be taken to
mean that Bergman does actually give an excellent view of Swedes
and Swedish life in his films. Both Debbie and I have come to
realize this more and more.)

The hevra itself performs the ritual of taharah. This is done
in a special room in the chapel building. All members of the com-
munity, no matter how wealthy they may be, are buried in the same
type of simple coffin. Thus, we have none of the present-day abuses
so common in many American communities. All members of the
community pay the same fee for burial. (Non-members pay more.)

I think it is quite to the community's credit that they are able to
maintain these standards today.

One not-so-pleasant facet is that cremation is permitted for
those who wish it. Cremation does not seem too popular, but when
it is requested we perform the traditional ritual in the chapel.
However, toward the end of the service, three small spoon-fulls of
earth are placed upon the casket. The body is then taken away to
the crematory, which is operated by the city of Stockholm. The
ashes are later returned to the cemetary in an urn and buried with-
out any further ritual.

I recently officiated at a cremation funeral. Afterwards, we rode
to the crematory and were given a very thorough tour of it. I found
it to be extremely interesting, but quite impersonal and not the least
bit religious. I find cremation to be unacceptable and repulsive
to me, and have come to appreciate the traditional J ewish burial
all the more.

III. HOMES FOR THE ELDERLY

The community runs two homes for the elderly which are partly
subsidized by the Swedish government. Each resident has his or
her own room. Only kosher food is served, and religious services are
held at one of the homes each shabbat m'varkhim in addition to
various yamin tovim. Every Hanukkah a party is held at each of
the homes, which is attended by the staff members of the community.
Musical selections are performed by the cantors and presents are
then given to the staff members of the homes.

I occasionally go to these homes and sing various Yiddish and
Swedish songs. This is greatly appreciated by the people and is also
very satisfying for me as well. The Sisterhood also tries to plan
various programs for the elderly. In this way, the community is
doing an excellent job of taking care of its senior citizens.

IV. NON-JEWISH SCHOOL GROUPS

The study of the major religions is part of the general cur-
riculum in the Swedish public schools. Since J udaism is one of the
religions which is studied, many classes come to the synagogue to
be shown the various ritual objects and to hear a general talk on
J udaism. We have, on the average, three or four such groups every
week, and it has mainly been the cantors who have led these groups.
I have recently begun speaking to some of these groups. It was quite
difficult for meat first, because the talks have to be given in Swedish.

(It's one thing to speak daily, conversational Swedish, and quite
another to discuss religion.) I've gradually become familiar with
many technical terms, and have become much better at explaining
some of J udaism's basic concepts in Swedish.

V. MIXED-SEATING IN THE SYNAGOGUE

The Great Synagogue of Stockholm has separate seating at all
times except for weddings and special public events. Men sit on the
main floor and women sit in the balcony. At the present time we
are having experimental mixed-seating services on Shabbat mornings,
to see if people would like this type of arrangement permanently.
There is no doubt that the vast majority of regular worshippers,
even women, are against mixed-seating for several reasons.

First of all, mixed-seating would mean that the present system
of reserved seats would be abolished. This can become very trouble-
some because people wish to maintain their places, many of which
have been passed on from generation to generation within the same
families.

Second of all, some men feel that sitting next to their wives
would disturb their concentration on the service. They believe that
their wives might interrupt them during services with mundane con-
versation. This was indicated to me by two different men, on two
separate occasions. I answered by saying that it is just as likely
that a fellow male worshipper could interrupt them by striking up
a conversation about sports or business. There was no sensible reply
to this.

Last, but not least-people just cannot readily accept such a
major change. Stockholm's J ewish community is over 200 years old,
and separate seating has always been the norm. Many people in the
community have experienced mixed-seating while traveling abroad,
whether it be in England, France, or the United States. They can
accept mixed-seating in other synagogues, and even admit that it
feels quite natural. However, they contend that their synagogue
would not feel like "home" to them if mixed-seating were instituted.

As far as I can see, mixed-seating won't come to Stockholm for
awhile. And, who knows-maintaining the status quo might be
what is 'best for the present time. Instituting mixed-seating now
could possibly split this tiny community and causes unnecessary
disunity.

VI. THE SYNAGOGUE CHOIR

For many years, the synagogue choir has consisted almost en-
tirely of women from the community. When I came to Stockholm
in 1975, there were approximately fourteen middle-aged women and
one young male in the choir. Most of these people have retired
from the choir by now, leaving six middle-aged women and the one
male singer. In the past, the choir sang every Friday evening, every
Shabbat morning, and at all Maariv and Shaharit festival services —
including the evening of Purim and the first evening of Hanukkah.
The singers receive a small "salary", which comes out to be less than
$10.00 per service-before tax is taken out.

It has been very difficult trying to get replacements for those
who have retired. People do not want to commit themselves to
coming to the synagogue so often. There is also the added problem
of long distances. Many congregants live outside of Stockholm and
would have to travel at least twenty minutes by car to get to the
synagogue. (It takes much longer, of course, by subway.) If one
considers that most people, housewives included, work full-time, the
synagogue choir can become quite a drain on one's energy.

One partial solution to this problem has been the formation of
a youth choir, consisting mainly of (J ewish) music students from the
community. However, these youngsters can only sing one Shabbat
morning per month, because they themselves have so many other
activities.

The problem of traveling long distances to get to the synagogue
also affects the attendance at activities offered by the J ewish Center,
which is a few blocks away from the synagogue. In the United
States, people who live in the suburbs can attend J ewish functions
offered by their local synagogue or center. But the J ews of Stock-
holm have only onej ewish community center offering activities, and
it is located in downtown Stockholm. There are no J ewish centers or
synagogues in the suburbs. What happens, in many cases, is that
people become lax in their J ewish affiliations and activities, and very
little is then passed on to the next generation. It is very easy here
to just sit back and assimilate. This situation has led me to ask
the following question: "Can J ews survive as J ews if they don't live
in close proximity to J ewish centers?" This is something which can
happen to Jews in small American towns as well. I'm sure there
are already sociological studies of this problem, and it would be
interesting to see what conclusions have been drawn, if any.

VII. VARIOUS PROJ ECTS

One of the big problems of Swedish J ewry is the limited amount
of Jewish literature available in the Swedish language. The three
Jewish communities of Malmo, Gothenburg (where Abraham Baer
was hazzan), and Stockholm have to do their own writing or trans-
lating. When I came here two years ago, I found no adequate youth
siddur. I decided to compile one based on the format found in Sid-
dureinu by Rabbis Sidney Greenberg and Morris Silverman, and
Siddur M'forash by Rabbi Ralph De Koven. The various prayer
explanations from these siddurim were translated into Swedish by
a member of the community. This type of siddur which has ex-
planations of the prayers rather than direct translations, was some-
thing quite new here and met with enthusiastic approval. We hope
to expand upon it now after having used it for a year and a half.

Another interesting project which I worked on was the planning
of the yearly luah which each of the three communities publishes.
I listed all of the si d rot, haftarot, yamimtovim and candle lighting
and havdalah times. I used The Comprehensive Hebrew Calendar
by Arthur Spier, in addition to a computer-made time table for the
calculation of candle lighting times. I found this project to be very
informative and developed a greater appreciation for the J ewish
calendar system.

At present time we are working on a modern Swedish translation
of the Hagadah. My task is to include the musical notes for the
seder melodies, in addition to making a cassette tape of these melo-
dies which will go along with the Hagadah.

VIM. UNUSUAL EXPERIENCES

I was recently invited to give a talk on J udaism at a Lutheran
church, about sixty miles outside of Stockholm. Afterwards, the
priest showed me a small piece of parchment in Hebrew which he
had somehow acquired. I looked at it and saw that it was a ketubah,
and that this wedding had taken place in Stockholm. I took the
parchment back to Stockholm and tried to find a record of the
marriage in the community's archives. I was successful and found
that the wedding had taken place on J uly 25, 1847. There was also
a list of all of the children (eight) the couple eventually had, and
the date of their death.

It seems that the priest had been given the ketubah by a man
who likes to collect old manuscripts. He, in turn, had received the
ketubah from the groom's granddaughter in the early 1940's.

The whole experience was very exciting and interesting, and
introduced me to the community's archives going back some 200
years. In those days everything was written out by hand, of course,
and it is fascinating just to look through these books to see the
script. But of course it is even more interesting to look at the names
and dates and comments made next to the entries. One gets a peek
at the people who made up this community many years ago.

Another interesting experience happened last December (1976),
when we held a special Kiddush in honor of the three J ewish Nobel
Prize winners. Two of them, Drs. Milton Friedman and Baruch
Blumberg, came to services. My wife sat next to Mrs. Friedman
during services and had a lovely conversation with her. Dr. Blum-
berg presented the community with a Kiddush cup from his own
congregation in Philadelphia, as a symbol of the bond they felt with
their J ewish brethren in Sweden. (Saul Bellow did not come to the
synagogue, but his brother was there in his stead.)

This year there is one J ewish winner, Dr. Rosalyn Yalow. She
came to the synagogue along with her husband and son, who received
an aliyah and maftir respectively.

H aving these people come to our synagogue was a wonderful ex-
perience for everyone in the community. It gave us all a feeling,
that, in some way, we were participating in the simha of these gifted
people, and that we made their visit to our city a more personal one.

CONCLUSION

I have written about some of the things I find interesting about
this community. I find that my experiences have broadened my
knowledge of the Jewish life found here, and even more so, in
America. Being away from the States has given me the benefit of
looking upon American Jewry more objectively, thus seeing more
clearly its merits and its failures. America's greatness has become
much more pronounced for me, but so have its weaknesses. My
wife and I miss a number of things, but when and if we go back,
I'm sure we'll miss much from Sweden. For us, the most important
thing is not so much to make value judgments about what we find
here, but to take what it has to offer, and most important of all, to
learn from our experiences.

10

IN MEMORIAM: NORMAN H. WAREMBUD

by Samuel Rosenbaum

On a cold morning early in February, Norman Warembud, on
his way to an appointment on a matter of Jewish music, fell to the
ground and died. In that tragic moment Jewish music lost one of
its most dedicated protagonists.

The day before, he had completed a rough draft of an article
for the "Journal of Synagogue Music" on the early history of pub-
lishers and sellers of Jewish music in America. He never got to
polish it.

His love for Jewish music and his life-long devotion to it, to
hazzanut and hatzanim, entitle him to more than a brief note in the
obituary columns of the NEW YORK TIMES.

We are proud to publish here Norman Warembud's last collected
thoughts-as usual -on Jewish music, preceded by the words of
the eulogy spoken at his funeral. We firmly believe that both are
genuine contributions to the history of Jewish music in America.

We have not omitted the personal references to his dear wife,
Ruth, nor to his daughters, their husbands and to his grandchildren.
To do so would have denied them the gratitude we owe them for
having participated so meaningfully and loyally in his chosen life's
work.

There are moments of such sadness that even the wisest among
us gropes in vain for words. No matter how skillfully chosen, words
are never adequate to the task of easing the pain. You search in
vain for a thought or a phrase that upon reflection will not sound
hollow or contrived.

Yet in all the arsenal of man's senses and skills, words con-
stitute the one tool with which one can convey to another the sense
of loss they share. In one swift and terrible moment Norman has
been taken from his loved ones, from his friends, from his community,
from his people, in a wasteful tragedy and we are all diminished
by his death.

Samuel Rosenbaum istheHazzan of Temple Beth El in Rochester, New
York, Executive Vice President of the Cantors Assembly and Managing Editor
of the "Journal of Synagogue Music."

When a jewel is lost, the jewel remains a jewel. It is only the
owner who must suffer the loss. In losing Norman, we are all the
poorer for it; but the jewel remains a jewel.

We have gathered together to explore what we have left of
Norman, to explore a memory, to reach down into the deepest re-
cesses of our hearts to evoke the image of the man. It will not be
easy. Norman was not a plastic, one surface man. He was a com-
plex compendium of wit and wisdom, of human weakness and human
strength, of charm, of loyalty, of almost compulsive drive and de-
termination. A man with a mission, but a man of love and under-
standing. Few, except Ruth, will ever know the complete Norman
Wa rem bud.

Each of us will recreate the Norman he knew. But, perhaps in
comparing notes we will find that no matter what our point of
reference, Norman Warembud is a man we will not easily forget.

We have met to remember Norman, to remember him and to
mourn not only for him but for ourselves as well. The death of an
involved, creative and contributing human being diminishes all of
us and unites in sorrow all who believe in the things which he worked
so hard to preserve. We have lost something unique and precious.
We are, all of us, mourners.

And while it is proper and appropriate that we should be so
engaged here, I have the feeling that somewhere, not too far off,
Norman is about and not entirely sad. He is, no doubt, grateful
that many have come to bid him a last farewell. But he is more
than likely impatient to find something to do-a song, a play, a
television program, a book, a copyright to recapture; an idea that
needs an experienced hand.

I knew Norman for altogether too short a time, some forty
years. In all those years his zest for living, his appetite for creativity,
his concern for things J ewish, his unity with amkha, with the mass
of the J ewish people, his love for Yiddish, his exciting passion for
J ewish music and for publishing, his determination to overcome any
and every obstacle, his refusing to flinch or to be daunted by any-
one or anybody; above all, his tender and deep love for Ruth, for
his daughters, for the men they chose as life's partners, and for the
grandchildren they bore remained constant, vibrant and fresh and
undiminished.

Norman's interests in J ewish culture were so wide and diverse
that we could spend a long time just listing the institutions, the

12

organizations, the projects which were his concern. But that is
really not necessary. Norman was the true, universal J ewish fdks-
mentsh, with a heart big enough to encompass everything and every-
one whose roots go back to Father Abraham and to Sinai. With him
the J ewish people was his religion and he was as faithful and as
pious a practitioner of that religion as any hasid.

There was a speciality about the love he bore for Ruth. It was
a true school-boy-school-girl romance and the utter devotion he
bore for her and for J oan and Marilyn, his pride in them and in their
achievements knew no bounds. He encouraged every creative and
productive talent they had, understood when they failed, laughed
and felt good when they succeeded. But in their failure, as in their
success, his love and his concern for them never diminished.

Norman was, above all, a creative spirit. He was a man of ideas
and a man of action, and he knew how to bring dreams to a reality.
Sometimes he dreamed impossible dreams, not because he was un-
realistic, but because the world could not move as quickly as he,
or advance as far as he. That was his humanness and his greatness:
that he was never dismayed, never deterred from the goal of main-
taining and enhancing J ewish culture: art, music and literature.

Norman never wrote a single line of anything which bore my
name. Yet his influence, his encouragement, his spirit infuses every
page of every project I have ever undertaken. At least a score of
other writers, composers, artists, musicians, theatre people could say
much the same.

He was an innovator, an energizer and a doer.

And now this nucleus of energy is gone. With what words of
comfort are we left? With what hope, with what promise?

Thankfully, man has been programmed to remember, and it is
the nature of memory that we remember most vividly those things
we love best.

Something there is in us that helps us to recapture the echoes
of the ticks of time, of past pleasures, of past passion. Else how
would we ever remember a first kiss, the gentle scent of coffee in a
warm kitchen on a cold morning, the majesty of a Beethoven theme,
the computer perfection of a Bach suite, the choking embrace of a
child in tears? How else could we recapture the odor of fresh flowers

in the dead of winter, the electric magic of the hands of two in love
clasped to the whitening of knuckles?

In remembering, in keeping alive those things that were mean-
ingful to him, we shall keep Norman with us. Not in remorse, nor
even in sadness, but in the eternally optimistic and joyful way he
lived life; exuberantly, excitedly, creatively, lovingly — most of all,
lovingly.

And Ruth, maybe it was Norman, Marilyn, Joan, and you the
poet had in mind when he wrote these lines:

0, my beloved, do not sorrow thus

The moon has lost no luster, and the sun

No sunlight,

And dawn rises still to call to us.

Surely there is no difference, no change

In this our love since I last passed through our door.

Why estrange yourself from happiness and why implore

And coax the heartache? Surely there is no change

Only that in your grief I love you more.

We pray that these days of sorrow will not be entirely somber
for Ruth and the family. Norman would not have wanted that. May
they be comforted and blessed by the shared memories they have
accumulated for having lived an altogether too short a time in his
company.

A BRIEF HISTORY OF THE J EWISH MUSIC
PUBLISHER IN AMERICA

Norman H . W arem bud

It may be that one of the world's best kept secrets is where one
can buy J ewish music. To all intents and purposes, the J ewish music
publisher seems to have passed out of existence as well. As para-
doxical as it may sound, there are actually more outlets for the sale
of Jewish music than ever; and there are literally, hundreds of
publishers worldwide who publish Jewish music. However, Jewish
publishers and music outlets have become less visible.

We all remember the local music store, where the best times
were spent browsing, humming, discussing music. Where a broken
string, or a bent reed was repaired with tender loving care, and the
decision on the purchase of an instrument or the selection of a
musical composition for study or performance was an earth shatter-
ing affair to be judged with only the greatest wisdom and experience
of the musical sage behind the counter. Music had a permanancy and
had to be selected wisely and well. These days are now gone; espe-
cially for J ewish music.

New York was always the hub of thej ewish music publishing in-
dustry as it continues to be. In 1910, the following J ewish music pub-
lishers were in existence, each with a retail store that sold not their
own publications, but also classical music, popular music, instruments
and repair parts and accessories, and later on phonograph records.
The stock of Hebrew Publishing Co., 50 Eldridge Street, was replete
with J ewish music of all types; cantorial, theatrical, folk, classical, in-
strumental, vocal and among the sidurim, taleisim and mentalakh,
one could find Goldfaden's score for Bar Kochba or Shulamit, Rum-
shinsky's arrangements of Chopin's "Polonaise in A"", or Ivanovici's,
"Waves of the Danube," to say nothing of Zunser's "Zwelf Yidishe
Folkslider," or Henry Russoto's "Zion Album," featuring, "Kadi-
mah," "Nes Tsion " "B'eretz Avosai," and a new song destined for
popularity, "Hatikvah." Imagine spending an afternoon going
through albums of songs by Louis Friedsall, Zigmund Mogelesco,
Solomon Small, Joseph Rumshinsky, Henry A. Russotto, Abraham
Goldfadden, Herman Wohl, and Joseph Brody!

The late Norman Warembud was a publisher, radio and televisio
cer whose chief professional and personal interest was in the disem
J ewish music of all kinds.

15

Close by was Schenker's, at 66 Canal Street, who published the
Yiddish sentimental songs including (in 1911) "Di Eltern's Trehren"
and "A Gris Fun Der Mame" as well as a tearful "Dos Chupe Kleid"
by Isador Lillian and Sholom Secunda. The Rev. Cantor S. Deutsch
contributed a collection, "Four Hebrew Melodies," including "A
Freiliche Nacht in Palestina, " "A Freilich Chosidel fun Kolhasher
Rebb'in, " "A Freilich Chosidel fum Melitzer Rebb'in," "A Freilich
Chosidel fun Drabitsher Rebbin." Mr. Samuel Shenker also did not
neglect his version of Massenet's "Elegy," which he published with
a large photograph as the cover, and the inscription, "Sung with
great success by Cantor Yosele Rosenblatt."

Down the street, J oseph P. Katz held forth at 181 East Broad-
way, alongside the "Forward" Building and, in fact, in the same
structure that later housed 'The Day." Since Mr. Katz' establish-
ment was in the center of the Yiddish literati of New York, his
publications reflected an avant garde spirit, and some of the newest
composers of the Jewish field were encouraged by him, and his
publications — among them Leo Low, J acob Beimel, Michel Gelbart
and others.

S. Goldberg was located just two blocks away, near Hester
(Seward) Park, at 398 Grand Street. Mr. Goldberg's specialty was
the publication of American-type songs that the immigrant popula-
tion would appreciate. I n those days every show score was published
and sold in the theatre lobby, as well as in every music store. In
fact, "song sheets" with lyrics only to popular Yiddish songs were
published and sold. In addition, composers and writers published
their own works, and distributed them through these stores.

Shortly before World War I two J ewish publishers appeared
whose influence was widely felt. They were J ack and J oseph Kam-
men, who opened a shop at 305 Roebling Street, Brooklyn, and later
moved to the 'Tin Pan Alley" building at 1619 Broadway, in Man-
hattan, and Henry Lefkowitch, who opened his store on Second
Avenue next door to the Public Theatre, at East Fourth Street,
moving to the "Metro" corner of East Third Street in the forties.

Not only were these men publishers and music vendors, but they
each contributed extensively to their own publications, as composers,
arrangers, lyricists, idea men. They began, in the early thirties, to
coordinate and establish for J ewish music, what ASCAP had done
for the American author, composer and publisher, by the formation
of the Society of Jewish Composers, Authors and Publishers. To

16

the many thousands of their publications they added the independent
publishers, Adolph King, of 205 Forsyth Street, Sam Shapiro of 190
Allen Street, J affe and Lerner of 1354 Washington Avenue, Bronx,
New York, and J oseph H. Meyers of 103 Essex Street and 208 E.
Houston Street, Manhattan, who found the sale of phonographs
more profitable and turned all his sheet music over to Metro Music
for sale.

In the late twenties, Charles Bloch founded the first Jewish
publishing firm which specialized in liturgical and classical music.
Bloch Publishing Co. of 31 W. 31st Street, New York spread its
reputation through the various synagogue and professional organiza-
tions and published the first works of Isadore Freed, Lazar Seminsky,
Max Helfman among others. While it had a browsing room, Bloch
depended mainly on a mail order business, as did J . J . Kammen in
its Broadway days.

By the thirties, a number of the American publishers took to
the publication of J ewish works. Some publishers who were J ewish
entrepreneurs simply felt a need to include J ewish music among their
other publications, others were subjected to the pressures of Ameri-
can composers of J ewish heritage, who somehow couldn't keep from
writing a J ewish composition. And the J ewish audience was large,
vital, and responsive, certainly not a market to be ignored. When,
in 1939, "Bay Mir Bistu Sheyn" crossed over and became a world-
wide international hit, the ranks of the dozen or so publishers who
released "Rakhem" of Manna Zucca, "Hebrew Melody" of Achron,
"Mayn Yidishe Mame," by Pollack and Yellen swelled to hundreds
— all looking for a J ewish hit.

In the forties, a well-known Broadway popular publisher, Mills
Music, after successfully altering its publishing direction to make
head-on and very successful inroads into serious and educational
music, decided to try out J ewish music. A young aggressive depart-
ment head was given the assignment of formulating a special division,
to be independently operated, but to have access to the resources
of this new world-wide publishing giant. Sensing this as a wonderful
opportunity to utilize the many advantages that only such a music
structure had to offer, this young executive built the highly success-
ful J ewish music division of Mills Music, Inc. with a team of com-
posers and writers including Sholom Secunda, Lazar Weiner, Abra-
ham Ellstein, Issachar Miron, Charles Davidson, David Diamond,
Solomon Braslavsky, Samuel Bugatch, Mario Castelnuovo-Tedesco,

Samuel Rosenbaum, Samuel H. Dresner, and many others. Among
the innovations of this big new publisher of J ewish music was:

The establishment of the first rental department for major
Jewish works. A close liaison with purchasers of Jewish music
through a "New Issue" list.

The packaging of published music to allow for the variety of
utilizing of portions of one service together with others.

Commissioning works on a world-wide basis, and the sale of
J ewish music world-wide through subsidiaries, affiliates and agents.

The development and promotion of uses of J ewish music by
world famous artists, in various media including radio, records,
motion pictures and television. Through it all, Mills' home at 1619
Broadway, New York was a center where not only could one browse
and talk about and purchase J ewish music, but could meet face to
face with leading composers, artists and personalities of the day.

While it was not the primary purpose of this division to make
profit, and in spite of the fact that it spent many thousands of
dollars in securing, promoting, printing and paying royalties for its
hundreds of compositions, the division produced its share of hits,
and in the end was a profitable venture. It was when the entire
company was sold to a conglomerate, and the objectives of the busi-
ness directed elsewhere, that Mills gave up on J ewish music.

Almost coincidental ly with the establishment of Mills, in the
forties, an emigre from Hitler's Europe, Dr. Joseph Freudenthal, a
respected musician, journalist and authority on Jewish liturgical
music, became involved in publishing J ewish music, first in a suite
in Carnegie Hall, New York, and later at 1674 Broadway. His Trans-
continental Music Publishing brought to the world the outstanding
talents of dozens of J ewish composers including Hugo Adler, A. W.
Binder, Julius Chajes, Isadore Freed, Herbert Fromm, Max Wohl-
berg, to say nothing of the younger, contemporary composers such
as Samuel Adler, Gershon Kingsley, Charles Davidson, Richard Neu-
mann, Frederick Piket, Jean Berger and Stephen Richards. Direct
mail to customers and frequently printed catalogs which included
not only Transcontinental items but publications of general J ewish
interest were a boon to music buyers on through the early seventies.
It was then that, Marie Freudenthal, by this time widowed, found
the single-handed operation too much for her and turned her catalog
over to the Union of American Hebrew Congregations which gave it

a new home at 838 Fifth Avenue, New York 10021. Today, Trans-
continental also represents the Mills catalog.

By this time many independents such as Charles Davidson's
Ashbourne Publications, 425 Ashbourne Road, Elkins Park, Pa.
19117, entered the publishing field to disseminate the works of the
noted hazzan, teacher and composer. Many composers of Jewish
music followed the lead of their American counterparts and formed
their own publishing companies, where they would be free from out-
side pressuresand compose in their own free spirit and design, among
them Gershon Kingsley whose Kingsley Sound, Inc., 150 W. 55th
Street, New York, N.Y. 10019 is not only a publishing company, but
actually a music factory producing recorded sound as well for records,
tapes and films.

In the field of liturgy, the hazzan always created unique com-
positions which at first served his own repertoire but which in the
sixties and seventies were distributed independently, such as the
"Cantorial Anthology" of Gershon Ephros, 98-15 Horace Harding
Expressway, New York 11368, the special arrangements of Ida Ruth
Meisels, 1748 Lee Road, Cleveland Heights, Ohio 44118, or through
publishers such as Hazzan Moses J . Silverman's "AzYashir Moshe",
Ethnic Music Publishing Co., Inc., Carlstadt, N.J. 07072.

In addition, numerous public and non-profit groups have taken
to the publishing of J ewish music. A few are vanity-press operations
motivated from a sense of personal agrandisement, but, in the main,
these organizations provide a worthwhile and vital service to J ewish
music. For example, the Publications Committee of the Cantors
Assembly, 150 Fifth Avenue, New York, N.Y. 10011 publishes and
distributes a great number of special publications of interest to haz-
zanim ranging from a "Cantors Manual" to 'The Repertoire of
Hazzan Pierre Pinchik."

In addition, by means of grants to various commercial pub-
lishers, it sponsors new creativity beneficial to its membership, and
in so doing provides initial motivation for new talent to be drawn to
J ewish music.

The Educational Department of the Workmen's Circle has also
embarked on a music publication program but thus far it is limited
to one publication, "Mir Trog 'n A Gezang," compiled by Chana G.
Mlotek, a collection of folk and popular songs from the turn of the
century and early days of immigration in the 1900's. The Jewish

19

Board of Education of Chicago has published a collection of more
than 100 songs, "Songs of the American J ewish Experience," which
spans more than 200 years of American J ewish music history. The
Board of J ewish Education of New York has published many volumes
and individual pieces mainly directed to the Jewish music educa-
tional process in the J ewish school. Harry Coopersmith and Richard
Neumann contributed liberally to this catalog.

In 1966, a new phase of J ewish music publishing began with the
formation of Ethnic Music Publishing Co., Inc., Carlstadt, New
J ersey 07072. By amalgamating the catalogs of J . J . Kammen and
Metro Music, Ethnic came into copyright control of thousands of
J ewish musical copyrights covering the widest range of publishing.
The idea was formulated that Ethnic's future rested on its ability
to license publications by others of its musical properties, thus util-
izing the distributing apparatus. Thus far, a number of publishers
have produced Ethnic copyrights in various forms, including vocal,
choral, instrumental, in solos, and books, most notable, 'The New
York Times/Great Songs of the Yiddish Theatre," by Quadrangle,
The New York Times Book Co.

From overseas come numerous publications that are distributed
in the United States by affiliates or general music distributors. Some
of these publishers are the largest of their respective countries, and
Israel has over a dozen full scale publishers including the giant,
Israel Music Publications.

In the United States some of the general music publishers who
are producing J ewish music on a sporadic basis are:

G. Schirmer, 866 Third Ave, New York, N.Y. 10022

Chappell & Co., 777 7th Ave., New York, N.Y. 10019

Carl Fischer, 62 Cooper Square, New York, N.Y. 10003

Theodore Presser Co., Bryn Mawr, Pa.

Shawnee Press, Shawnee, Pa.

Bourne Co., 1212 Avenue of the Americas, New York, N.Y.
10036

Joseph Boonin, Inc.

Belmont Music Publishers

General Music Publishers

Galaxy Music Publishing Co.
I n addition, book publishers have begun to publish in thej ewish
music field, among them Ktav Publishing House, 75 Varick Street,
New York, N.Y. 10013.

20

Relatively new to the music buyer is Tara Publications of 29
Derby Avenue, Cedarhurst, N.Y. 11516. Velvel Pasternak's own con-
tribution to the publishing side of this distributing firm are numer-
ous. His definitive collections of Hassidic music have been acknowl-
edged as scholarly works and a living source by no less than Theodore
Bikel.

It becomes apparent that there are actually more publishers
of J ewish music today than there were in past decades. We have
only pointed to publishers with strong commitments to J ewish music.
Major publishers of all types feature popular and classical, vocal
and. instrumental, solo and ensemble publications of sacred and
secular music, either founded or entirely comprising J ewish thematic
material. In addition, standard publishers have licensed song ma-
terial for inclusion in collections and in larger works thus enlarging
the audience for J ewish music.

J ust as the proliferation of all types of music has made an
individual piece more difficult to find, similarly individual Jewish
publications are almost invisible. But for the most part they do
exist somewhere, and every local music dealer is almost a terminal
of the huge computer that can locate the specific one for you. If not,
the major performing rights organizations such as ASCAP at 1
Lincoln Plaza, New York, N.Y. 10028; BMI at 40 West 57th Street,
New York, N.Y. 10019; or SESAC at 1 Columbus Plaza, New York,
N.Y. 10002.

Although the "browsing room" of days gone by seems to have
disappeared, most of the J ewish music specialists are responsive to
queries through the mail and will set up appointments for personal
conferences.

But alas, the time for just "passing the time" in a J ewish music
store, has itself passed!

MUSIC SECTION

THE PURIM KIDDUSH

It is common knowledge that the Yiddish theatre traces its
source to the Purimshpieter, the amateur performers of such popular
"dramas" as Mechiras Yosef and Achastiveiroshshpiel.

It is less well known that in addition to having a full comple-
ment of piyutim, Purim also inspired a whole literature of humorous,
quasi-liturgical poems. These imitated and spoofed the original
formulas and managed to imbue humor and conviviality into the
ancient and staid prayer and study patterns.

A Kol Bo L'Purim I have (alas, undated but obviously a Euro-
pean publication, lithographed years ago in the United States by
Saphrograph Co. of 194 Elizabeth St., 86 Attorney St., New York,
N.Y.), written in a jocular style, contains sections devoted to
(pseudo-) Sh'eilos Us-shuvos (Responsa). Arvit L'Purim, Ato
Horeiso, Hakofos, Kiddush, Yotzros, Hoshanos, Zemiros, Neiloh,
Shir Hamalos, L'yoledes, Akdomus, four chapters of Talmud,
M'seches Purim, in the traditional arrangement with Rashi and
Tosefos on either side, a Hagadah and Selichos. All of it is composed
in an ingeniously humorous and delightful manner.

The Purim Feast, particularly in East-European yeshivos, also
featured a Purim Rabbi who took charge of the festivities and
facetiously managed to misquote appropriate and inappropriate bibli-
cal verses and Talmudic passages.

He would also ceremoniously invite one well-versed in liturgy
and dexterous in manipulating the prayer modes, to recite the Kid-
dush. The latter wandered all over the biblical and liturgical map
and concluded with- what else? — a blessing over whiskey.

Since I have never encountered a musical setting of this Kid-
dush, I decided to provide one. The text may be found in Vol. VI
of "Sefer Hamoadim" by Dr. Yom Tov Levinsky, Tel Aviv, 1955.

Max Wohlberg

Max Wohlberg is Professor of Hazzanut at the Cantors Institute of the
Jewish Theological Seminary of America. He is a distinguished scholar in
Judaica, composer and teacher and a former president of the Cantors Assembly.

PURIM KIDDUSH

for Saul Masds in friendship

Freely

Max W oh I berg

him es hot-sKo-ma-ilw v es ho-^-refti^v'ho-o-rttt hoj-

1 S©-Vw vo-vo-ho, V'ho-sheKh a \_ Kein_ n' Ka- v« l'

e'il_ VYernba-Ti-Ko-f-oi

e s y»m ha-

5, r— ^ o> ^y -^

T . ">■

1?

ihti-Shti

y«»

»w;/ri

tr«L-ar\AxJ_

1, , V'O

-si-50

m<k.-arKih V^a.-

V

-KhO, V \o

to-

,^-I

do

mim_

b' Vft/-S8-k'ho

Sot-_ vo- aom_ ( K^o.K-d«;-a., Ki-nlm^^-ro^.dfe-Varslriiln

Ki a-ief-Kho e-lo-ht-Kho,vay-Kab-lft)rr»_ao-Vi^.vck.-v/«t-

<te

^

m bVo-shai ha<|-dud. v<x.-a.-m«.»--tern:xe. vbJh p«-sah

mo.f_: io-lati-t." K!«l-vo-i'e-KtTo.Hoi--tei t-lo-h^i ox-n'Hho osh-

??.'-. p f y. g j .".' .m g J g J.t I

"»*>, P'Kah ei -ne»Kho ur-fti sho-in'mo-Sti-no, v'ho-!»- Shu-

rt/Kh_ a-to ha-sheim «L-lo-Ke!-nu me-ldOi ha-o-l

"»h-*£ b\i-vo-ro

28

REVIEW OF NEW MUSIC

"Sing to God" for solo voice with piano accompaniment by
Michael Horvit, Transcontinental Music Publications, New York.

Michael Horvit has written a very exciting piece for voice and
piano based on Psalms 68, 57 and 47. Written in simple ABA form
the song is marked by a rhythmic intensity which highlights the text.
The lyric middle section has a beautiful but difficult chromatic vocal
line. The concluding section, with a coda on the word Alleluia, ends
in a rising crescendo on a high B flat for the singer. It is an excellent
piece which requires the vocal technique and musical capabilities of
a superior singer.

"V'shamru" for Cantor with organ or piano accompaniment by
Maurice Goldman, Transcontinental Music Publications, New York.

This is a beautiful simple setting of V'Shamru. The composer
has indicated that the singer sing the piece in improvisational style.
The piano accompaniment and the haunting vocal line seem to be
speaking to one another in a sort of dialogue. The piece, written in B
flat minor, has a modal quality with a final cadence in B flat major.
Cantors will want to add this composition to their repertoire.

"Avot" (Traditional nusah for Shabbat) for Cantor with organ
accompaniment by Samuel Adler, Transcontinental Music Publica-
tions, New York.

Cantors who chant the Avot Shabbat after Shabbat will be
grateful to Samuel Adler for this composition. He has scrupulously
retained the nusah of the Shabbat Avot and has added an inter-
esting organ accompaniment. In one instance, the accompaniment
mimics the vocal line a fifth higher, in another he has inverted
the melody. In yet another spot he has a rhythmical improvi-
sation. It is the 'kind of setting that only as gifted a composer
as Samuel Adler could write without destroying the basic quality of
the prayer.

"Some Laughter, Some Tears," Suite of Six Songs based on
Jewish folk sources, for treble chorus and piano, words by Samuel
Rosenbaum and music by Samuel Adler, Oxford University Press,
New York.

Samuel Rosenbaum has a distinct way with words, and
Samuel Adler has an equally distinct way of taking a simple folk
melody and making it sparkle like a jewel. It is a pleasure to report

29

that the collaboration of these two men has resulted in a delightful
setting of six songs, which all of us who are familiar with Yiddish
songs will take to with joy. The songs may be performed separately
or as a suite. They are:

1. Once I Had a Great-coat.

2. Gone, Gone Is My Sunshine.

3. The Fiddler.

4. There's a Tree.

5. Turn Balalaika.

6. Come, Join In Our Dance.

Samuel Adler has given each of these songs charming piano
accompaniments, varied in color and feeling. In one, he has also
indicated signs for clapping, stamping feet or merely shouting "hey".

NEWYORK-OXFORLI UNIVERSITY PRESS

Some Laughter, Some Tears

Suite based on Jewish folk sources*

No. 6. Come, join in our dance

SSA and Piano

■ f nnM > \ rm I M j I I \ m mi

31

Adler seems to breathe new life into these songs. They are
arranged simply for the voices and could easily be sung by an ama-
teur group. It is interesting to note how he has arranged the choral
parts to accompany a solo, as in the song, 'There's a Tree":

(§>,. Solo

Mom-ma's ey
> * ^ -

Ml d :

J 1 i v u ' r r * ■
— rr!/-' — •JmJIi j i

H^ 1 — —

1 J ; J T J ' J ; J J J '

f ' ' ' =<

(t*-T F 1

4:

^^-T^

r?rj~~ "' |

3==*=t=

h^ ■

r J ^r

lfy P ;

^=

© Dal* If

His piano accompaniments are always interesting, for example,
in the song, 'Turnbalalaika" he uses ascending and decending scales
against one another as a pedal point under the simple refrain,

i 1 Hi ' IUJ,)'

^W

**m

34

It is not easy to translate from one language to another. It is
especially difficult to translate poetry. The most difficult of all is to
translate poems which must fit a fixed song rhythm. Samuel Rosen-
baum's treatment of these texts is remarkable. He is able to infuse
a childlike quality into the children's songs, either with a play on
words or by the addition of nonsense syllables such as la, la, la, la.
At the same time he is able to be poignant and philosophical in a
love song.

"Darling, dearest, beautiful daughter,
What can flourish without any water?
What thing can pain and cry without tears;
What thing can burn yet last through the years."

Some of his lyrics bring forth a chuckle, as in the song, 'The
Fiddler":

"Now my toe taps out the tempo
Back and forth I make the bow go.
Soon I'll play them perfectly,
Ev'ry scale from do to si.

Do,re,mi,fa,sol,la,si

Ev'ry scale from do to si"

Many composers and lyricists have tried without much luck to
accomplish what these men have done here so successfully. I would
imagine that many choirs would want to include these songs on their
concert programs.

Morton Shames

Morton Shames is the Hazzan of Temple Beth El, Springfield, Mass.; Vice
President of the Cantors Assembly and Editor of the "J ournal of Synagogue

35

"A Sabbath of Thanksgiving," a festive Sabbath service for
solo voices, chorus, with optional chamber orchestra, organ or piano
accompaniment by Gershon Kingsley and Norman Simon, available
from the author, Norman Simon, 315 W. 57th St., New York.

Subtitled "A Cantata for the Sabbath," this work conveys the
message of peace and thanksgiving through the Jewish Sabbath.
Kingsley and Simon accomplish their aim through the words and
music. This is truly an American-J ewish cantata in which elements
of American characteristics and influences manifest themselves to-
gether with J ewish ideas.

"A Sabbath of Thanksgiving" is a good work. It is tightly knit
musically, with the message lucidly presented. The transitional ma-
terial does its job without being tedious. The words are set in a
melifluous manner, without forcing them into a vise, and are easily
singable with the correct stress. They make sense and are clear.

The work consists of choral numbers (SATB) and arioso type
solos for baritone, soprano and alto. It can be performed with piano
or organ accompaniment or with a chamber orchestra. A narration
is possible, but not necessary, since the music has cohesive inter-
ludes which connect the sections. The solo passages introduce and
state the theme with the chorus always emphasizing the same theme
or developing it harmonically. Several of the climaxes make use of
liturgical texts (L'cha Dodi, Shema, Kiddush). These sections are
often set to traditional melodies or tunes.

Kingsley uses American idioms cleverly. One is aware that at
times it could be a Broadway musical, but not in a banal manner.
It is almost like the patriotic or nationalistic cantatas of the World
War II era. The choral pieces, 'Where There Is Life There Is Law"
and "Little Bit of God" are marvelous sections which are developed
harmonically, vocally, and rhythmically. "Begat" is like a spiritual,
but stylistically like a pitter-patter children's song ("Echad Mi
Yodea" or "Chad Gadya"). The "Hatzi Kaddish" is a good setting
in hazzanic-choral style. It can almost be used alone in any service.
A chorale introduces the "Kiddush." The anti phonal setting, by
breaking up the traditional Hebrew solo text with previous English
choruses, is quite theatrical yet does make sense. The ending is a
recapitulation of the total cantata. The end is calm, as if the message
of peace and Shabbat had been expressed.

The work is classical in essence and is refreshing after all the
contemporary noisy rock music that is being written and performed.

"A Sabbath of Thanksgiving" is one work that should become a part
of a good choral repertoire.

Morton Kula

REVIEW OF NEW BOOKS

"The Concise Code of Jewish Law," by Rabbi Gersion Appel,
(Vol. 1, 358 pp.) Ktav Publishing House, Inc., New York and
Yeshiva University Press, New York.

We often lose sight of the fact that our current religious prac-
tices follow, in great measure, the decisions of Maimonides (12th
Century) in Spain and Joseph Caro (16th Century) in Turkey.

While these as well as other codifiers, endeavored to relate their
decisions to verses of the Bible and to passages in the Talmud, the
connecting link was frequently tenuous,

There was, however, in addition to law another source for the
shaping of the religious act. That source was Minhag— custom
which, with law, became the determining factor in setting the
standards for the observant Jew.

To reconcile the differing customs with the decisions of the
Shulhan Arukh, such as Mapah, were provided. And, since through
the centuries unforeseen exigencies and new conditions arose, a
monumental Responsa literature appeared.

For the needs of the average layman, my landsman, R. Shlomo
Ganzfried, performed a most commendable service in producing the
highly popular "Abridged (Kitzur) Shulhan Arukh". Hyman
Goldin's somewhat stilted translation of this volume into English
served many thousands with a glimpse into the involved realm of
halakha.

But the new discoveries, objects and situations of a rapidly
changing world — to mention some: isolation ward, catheter, trans-
literation, Sefardi pronunciation in an Ashkenazi congregation, an
aliyah to a gentile, Tal Umatar for a visitor in Israel, counting to
a minyan one married to a gentile, a seeing-eye dog in a synagogue,
announcing pages during a service, flags in a synagogue, wearing a
mezuza, a mezuza on a prison cell or on a mobile home, tzitzit made
of nylon or rayon, the size of a yarmulke, etc., etc. — to reconcile
these with halakha required men of great knowledge and acumen.

These, as well as other problems, are adequately dealt with in
this volume by Rabbi Gersion Appel. Supplied with an excellent
(25 page) introduction, this eminently worthwhile book also pro-
vides an informative (50 page) section of Sources and References,

Glossary, Index of Passages cited and a topical list of Halakhic
Annotations.

The translation is felicitous and the arrangement of the material
is for the most part, sensible. The author is evidently a fine scholar
and his work, based on the Shulhan Arukh and other sources, be-
speaks thoroughness and erudition.

Since more than half of this volume deals with prayer and
liturgy, a hazzan will find here much useful information relating to
his calling. (For those with a desire for further study in this
fascinating subject I add below a well-rounded Bibliography.)

A reviewer feels reluctant to complain when faced with so fine
a work. However, this writer regrets the inclusion here of Part IV
dealing with tatooing, hallah, orlah, crossbreeding and castration, a
chapter dealing with Hanukkah or Rosh Hodesh would have been
more appropriate. The logical sequence of related subjects surely
outweighs considerations of a (to me) less compelling nature. In-
cidentally, the abbreviation: betsamekh-daled on Page 71 is, of
course, b'sayata dishmaya — "with the help of Heaven".

We are truly indebted to the author and the publishers of this
altogether deserving book. I sincerely believe it deserves a place in
the library of every Hazzan, and look forward to the arrival of
succeeding volumes.

Max Wohlberg

BIBLIOGRAPHY

VII. Yemenite Ritual: Tiklal. Jerusalem 1894.

W. Bacher, "Der SUedarnbische Siddur, " in Jewish Quarterly Review, vol.
XIV (1902). pp. 581-590
VIII. R. David h. Joseph Abudraham (1340) —commentary on the Prayer
Book. Abudraham. ed. Warsaw 1877: ed. H. L. Ehrenreirh, Gluj 1927
(incomplete).
IX. Sefardic Ritual — Seder ha-Tefillot. ed. M. Gaster. London 1901; or
Seder ha-Tefi Hot. ed. D. de S. Pool. N.Y. 1936.
Commentary: S. Gagui ne, Keter Shem Toh. Kedainini 1934.
X. Mahzor Vitry (R. Simhah of Vitry. a disciple of Rashi). Mahzor Vitry,

rd. S. Hurwitz Berlin 1892 (reprint: Nuernberg 1923).
XI. R. Zedekiah b. Abraham. Shibbole ha-Leket. ed. S. Buber, Wilna 1886.
XII. Italian Ritual: — Mahzor kol ha- Shanah with an Introduction by S. D.

Luzzato, Livorno 1856.
XIII. Ashkenazic Ritual: Text and Commentaries: —

1. Siddur Hegyon Leb. ed. L. Landshuth-H. Edelmann. Koenigsberg
1845.

2. Seder Abodat Yisrael. ed. S. Baer. Roedelheim 1868.

3. Siddur Ozar ha-Tefillot. Wilna 1913 (Commentary by A. L. Gordon).

4. Siddur Abodat ha-Lebabot. ed. If . J aw i tz Berl i n 1922.

Introduction thereto in a separate volume. Mekor ha-Berakot. Berlin
1910.

General Works of Reference

1. Article "Liturgy." in Jewish Encyclopedia (Blau) and Universal Jewish
Encyclopedia (Elbogen).

2. Moore. G.F. Judaism Cambridge 1927. vol. I. pp. 281-307: Vol. II. pp.
212-238.

3. Elbogen. I.. Der jued ische Gottesdienst in seiner geschichtlichen Entwick-
iung. 2nd edition, Frankfurt a.M. 1924.

4. Hebrew translation of the above: Toledot ha-Tefillah ve-ha-Abodah be-

Yisraelby Baruch Krupnick. Jerusalem- Berl in 1924. Part I only.

5. Ahrahams. I., A Companion to the Authorized Daily Prayer Book. Histori-
cal and Explanatory Notes, revised ed„ London 1922.

6. Eliezer Levi. Yesodot ha-Tefillah. Tel-Aviv 1946.

7. Millgram. A.E.. Jewish Worship. J.P.S. Phila. 1971.

Popular Works on the Liturgy

1. DembitZ. L .N .. Jewish Services in Synagogue and Home. Phila. 1898.

2. Idelsohn. A.Z. J ewish Liturgy N.Y. 1932.

3. Freehof. S.B.. The Small Sanctuary. Cincinnati 1942.

4. Greenberg. S., The Ideals Of the Jewish Prayer Book, N.Y. 1941.

5. Gordis R.. A Jewish Prayer Book for the Modern Age. N.Y. 1945.

6. Cohen. J. J.. The Religion of the Jewish Prayer Book, N.Y. (Mimeo.)

Recent Editions of the Ashkenazic Prayer Book

1. The Authorized Daily Prayer Book, revised ed.. with Commentary and

Notes byJ.H. Hertz. N.Y. 1948.

2. Ha-Siddur ha-Shalem. with an Introduction and Notes by P. Birnbaum,
N.Y. 1949.