Cantors Assembly Journal of Synagogue Music

J O U R N A L

OF SYNAGOGUE MUSIC

August 1978 /Ab5738

Volume VIII

Number 3

CONTENTS

An Introduction to Greenberg's

"T'FILOTTodros" Sholom Kalib 3

Index: J ournal of Synagogue Music
(By Title and Author)

DE PARTM E NTS

From Our Readers

Chaim Najman

Volume VIII, Number 3
August 1978 / Ab 5738

Morton Shames
editor: Samuel Rosenbaum

editorial board: Jacob 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 SUbermann, President;
Morton Shames, Vice President; Abraham Shapiro, Treasurer; Bruce
Wetzler, Secretary; Samuel Rosenbaum, Executive Vice President.

sic is a quarterly publication. The sub-
scription fee is $12.50 per year. All articles, communications and
subscriptions should be addressed to Journal of Synagogue Music,
Cantors Assembly, 150 Fifth Avenue, New York 10011.

Copyright © 1978, Cantors Assembly

AN INTRODUCTION ID
GREENBERG'S 'TFI LOTTO DROS"

SHOLOM KALIB

(This month, the 350 page "T'filot Todros," the complete service
for the high holidays for Hazzan/Hazzan-Choir by the late distin-
guished hazzan and teacher, Todros Greenberg, will be published by
the Cantors Assembly. The volume was painstakingly and skill-
fully collected and arranged by Dr. Sholom Kalib and meticulously
copied for publication by Hazzan David Brandhandler. Dr. Kalib
has provided us with an unusually detailed report, not only on the
monumental work, but on the special genius, style and character of
Todros Greenberg.- SR)

The publication of 'T'filot Todros" represents a great culminat-
ing point in the documentation and perpetuation of the large, rich,
and original treasure of synagogue music which emanated from the
creative spirit of Hazzan Todros Greenberg (1893-1976), zichrono
livracha.

Previous publications of Hazzan Green berg's music include:

1. Two Yiddish folk songs (Metro Music Co.)

2. Heichal Han'gina V'hat'fila, Volume I (Chicago, 1961).

A collection consisting of 32 compositions for hazzan and
piano; hazzan, choir, and piano; and choir and piano. The
compositions are for concert and general occasions, in-
cluding Hanukkah and Purim; wedding and memorial
texts; selected recitatives; and Yiddish folk songs.

3. T'filot Uz'mirot L'shabbat (Chicago, 1962). A booklet of

congregational melodies for Shabbat.

4. Neginot Todros (Chicago Region, Cantors Assembly,

1970). A collection of 19 compositions from the Friday
Evening liturgy for hazzan and choir, and choir alone.

With the publication of the present work -The High Holiday
Services for hazzan, hazzan and choir, and choir alone, there re-
mains, in addition to a number of Yiddish folk songs, one more
major unpublished category of Hazzan Greenberg's synagogue music,

Sholom Kalib holds Bachelors and Masters degrees from DePaul Uni-
versity and a Ph.D. in Music from Northwestern Uinversity which he earned
in 1973. He is now Professor of Music at Eastern Michigan University and
serves as Hazzan of Beth Israel Congregation in Flint, Michigan.

one of inestimable beauty and value: the Shabbat and Shalosh
R'galim, which hopefully, will one day see publication.

The composition, compilation and collation of the present work
overlapped that of the above-mentioned volumes and spanned the
period from 1942 until a mere few weeks preceding Hazzan Green-
berg's passing.

Hazzan Greenberg's compositional achievements differed from
those of many composers in that he was first and foremost a hazzan,
but one who possessed a seemingly inexhaustable source of goldene
gedanken, as his peers used to speak of him. For years, public
acknowledgement of his authorship of a just- performed work as its
composer would actually embarrass him. Upon sitting back down,
he would typically quip, "zei hob'n mir shoin gemacht far a 'com-
poser' ! " His was not an urge to write, as such, but rather an ever-
present urge to give expression to his innermost feelings of tender
emotion through our sacred t'filot or through the vehicle of original,
romantic-style poetry and music in his "mame losh'n", Yiddish. A
true appreciation of the beautiful, unpretentious and intimate music
of Hazzan Greenberg can be gained only from an understanding of
the background and personality traits of this most remarkable man,
who combined truly noteworthy musical, noetic and intellectual gifts
with genuine humility, humaneness and altruism that are rarely to be
found among men.

I am still impressed and moved as these reflections pass through
my mind at this writing upon the awe-striking anxiety I experienced
at thirteen years of age in anticipation of meeting this unusual man
and upon that first meeting itself. It was through a mutual friend,
the late Hazzan Abraham Kipper (1900-1951), zichrono livracha,
who himself possessed rare idealism and an intense love for true
quality and high standards in Jewish music, that I first came to
hear the name of Todros Greenberg. During the first high holidays
after my family had moved to Chicago in 1942, I sang as an alto
meshorer for Hazzan Kipper, which occasioned my notating a num-
ber of solos he had merely recalled orally. In successive conversa-
tions with Hazzan Kippur, I gradually learned of a Hazzan Green-
berg, practically blind for many years, who was an original and
brilliant improvisor of hazzanut, creator of very many beautiful
melodies, and who was an extremely shrewd man possessing an
uncanny memory.

I recall being deeply impressed by whatever Hazzan Kipper
sang to me of Hazzan Greenberg's. Upon asking whether that music

had been written down, Hazzan Kipper replied, "No, but it would
be wonderful if someone could write it down." He went on, "But
I had a thought that maybe you could. If you would be willing,
after yom tov, I'll arrange an appointment, and introduce you to
him."

On the evening of the promised meeting, as we were approach-
ing the apartment building where Hazzan Greenberg lived, Hazzan
Kippur cautioned me to avoid any embarrassing reactions that might
be prompted because of Hazzan Greenberg's blindness, reminding
me that he was very astute and perceptive. Once in the apartment,
having been introduced and seated, and after a few probing ques-
tions from Hazzan Greenberg regarding myj ewish and musical back-
ground, he asked whether I was ready to try to begin to notate. We
walked over to his piano, and as I stood with my pad over its wing,
he sat down, lit a cigarette, sounded a few minor triads and began
to chant "sottovoce." Word by word, phrase by phrase, I began
to take down his "Hin'ni Muchon Um'zumon and Brocho" from
"S'firoh" in between his continuous cigarette puffs.

It was on this occasion that I learned from him that cantors
usually begin their pieces in F minor, hence I should begin in four
flats! It was also on this occasion that I learned from him of the
great anticipation experienced by congregants on the second eve
of Pesach prior to hearing the hazzan and choir in their rendition of
the first "S'firoh" He spoke then (1942!) of this having taken place
"amolike yor' n"! Thus from his description I learned of the one-
time existence of such a beautiful religious-aesthetic experience, its
mood, its "taatn" -but it had unfortunately already become one
more great relic of the past, one which I was never to witness per-
sonally.

At the end of each phrase, he asked me to read back what I had
written. It was after the solicitous reproduction of a phrase con-
taining some highly complex hazzanic embellishment, that he choked
on some cigarette smoke, evoking an outburst of uncontrollable
laughter of satisfaction from Hazzan Kipper. This occasion, having
proven fruitful for all concerned — Hazzan Greenberg's music could
now be notated, and I could now have access to Hazzan Greenberg's
music-proved to be the beginning of an association that cannot
be discussed here, but one out of which the material in the present
volume occasioned innumerable, priceless memories and experiences
for me personally, and which now brings to hazzanim the world
over a complete high holiday service which is unique in its domain,

In his Preface to Heichal Han'gina V'hat'fila, Volume I, Na-
thaniel Kravitz included the biographical highlights of Hazzan Green-
berg's life and career, thereby precluding the necessity of their
repetition here.

Born in Vivsoniek, a village near Berdichev in the Russian
Ukraine (in the gubernye of Kiev near the Vol in gubernye-line),
Greenberg frequently referred to his nusach as the "Voliner nusach"
■which he called "der emeser nusach". The primary hazzanic
influence on Hazzan Greenberg's early years of childhood came from
his maternal uncle, Hazzan Chayim Shmuel Bogomolny. Young
Todros sang under him, serving as alto soloist in continuous tours
throughout the Austro-Hungarian empire from 1903 to 1909, at
which time his voice changed. In 1912, at age 19, he rediscovered
his voice, now a beautiful lyric tenor with a seemingly "open-ended"
upper range. He once expressed, "ch'hob gornisht gedarft kein
kammerton". It was at this time that he chose to go to Chenstok-
hova, Poland, in order to study with the renowned hazzan, musician
and composer, Abraham Baer Bimbaum at his cantorial institute,
the only one of its kind at the time in Russian Poland. There he
remained a year before emigrating to the United States.

The combined influences just described resulted in a beautiful
blend of intense Eastern European devotional expression, filled with
"tn'sikus" richly embellished with coloraturas, trills, half-trills, etc.,
on the one hand, but balanced by an elegant and dignified, classic-
oriented approach to melodic content and vocal delivery, on the
other. The result frequently produced a musical essence highly
suggestive of Rozumni (as represented in "Shirei Rozumni", edited
by Samuel Alman). A few examples from the present volume could
be the Uvashofor Codol for hazzan, Halleluyo for hazzan, and Ato
Nosein Yod. The latter in particular is so rich in smooth, subtle
changes of mood and mode, is so Yiddish and drenched in nusach,
Greenberg's music range from the passion of R'tzei Asirosom from
"sh'ei no" on, to the cantabile style of the first hazzanic solo in
Ernes hi ato hu dayon; from the majesty of Yotzeir Ato (in the
B'motzoei's) from "konanto mei-oz" on, to the mystical beginnings
of Hi n'ni 4ft and B'rosh Hashono 4ft; from the dramatic element
in Sh'ma Koleinu at the word "chus" or L'dovid Mizmor for hazzan
at "Adonoi gibor milchomo" to the march-like beginning in the
choral Ell Dar in Melech Elyon 4ft or to the merry, tuneful "Laadei
ad" in the same prayer; from the Russian-influenced "V'yeiroe" in
the choral Yaale to the Ukrainian hassidic sounds in the choral
Lishmoa's (in the B'motzoei's) or the Kadish Sholeim, etc.

Though his vocal production was throaty, his natural quality
was indeed beautiful, virile, and amazingly youthful and fresh sound-
ing into his 70's. His hazzanut was basically improvised, though he
had pre-set goals which he realized in the course of improvisation.
He possessed amazing natural musicianship. In addition to the fact
that he had a degree of absolute pitch, he could listen to a recitative
or choral number in depth, and as a rule, could grasp its essence
in one hearing. He had a remarkable ability to critically analyze
a rendition or the structure of a recitative or composition with in-
sight almost instantaneously. He used to enjoy having recitatives
or compositions read or played for him.

He would proudly borrow a "ch&nd'l" (ornament) from a Dovid
Moshe Steinberg or a coloratura from a Dovid' 1 Roitman — he was
always seeking to beautify and improve his style, and strongly urged
his colleagues and students to do likewise. While he was extremely
modest in accepting the superiority of the great names of his era
(e.g., he would at times express, "ml lonu godol k' Hershman?"), and
while he felt a kind of adulating reverence for talents and abilities
he recognized in others as superior to his own, he did express with
great, pride his own self-esteem as belonging to the first-ranked
among his local peers. And I think all who remember those peers —
and there were an impressive number of highly talented and ex-
tremely effective hazzanim during his time — would concur that his
self-assessment was soundly justified.

In the United States, Hazzan Greenberg was first engaged in
a position in Kansas City from 1913-19, then was elected Hazzan
of Congregation Anshe Sholom on Chicago's "old West Side" on
Ashland and Polk Streets. After one year, however, he was offered
the pulpit of the Kehilath Jacob Congregation on Chicago's "new
West side", which was the up-and-coming Jewish neighborhood for
the next 30 years, and which came to be referred to as a "Yerusho-
layim k'tano". The synagogue was also known as the "Rizhiner
Shul", and was located at the bend of Douglas and Independence
Boulevards. Hazzan Greenberg always spoke of that association with
great pride. The synagogue was among the large synagogues of the
area and was one of the most prestigious congregations of the time.
It was, according to Hazzan Greenberg, an "emese balebatishe shul".
There, through the '20' s and into the beginning of the '30's, he
performed all services with a hired men-and-boys' choir — including
monthly Shabbat services. It was there that Hazzan Greenberg
imprinted his towering hazzanic stature on the Chicago Jewish com-
munity, which is still remembered by people until today. Several

times over the years, people who would see us walking together
would stop us and tell how they could never forget his "Hin'ni"
back on the West Side.

This glorious chapter in Hazzan Greenberg's hazzanic career
came to an abrupt end when one morning, upon awakening, he dis-
covered that he could not see! He had become victim to an eye
ailment which was to remain incurable for life, and which left him
functionally blind. Unable to maintain his yearly position, he re-
signed from the Kehilath J acob Congregation. Though he never held
another yearly position, he did daven on selected occasions — espe-
cially, but not exclusively, on the high holidays. The mutual affec-
tion and admiration held between the Kehilath J acob Congregation
and Hazzan Greenberg was, however, renewed and revived, when,
in the waning years of the Jewish community of Chicago's West
Side, the congregation could no longer afford to engage a yearly
hazzan. They came back to Hazzan Greenberg, and he happily
agreed to daven holidays for them once again and even an occasional
Shabbat until about 1952 when the neighborhood could no longer
sustain a synagogue.

Though his functional hazzanic activity was thus dramatically
curtailed, his love, idealism, and devotion to hazzanim and hazzanut
remained exemplary in the truest sense of the word into his middle
seventies, from which time onward until the end of his life, one
personal tragedy followed another. And truly the invaluable ser-
vices he was destined to render to his profession seemed in no way
diminished as a result of his handicap. It was not merely his
exemplary attitude which led to his remarkable life outside the
pulpit, but a rare combination of unique character traits and abilities.

He was a man of noble principle, a true idealist. He possessed
qualities in leadership as well as other character traits that appealed
to younger colleagues no less than they did to the older ones. He
retained that progressive quality which resulted in mutual attraction
between himself and young people within the profession until his last
years. There was a certain earthiness about him which distinguished
him from colleagues who maintained a formalistic air, and which
contributed immeasurably to the respect and admiration his col-
leagues felt for him. He rejected pragmatism which restricted ideal-
ism; he viewed himself and others whom he admired for possessing
this trait as being "sports" — those who would feel free to "spend
a dollar" for artistic or other idealistic purposes. Conversely, he held
in contempt the "karger", the stingy one who lacked the vision to
rise above purely mundane uses of money. Being keenly aware and

proud of his own sharp intellect, he once expressed, 'You know I
can't stand a fool, especially a stubborn one; and I can't stand a
stingy one. Nu, vus ken shin far mir zain erger fun a karger
naar?"

He had a magnificient capacity for humor. His spontaneous
clarity of logic flowed with elegance in Yiddish, whether spoken
privately or in a public speaking situation. His classic taste and
his gift for analytic insight and observation were manifested re-
peatedly in the tender, heart-warming words and music of his Yid-
dish songs. These and other qualities furthered the underlying goal
which seemed to be the central motivating force throughout his life,
and which he pursued with almost juvenile zealousness — the better-
ment of the status of the hazzan, collectively and individually;
musically, spiritually, and materially.

In an age when it was common for hazzanim to withhold the
sharing of repertoire, or at least to charge excessively for selling
a colleague or student the right to copy a piece, his progressive
attitude called forth scorn, chide, and ridicule at the narrow-minded
practice. During the '40's, when visions of schools of hazzanut arose
in the wake of the destruction of European J ewry in World War II,
which had been the basic source for emerging new hazzanic talents,
one could, not infrequently, hear comments from colleagues who
predicted an "umglik" from such schools, and who expected that the
bargaining power of hazzanim with their congregations would be
made nil through an overabundance of these "half-baked" hazzanim.
Yet, Hazzan Greenberg, perceiving that the long-range necessity far
outweighed any such momentary threats, succeeded in forming a
committee in 1945 which pressed on with the project of a Seminary
for hazzanim and which led, in 1951, to the establishment of the
J ewish Music Institute at the College of J ewish Studies in Chicago.
But in this achievement, Hazzan Greenberg already had the in-
valuable support and assistance of a new force in the leadership of
the Chicago cantorate, a man who was destined to evolve as the
successor to Hazzan Greenberg in that capacity, Hazzan Moses J .
Silverman.

As a member of the faculty of the Cantors Institute (together
with Hazzanim Moses J . Silverman, myself, and later, David Brand-
handler, the Institute's first graduate), Hazzan Greenberg con-
tributed to the creation of a suitable repertoire-curriculum for be-
ginning students. But even outside the confines of the Institute,
he coached and taught innumerable students, gratis. He wrote and
taped countless "shtiklach" here and there for colleagues as well

10

as students, always gratis. When once questioned about it, he com-
mented, "Mit voszol er mir batzolen? Mit zaine tzerisene hoizen?"
His service to his colleagues and students, however, was not confined
to the musical aspect. He was always eagerly ready and willing to
listen to a student or colleague — to lend advice on professional or
public relations problems. He was known to have personally given
as well as lent money to colleagues in times of need. One could
easily perceive the spark of his full, intensely alert interest, extra-
ordinary intellect, total involvement in sharing a problem, whether
of a musical or non-musical nature, with a colleague or student. One
could count on his extending himself mentally and physically far
beyond the extent normally observed in fellow human beings. The
interest was keen, genuine, and always present with a youthful-like
freshness.

The admiration and reverence held for him by colleagues young
and old was reflected in the honorary distinction through which he
was referred to as the Dean of the Chicago Cantorate for some
twenty years before his passing. He truly was the guiding spirit of
the Chicago cantorate well into and through the early years of the
Cantors Assembly.

Hazzan Greenberg's hazzanic-musical output falls into three
basic divisions:

The first division consists of the recitatives notated for himself
for concert purposes (very few in number) and recitatives composed
for colleagues. These are in the orthodox tradition of the "golden-
age" style. Examples include Eine Chd Eilecho#l, Rtze Asirosom
#, or Ki K'shimcho. The second division began in the late '40's
and arose together with the need for schools of hazzanut described.
It consists of works for students or hazzanim requiring a more Con-
servative style. It includes all the simple, par I an do-style chants
which permeate the service and which hazzanim of the old school
improvise, but which those lacking the background needed and still
need. It also includes smaller-scale, modestly embellished recita-
tives, tailored to the limited hazzanic and/or vocal abilities of some,
and to a more streamlined taste of others. The classic strain in
Hazzan Greenberg's background made him eminently suited to
create this new type of hazzanic recitative. Examples of these in-
clude: Etna Choi Eilecho #2, R'tze Asirosom #2, Ernes Ki Ato Hu
Yottrom etc. A large number of pieces in this second division were
created for the curriculum of the Cantors I nstitute, while innumera-
ble others were created for individual students who came to him

11

in order to fill gaps in their repertoire and which, in a number of
cases, led to the creation of an almost totally new repertoire.

Concurrent with this activity, which began in the late '40's,
Hazzan Greenberg's old shul, the Kehilath Jacob Congregation,
asked him to return for the high holidays of 1948, as was mentioned
above. Whereas in the early years of his association with the con-
gregation, Hazzan Greenberg davened with a "professional" men-
and-boys choir, by 1948 there were hardly anymore to be had, and
the Kehilath Jacob Congregation could no longer afford the expense
of a large choir. Moreover, the practice had developed whereby
men's choirs sang the old repertoire by merely transferring the
soprano part to the first tenor, and the alto part to the first bass
(or baritone), resulting in a "muddy", thick sound. As poor as the
sound was with a triple or even double quartet, with a single quartet,
the sound was even poorer. In addition, many of the compositions
were too long and their hazzanic-stylistic contents required a type
of performer and listener that were slowly but steadily disappearing.
Hazzan Greenberg decided to follow a totally different route. He
hired three men, a tenor, a baritone, and a bass, and dictated to me
a repertoire for them, which in essence amounted to an extension
and enhancement of his solo hazzanut. There were no ambitious
choral numbers at all, but rather a utilization of unision nusach-
based passages (as included in "Tzadik Adonoi" in Einei Choi
Eilecho 4t\ or "Asher V yodo" in L'chu N'ran'no # 1), and simple
melodic passages such as "Lifkodaltz'vo moram" In Ernes Ki Ato
Hu Dayon or "Han'shomo Loch" in L'chu N'ran'no.) He made ex-
tensive use of hazzan ic-sty I e solos for choir members with choral
assistance, responses, etc. Examples are T'vieinu #2 or L'dovid
Mizmor #1 up to the hazzanic entrance of "Mi Yaale". Light, lilt-
ing melodies are in abundance and examples include B'motzoei #1,
Rachamono. EH Dar Bamorom, and Hayom T'amtzeinu. A few com-
plete choral numbers on a small scale such as the Halleluyo or
Omnom Kein were included. The compositions were originally ar-
ranged for three voices — TBB — usually with the upper two voices
in parallel thirds or sixths plus a filler (or occasionally contrapuntal)
bass line. Hazzan Greenberg filled in ad lib on the melody, often
adding a filler note in a harmony and at times improvising a counter-
pointing descant, above the entire trio ensemble. This approach
proved highly successful. It, was practical because of the basic
simplicity and melodious character of the music; the pieces were
mainly quite short, and they were steeped in traditional nusach.

As the volume of notated material began to accumulate, the
thought occurred to me that, with not too great, an effort, a complete

12

Greenberg thesaurus could be organized. I envisioned the three basic
volumes of Shabbat and Shalosh R'galim, Yamim Noraim, and
miscellanea. Events, however, led to their appearance in reverse
order. I imagined an ideal disposition of the material in the order
of the siddur or Mahzor one that would include a simple, baal-t'fi la-
style nusach for every text, but with alternate settings for selected
texts: (a) for hazzanic recitative in the "golden age" style, (b) for
hazzanic recitative in the more Conservative style, and (c) in a
Green berg-style choral composition. I had observed this basic type
of layout of the entire repertoire in a number of the older classic
sources, including the Amanut Ha-hazzanut of A. B. Birnbaum
(Chenstokhova, Poland, 1908), Hazzan Green berg's teacher. Hazzan
Greenberg was highly enthusiastic about the idea. I proceeded to
prepare lists of pieces needed for him to complete specific categories.
He purchased a wire recorder, later a tape recorder, and thus began
to record his improvisations. As the years passed, and his peers
slowly passed on, he became more and more involved in his tapes.
They became a recreational hobby for him, to the extent that many
of them were made in the still of the night. For example, the bulk
of theN'ilo service through the end of Y'hi Rotzon 4ft is taped in
a subdued voice. Suddenly one hears Hazzan Greenberg speaking
to himself on the tape, "Oh! m'darf shoin gehen shlofen; s'iz shoin
bald fier a-zeiger."

The tapings continued until he was placed in a home for the
aged. Then, in rapid succession, his beloved wife, Rayzel, passed
away, he suffered a stroke which resulted in the loss of his singing
voice, he underwent a final unsuccessful eye operation aimed at
restoring part of his vision, and he suffered several minor illnesses.
For the completion of the present work, however, some forty smaller
pieces and nusachot were still lacking. Though at first reluctant,
Hazzan Greenberg consented to attempt to tape those missing items.
Physically and spiritually broken, functionally blind, with a serious
vocal handicap, amid frequent coughing and audible physical agony,
and after having been away from the pulpit for some twelve years —
with merely slight prompting on the text he struggled through to
respond with melodies of shocking spontaneity and beauty. (See
the solo to T'vieinu #2 in S'lichos, Rachamono #2, the nuschaot of
Maariv for Rosh Hashono through the Chatzi Kadish, from Keren
B'moshchom up to Melech Elyon, thelmru Leilohim's, XheMaasei
Eloheinu's, the hazzanic selections of the Yom Kippur Avoda service
in its entirety, and Yaale V'yovo in N'ilo.)

The mere listening to those final tapes reveals, better than any
words could, the unimaginable extent of which the most idealized

13

hazzan -in terms of spirit, idealism, and knowledge — resided
wholly throughout the being that was Todros Greenberg. May his
memmory ever remain a blessing for all of us.

At about the time Hazzan Greenberg began to create synagogue
music for students, the modern state of Israel was already in ex-
istence, albeit in its infancy stages, and the vexing problem of L'mil'el"
and "milra" Hebrew accentuation had already begun to invade the
realm of hazzanut. For those hazzanim raised Hebraically and haz-
zanically on "golah" pronunciation, the modern pronunciation had
a strange ring. Hazzan Greenberg felt that the overall musical
beauty of the totality superseded in importance the principle of
"mil'el" and "milra" stresses. Being exposed to J ewish youth groups
at the time, I felt that the problem could not be wished away. On
the other hand, I felt that Hebrew words which had a living Yiddish
folk usage, such as "chayim", "ernes", "tova", "sholom", "torn",
"amcho","tzadik", "n'shomo", etc., as well as proper names,
"moshe", "avrohom", "yitzchok", "yaakov", etc., could justifiably
remain unedited. Consequently, the works which I edited heretofore
reveal that compromise. Since the last one, Rinat Yehoshua by
Joshua Lind (1973, The Cantors Assembly, N.Y.), I have observed
that the numbers of people being raised on pure s'fardit Hebrew is
steadily multiplying, while the numbers of those being raised on
"galut" Hebrew is steadily falling. I am convinced that with the
increasingly multiplying numbers learning to speak modem Hebrew,
it is only a matter of time before hazzanut performed in "galut"
Hebrew will be perceived as antiquated. To the claim that a certain
awkardness might exist at one or another word in the text, I respond
with the belief that the objection is rooted in the awkward feeling
of the correct "mil'el" — "milra" accentuation, and that to the per-
former for whom the original "galut" accentuation in the music is
unknown, and to whom the modem accentuation of the Hebrew text
can feel comfortable, no problem will exist. What is required is (1)
proficiency in the modem accentuation, and (2) basic musical ity in
the execution of the musical phrase. My primary consideration is
the perpetuation of the music — for within it is contained no less
than the spirit of Jewish history itself. Whereas I feel the music
could come to be neglected within time if the hazzanim of the future
will find it textually unpalatable, the music will on the other hand
have appeal for unforeseeable generations to come if the flow of the
text will feel natural to those trained in modem Hebrew accentua-
tion. I have therefore, in the present work, adjusted the accentua-
tion to the proper "mil'el" — "milra" stresses in the confidence that

14

this step will serve as a smooth bridge to the utilization of this
music in pure s'fardit Hebrew when that last step becomes a re-
quiremen t.

There are a number of places within the present work which
are composed by the arranger and editor rather than by Hazzan
Greenberg. The primary reason is that some texts were neglected
by oversight. But since they were relatively few, I assumed the
liberty of setting them so that the work would be complete. Actually,
when I requested Hazzan Greenberg to tape the remaining uncorm-
posed items, shortly before his passing, he in turn suggested that I
write them. And it was only at my insistence that he do them him-
self in the interest of preserving the consistency of his Voliner
nusach" that he agreed to make the effort. I therefore feel justified
in having supplied the few items I have completed in the confidence
that he would not have objected to my having done so. In earlier
years, however, for purposes having no relation to publication, I
filled in or added a line or phrase in a few instances. They are:

L'chu N'ran'no #2 — from "Asher B'yodo" through "b'sar
ish". In re-arranging the choral number for hazzan solo,
the choral line had to be replaced with a hazzanic phrase.

B'rosh Hashono #1 — from "Kamo Yaavrun" through
"v'chamo yiboraun" The music from "Mi Yichye," etc.
was originally a solo for a choir member. By supplying
the preceding phrase, the composition could be used as
a hazzanic recitative.

Uvashofor Godol (for hazzan) — from "V'chol Boa Olom"
through "kivne moron". This line had been accidently
omitted at the time of composition.

Ernes Ki Atotiu Dayon — from "Kan Taavir" until the end.
Hazzan Greenberg had borrowed a phrase from a widely
known composition, which I replaced.

Sh'ma Kolanu #t — In the third section, Al Tashlicha'nu
Milfonecho, from the third recitation of the words "al
tashlicheinu" up to but not including the word "v'ruach"
is mine; it was added for the purpose of intensification
of the passage.

On repeated occasions when I would read Hazzan Greenberg's
compositions to him, upon hearing phrases that were mine instead
of his, he would first listen without comment. When he would

15

recognize the return to his music, he would interject: 'The last
phrase is not mine." Invariably I would ask if he would like to
replace the phrase with one of his own, and he would invariably
reply, "No, leave it." When I would reassure him that it was no
problem to replace the particular phrase with one of his own, he
would say, "No, yours is good; I just recognized it isn't mine".
The following listing enumerates the items that remained incomplete
or unwritten at the time of Hazzan Greenberg's passing, and which
I completed:

1. B'rosh Hashono #1 — from "Mi Yonuach" to the end.

2. B'rosh Hashono #Z-from "Mi Voroov" through "umi

vatzomo. "

3. V'chol Maaminim #3 — Verse 4&1.

4. Vatiten Lonu — from "B'ahavo mikro kodesh" until the

end.

5. Uvyom Hashabos — entirely.

6. Uveosor Lachodesh — from "V'hikravtem" until the end.

7. Yism'chu — entirely.

8. Oleinu — from "Shelo osonu" through "K'mishp'chos

hoadomo." Greenberg's setting was based on the Shestopol
Oleinu; I had only fragments of Greenberg's setting.

9. Areshes — the opening phrase through "eil rom v'niso,"

and the final phrase "Uskabeil" (first two bars and last
two bars) are Hazzan Greenberg's; the rest is mine.

10. Val Y'dei Avodecho #1 (for hazzan and choir) — the bass
SOlo "Holoch" through "b'oznei Y'rusholayim leimor"; the
second "chesed n'urayich", the coloratura on "ahavas
k'lulosayich"; the hazzan SOlo "V'zocharti Ani" through
"b'ris olom v'neemar"; the hazzan SOlo "Havein Yakir Li"
through "shaashuim".

11. V'seeray — entirely.

12. V'atem hudveikim — entirely.

13. Yaale enkoseinu — entirely.

14. Regesh rachashom — adapted from "L'hosir Michshol".

15. Maasei Eloheinu — Lochein Yisgoeh Adonoi Tz'voos
Sh'mo.

16. Vatiten lonu (Yom Kippur) -almost entirely.

There are a few places in the present work that were borrowed
unintentionally by Hazzan Greenberg from works of others. It
occurred several times that I would point out such a place, and he
would be surprised and somewhat -disturbed, and would, as a rule,

16

replace the phrase. On the other hand, there were times he would
respond that occasionally in the process of creating, one inadvertently
seizes upon a phrase heard elsewhere in complete confidence that it
is original, being totally unaware that it is in fact borrowed. The
following listing enumerates those places which are borrowed, and
of which I am aware. (The listing omits standard nuschaot such as
Oleinu, Kol Nidrei, V hakohanim, etc. It also omits quotations that
do not exceed one or two bars.)

1. Ma Noro — all but the solos for Hazzan, which are by

Hazzan Green berg.

2. Sh'ma Koleinu — a. The opening hummed choral intro-

duction; b. The choral "V'kabeil b'rachamim"; c. The first
"V'kabeil" by the hazzan (based on that of J acob Rapa-
port) ; d. The choral "Kichlos kocheinu."

3. L'dovid Mizmor -The choral "S'u sh'orim" (which I
added with his permission; I had heard it from Hazzan
Abraham Kipper, who recalled it from his childhood.)

4. Duchenen — The refrain melody. It was a commonly used
melody in the synagogues of Chicago's West Side.

5. Hayom T'amtzeinu — Hayom t'gadleinu from m 5 on

(borrowed unintentionally from a hassidic folk tune).

6. G'ol M'rageil- the complete melody.

The decision to utilize the four voice SATB medium for the
choral words was mine. The reasons were: (1) it is the most com-
mon choral medium used in Conservative synagogues; (2) it is the
medium used in the choral works of the classic collections upon
which the present work models itself; (3) the mixed medium offers
the greatest variety in timbre and range for arrangement purposes.

Hazzan Greenberg readily agreed to the extent that no other
possibility was ever seriously considered. I feel totally secure in
stating that whereas in his situation at the Kehilath J acob Congre-
gation the arrangement of three men was the most practical and
simple, for the purpose of perpetuating the music, the more standard
SATB medium seemed more apropos. In addition, Hazzan Green-
berg had the deepest respect and admiration for schooled arrange-
ment, which as already stated, lent itself to infinitely greater possi-
bilities in SATB arrangement than to the original TTB arrangement.
However, as much as Hazzan Greenberg loved effective, imaginative
schooled arrangement, he admired it only if it was comfortably in
consonance with the spirit of his music. That parameter I auto-
matically sensed from childhood until today; not necessarily because

17

Hazzan Greenberg by far preferred it that way, but because I
genuinely shared his feeling of the importance of maintaining the
sanctity of the atmosphere appropriate to the particular service, to
the general area of the service in which the specific text occurs, to
the specific text itself, and even to the specific phrase or word when
appropriate-all within the context of the interpretation of the
Orthodox J ew of Eastern Europe. It was by working to the fullest
with, and yet at the same time working within these parameters
that the richest combination of (1) our old traditional, modal,
melismatic, monophonic style -which reflects most genuinely our
people's long history of suffering and hope for redemption, and (2)
the technical and emotional wealth of Western art music, could be
allowed for. Within this framework and within the basic image of
the composition as I perceived its outline through Hazzan Green-
berg's basic melody, I endeavored to provide musical variety, and
to dress, enrich, and fulfill the music- hut not to exceed it.

In conclusion, my expressions of acknowledgement are perhaps
more deeply felt than those who author a book. And as one inti-
mately involved with its compilation and authorship, my feeling of
satisfaction is indeed great (1) because Hazzan Greenberg's decades-
long dream is hereby being realized, albeit posthumously, and nothing
could honor his memory as much, (2) because this great treasure
of synagogue music is hereby being preserved and perpetuated to
the eternal benefit and joy of its performers and listeners, and (3)
because my efforts in bringing this treasure into materialized form
are also brought to fruition. I wish to express these truly heartfelt
thanks to the Cantors Assembly and its Publication Committee for
its decision to publish this volume; to Hazzan Samuel Rosenbaum,
Executive Vice-President of the Cantors Assembly, for his invaluable
assistance in the preparation of the volume for publication; to the
Chicago Region of the Cantors Assembly for the loving respect and
devotion to the memory of Hazzan Greenberg in raising the consider-
able funds necessary to publish this volume, to Hazzan David
Brandhandler, who lovingly devoted countless hours in making the
extremely beautiful manuscript copy of this volume, and no less to
David Brandhandler for having sustained more than anyone else the
enfeebling spirit of Hazzan Greenberg in the twilight years of his
life, when he needed it most.

INDEX: JOURNAL OF SYNAGOGUE MUSIC
Volume 1, No. 1 through Volume VIM, No. 1.

Abba Yosef Weisgal at Eighty-An Appreciation. J. Levine. II
#2 Aug '69: 20-43

About This Issue. M. Shames. IV #1-2 Ap 72: 3; IV #1, 2 Ap 72:
3

Adventures of a Bibliography. A. Sendry. II #2 Aug '69: 15-19

Alfred Sendrey: In Memoriam. R. Strassburg. VI M J I 76: 13-20

A. M. Bernstein (1866-1932) : An Exploration in the Form of a
Chronology. A. Weisser. Ill #4 Dec 71: 22-30

America in East European Yiddish Folksong. E. G. Mlotek. VI #2
Oct 75: 20-36

An American Hazzan in Sweden. M. J. Gerber. VI #3 Mr 76:

29-33
An Analysis of Sal amone Rossi's "Sonata detta la Moderna" (1613).

D. Chazanoff. VI 4A Ap 75: 3-7

Articulating Music With Foreign Language Study. D. Chazanoff.
VI #2 Oct 75: 37-43

Autobiographical Sketch: J oshua S. Weisser (1888-1952). A. Weis-
ser. VI #4JI'76: 9-12

Book Review. The Music of the J ews in the Diaspora. A. Sendry.
Ill M Dec 71: 64

Canadian Court on the Legal Status of the Hazzan. V #2 J u 74:
35-42

A Cantor Travels Westward: From the Autobiography of Hirsch
Weintraub. trs M. Shames and S. Igra. VI # 1 Ap 75: 8-11

The Challenge of Synagogue Music: A Personal Statement. E. B.
Gertel. VI #2 Oct 75: 6-19

Changing Concepts of Hazzanut (1949). A. Katchko. IV #3.-2 A p
72: 13-19

Chasidism in J azz. J . Katz. II M Ap 70: 28-33

A Collector's Random Notes on the Bibliography of J ewish Music.
E. Mandel. I ffi Sep '67: 28-38

Commissioning Contemporary Composers to Write for the Syna-
gogue: The Historical Contribution of Hazzan David Putter-
man. S. Pessaroff. VII M Oct 77: 7-14

The Concept of Mode in European Synagogue Chant: An Analysis
oftheAdoshem Malakh Shtejger. H. Avenary. VII 4ft Nov 76:
45-47

The Concept of Musical Tradition in the Synagogue. E. Werner.
I #2 Sep '67: 9-17

Congregational Singing. D. J . Putterman. I ffl Sep '68: 23-26

Contempmorary Synagogue Music in America. H. Fromm. II 4B
Nov '69: 3-15

The Contributions of Sholom Kalib. R. Neumann. VII 48. F 77:
43-46

Copyright: Protection for Intellectual Creativity. N. H. Warembud.
VII M Oct 77: 31-34

Creating Synagogue Music for America (1961). A. W. Binder and
others. IV YI-2 Ap 72: 69-80

The Cultural Leadership Role of the Cantor. I. Heskes. Ill 4B Aug
71: 13-16

The Days of Awe: A Trilogy. H. Berlinski. II M Ap 70: 3-18
Disputed Phrasing in the Siddur. A. Mishcon. II 4ft F '69: 11-44

The Emerging Image of the Conservative Cantor. M. Wohlberg. VII
4B J e 77: 17-20

Epitaph for Jewish Music? S. Rosenbaum. I M Sep '68: 30-41

Fading Footprints. M. Wohlberg. VI m\ I 76: 21-26

First Music Copyright - 1623. V 442 J e 74: 13-14

A Forum on Synagogue Music (1963). H. Berlinski and others. IV
# 1-2 Ap 72: 81-98

From the Introduction to "Kol Israel." M. Levinson. I 4ft F '67:
27-35; and I 442 Sep '67: 39-45

From the Readers: Comments by Rabbi J ack Reimer; Services Are
For Everyone, Not Only the Leaders. Also, Services Are Not
Meant To Be "Restful." I #5 J a '68: 55

From Our Readers: Letter by David Gooding, Director of Music at
The Temple in Cleveland, Ohio. II #2. Aug '69: 55

From Our Readers: Letter by Abraham N. Oler, Rabbi of Temple
Beth Tefilah in East Hartford, Connecticut and Reply by Haz-
zan Levine of Temple Israel of Wynnefield in Philadelphia,
Pennsylvania. II 48 Nov '69: 46-47

From Our Readers: Exchange of letters between Professors Weiser
and Wohlberg. VI #2. Oct 75: 61-64

From Our Readers: Letter by Max Wohlberg. VI #3 Mr 76: 63

From Our Readers: Letter by William Belskin Ginsburg to Profes-
sor Weisser; Exchange of Letters between Richard Neumann and
Sholom Kalib. VII #1 Nov 76: 58-62

From Our Readers: Letter by Max Wohlberg. VII M Oct 77: 63

Gershon Sirota: An Appreciation. I. Fater. II m Nov '69: 16-21

Greetings to Max Wohlberg. H. Weisgall and A. Weisser. VII #3
J e 77: 36

"Haggadah": A Search for Freedom. P. Spiro. VI 4B Mr 76: 3-11

Hashirim Asher Lish'lomo: Preface H. Weisgall, 47-48; Barekhu,
52-56. I 4A F '67: 46-56

Hashirim Asher Lish'lomo of Salamone Rossi. H. Fromm. Vffije
74: 3-12

Havdalah — A Sabbath Pageant of Farewell. P. Spiro. VIM #lja
78: 6-11

The Hazzanic Recitative: A Unique Contribution To Our Music
Heritage. G. Ephros. VI #3 Mr 76: 23-28

Hazzanim and Hazzanut. P. J assinowsky. VI 4A Ap 75: 12-42

Hazzan Max Wohlberg: Servant of the Community. S. Frost. VII
m J e'77: 38

Hazzanut in Iran. L. D. Loeb. I #3 J a '68: 3-6

21

Hazzanut in Transition. M. Wohlberg. VII #3 J e 77: 5-16

Heinrich Schalit (1886-1976). H . Fromm. VI #4 J I 76: 3-8

The History of the Musical Modes of the Ashkengzick Synagogue
and Their Usage. M. Wohlberg. IV M.-2 Ap 72: 46-61

The I mportance of Rossi in the Musical Life of the Mantuan Court.
D. Chazanoff.il I #2 F 71:20-23

The Incongruities of the Translations in the English Bibles of the
Hebrew Musical Terms in theTanach. A. Sendry. Ill #4 Dec
71: 8-14

The Influence of J ewish Music and Thought in Certain Works of
Leonard Bernstein. A. Lubin. Ill #2. F 71: 3-14

The Influence of J ewish Music and Thought in Certain Works of
Leonard Bernstein (musical illustrations). A. Lubin. Ill #3
Aug 71: 17-22

In Memoriam: A. W. Binder. S. Meisels. I 4A F '67: 26

An Interpretation of the Sabbath Eve Liturgy. L. Liebreich. IV #1-2
Ap 72: 20-30

The I nfluence of German-J ewish Composers on the American Syna-
gogue. H. Fromm. VII #4 Oct 77: 15-30

The Influence of Salomone Rossi's Music (part one). D. Chazanoff.
VI I #4 Oct 77: 3-6

A J ewish 'Mass or a Catholic Mitzvah? J . Gottlieb. Ill #4 Dec 71:
3-7

Jewish Music as a Bridge of Understanding. I. P. Goldberg. IV #3
Dec 72: 22-29

J ewish Music versus J ewish Worship. J . R.J acobson. VII #2 F 77:
47-50

J oshua Samuel Weisser. P. Kavon. I #3 J a '68: 16-42

A J udeo-Spanish Romancero. I.J . Katz. II # F '69: 45-59

Kingsley: A New Sound in the Synagogue. S. Meisels. II #3 Nov
'69: 25-30

Kol Nidre: The Word in Absolute Music. A. S. Hyams. V #2 J e
'74: 21-26

A Landmark Case. I #2 Sep '67: 18-27

A Landmark Case: Silverman vs Commissioner of Internal Revenue.
V #1 Oct 73: 20-27

Lazer Weiner: A Tribute, A. Weisser. I 33 J a '68: 43-45

The Legacy of Music Through the Ages. E. Gerson-Kiwi. I 4t\ F
'67: 3-25

Letter from Israel. D. Bagley. Ill #1 Sep 70: 9-10

Max Wohlberg: A Biographical Sketch and Preliminary Bibliog-
raphy. J . Price. VI I #3 J e 77: 21-27

Max Wohlberg: A Brother's Tribute. H.I. Wohlberg. VII #3 J e
77: 37

Max Wohlberg: A Personal Memoir. M. Leifman. VII #3 J e 77:
33-34

Max Wohlberg: A Rabbi's Cantor. T. Steinberg. VII #3 J e 77:
31

Max Wohlberg: A Son's Appreciation. G. A. Wohlberg. VII #3 J e
77: 28-30

Max Wohlberg: A Tribute. D. C. Kogen. VII #3 J e 77: 35

Mitzvah and Beauty. G. D. Cohen. VII 33 J e 77: 43-45

Motivators and Motivation in J ewish Music. M. Shanok. V 33 Dec
74: ' 3-5

The Musical Basis of Nusach Hatefillah (1952). L. Glantz. IV #1-2
Ap 72: 31-45

Musical Life and Traditions of the Portuguese J ewish Community of
Amsterdam in the 18th Century. I. Adler. V #3 Dec 74: 31-59

Music for a Centennial. M. Fargo. V #2 J e'74: 15-20

Music For the Synagogue. M. Castelnouvo-Tedesco. V #3 Dec 74:
9-15

Music in the American Synagogue. S. Adler. Ill #4 Dec 71: 15-21

Music in the American Synagogue: II. S. H. Adler. IV 4B Dec 72:
3-13

Music in the Synagogue: A Composer's Viewpoint. P. Nagy-Farkas.
VI 4B M r 76: 12-15

M usic i n Terezi n. J . Karas. V # Oct 73: 7-19

Music and Musicians in the Works of Sholom Aleichem. M. Wohl
berg. VI #lAp75:43

Music Notes: Notice of the Annual Braemer Competition. Ill #3
Aug 71: 56

Music Section: Amanut Hachazanut (Shaharit For Shabbat). A. B.
Birnbaum. Ill #3 Aug 71: 23-55

Music Section: Mechalkel Chajim, Emanuel Kirschner; Mi Chomo-
cho, Emanuel Kirschner. I #2 Sep '67: 51-52

Music Section: Synagogengesange, A Volume of Five Compositions,
A. Nadel, For Hazzan and Choir on Sabbath Eve. I #4 Sep '68:
53-67

Music Section: Alte Salomonische Gesange, Four High Holiday
Pieces Arranged . A. Melicher. II #2 Aug '69: 44-52

Music Section: A Fragment From the Musical Repertoire of the
Eighteenth Century Amsterdam J ewish Portuguese Community.
II 4B Nov '69: 36-44

Music Section: 33 Israelitische Synagogengesange fur den Tages-
gottesdienst, B'Zalel ben Izchok Eisig Brun. II #4 Ap 70: 34-76

Music Section: Kiddush, L. Lewandowski; V'shomru, H. C. Adler;
Zocharti Loch, E. Kirschner. Ill 4A Sep 70: 29-32

Music Section: Memorial Service, Three Psalms for Male Voices.
S. Sulzer. Ill 32 F 71:24-30

Music Section: Excerpts From Lieder-Zamelbuch far der Yiddisher
Shul un F ami I i eh. IV 48 Dec 72: 37-62

Music Section: Malkhuyot, Zichronot, 'Shofarot, B. Brun. IV #4
My 73: 28-54

Music Section: From the Children's Songs Collection of J . Engel.
V#l Oct 73: 32-72

Music Section. VI #lAp 75:50-60

Music Section: R'tze, I. Schlosberg; Bo'i Wesholom, D. Eisenstadt;
Yismach Moshe, A. M. Bernstein. VI 48. Oct 75: 51-60

Music Section: Selected Tunes From the Portuguese J ews Congre-
gation of Amsterdam. VI #3 Mr 76: 37-62

Music Section: Selected Songs, M. Mimer, Intro. A. Weisser. VI
m J 176: 49-57

Music Section: Compositions From the Repertoire of Hazzan Ger-
shon Saposhnik. VI I M Oct 77; 35-62

Music Section: Torah Service From '"Schirah Chadashah,"H. C.
Adler. VIM #1 J a 78: 34-48

Music Section: S'miroth L'el Chaj Synagogenesange, M. G. Lowen-
stamm. 1 1 1 #4 Dec "71: 31-59

Music Section: Memorial Service, Three Psalms for Male Voices.
S. Sulzer. Ill #2 F 71:24-30

The Need for a New History of J ewish Music: A Preliminary Study.
A. Weisser. II M Aug '69: 3-14

New Areas in Nusach: A Serial Approach to Hazzanut. J . A. Kess-
ler. V # Oct 73: 3-6

A New Look at Music in J ewish Education. J . K. Eisenstadt. Ill
#1 Sep 70: 3-8

A New Work Recorded: Psalms of Israel: A Hal I el Oratorio, I.
Miron. P. Spiro. V #2}e'74: 49-50

Notes on Music Old and New. M. Wohlberg. Ill ^ F 71: 15-19

On Church M usic. C. S. Lewis. VI 1 1 # J a 78: 27-31

On Preservation and Renewal of the Music of the Synagogue. A.
Herzog. I #4 Sep '68: 14-22

The "Organ Controversy" Reconsidered. E. B. Gertel. VIII # J a
78: 12-26

Origins and Aspects of Early American Psalmody. C. Polin-Schaff.
IV My 73: 9-12

Other Newly Published Music. I #3J a '68 : 54

25

Personal Articles of Faith. M. Levinson. I M Sep '68: 27-29

The Phenomenon of Non-Acceptance of the Unfamiliar. A. Lubin.
VII #1 Nov 76: 44-46

Pirkei Hazzanut: Personal Experiences Concerning; Job Opportuni-
ties, His Father. M. Wohlberg. I #1 F '67: 57-59

Pirkei Hazzanut: Variations in Synagogue Music. M. Wohlberg.
I #2 Sep '67: 46-48

Pirkei Hazzanut: Personal Experiences; The Arrival of His Piano,
His Change in Position from Choir Member to Hazzan for Rosh
Hashanah. M. Wohlberg. I 4B\ a '68: 49-52

Prayer: A Lost Art. S. Rosenbaum. I #2 Sep '67: 3-8

A Quarter Century of Synagogue Music in America. C. Davidson.
1 1 4ft F '69: 3-10

Record Review: The Days of Awe, S. Kalib. J . A. Levine. VII 442
F '77: 51

Record Review: Lazar Weiner Songs. M. Kula. II 443 Nov '69: 45

Record Review: Music From Anshe Emet Synagogue. M. Shames.

VI 4ft Ap 75: 50-61

Records in the Jewish School: A Lesson and Approach. I. Goldberg.

VII 4ft Nov 76: 35-43

Reprise: The Kol Nidre Tune. A. Z. Idelsohn. Ill 4ft Sep 70: 33-49

Reprise: Song and Singers of the Synagogue in the 18th Century.
A. Z. Idelsohn. Ill 442 F 71: 43-70

Reprise: What is "Optimal" for the Human Voice. L. A. Kalben.
1 1 1 442 F 71: 31-42

Results of a Commissioning Project. P. Spiro. II 443 Nov '69: 31-35

Review of New Music: B'kol Zimra, T. H. J ochsberger; Six Short
Hebrew Anthems, H. Fromm; Shirat Atideinu, A. Yolkoff;
Hashkivenu, M. Goldman; Agada, H. Coppersmith; Torat
Emeret, Arranged H. Coppersmith. C. Davidson. I 4ft F '67:
60-61

26

Review of New Music: Adonoy Moloch, L. Weiner; Silent Devotion
and May The Words, W. Brenner; Forget Thy Affliction, H. Ber-
linski; Hava N'halela, T. J ochsberger; Melodies of Israel, T.
J ochsberger; Yiddishe Dichter in Gesang, ed M. Yardeini; Pre-
liminary Service for Sabbaths and Festivals, P. Spiro. C. David-
son. I ffi. Sep '67: 49-50

Review of New Music: The Last J udgement, S. Rosenbaum and L.
Weiner; The Lord Is My Strength, B. Penn; Elegy for Organ,
H. Berlinski; Cause Us Lord Our God, A. Rozin; Westrode
Through the Waves, J . Chajes; Aria of Lapidoth, J . Chajes.

C. Davidson. I 4B J a '68: 53

Review of New Music: The Song of Esther, I. Miron and A. Soltes;
Four Compositions, F. Piket; S'lichot Service, L. Glantz; Yizkor,
S. Secunda, and S. Rosenbaum; Ani Chavatselet Hasharon,
S. Bugatch; Hark My Beloved, E. J . Barkan; Grant Us Peace,
M. Helfman; Six Yiddish Art Songs, L. Weiner; By The Rivers
of Babylon, E. M. Goldman; Psalm 98, M. Kessler; Friday
Evening Service, R. Starr. I M Sep '68: 42-52

Review of New Music: Songs of the Chassidim, Y. Pasternak;
Hallel and the Three Festivals, L. Glantz; Miqra'ey Musica, S.
Hofman; The Key of See, H. Fromm; Edge of Freedom, R. and

D. Smolover; And None Shall Make Them Afraid, I. Miron;

I Have a Dream, E. Siegmeister and E. Mabley; Kochve Voker,
M. Wohlberg; El Hay'ladim bYisrael, A. Salkov. J. Gottlieb.

I I 4A F '69: 59-62

Review of New Music: L'cha Anu Shira, B. Steinberg; Zecher
L'maaseh, L. Weiner; Memorial Cantata, H. Fromm. J . Gottlieb.
V 4& J e 74: 43-48

Review of New Music: Psalm XXX, H. Berlinski; Psalm 137, S.
Richards; Sabbath Eve Service, R. Starer; The Hush of Mid-
night, C. Davidson; Hegyon Libi Sabbath Eve Service, M.
Isaacson; Five Opening Anthems, H. Fromm; Shabbat Nusach
S'fard, E. Rosenberg; Meditation For Organ, A. Howit. Ill #4
Dec '71: 60-63

Review of New Music: Shir L'yom Hashabos, Weiner; Preserve Me,
God, Berger; Noches, Noches, Cuando El Rey Nimrod,
Scalerica de Oro, Los Biblicas, Neumann; Kol Sason, Isaacson;
Three Biblical Songs, Isaiah, Ezekiel, Ruth, Weiner; In Memo-
riam, Berlinski. B. Steinberg. IV M My 73: 23-27

Review of New Music: Ki Lekach Tov, S. Richards; Heritage of
Music: The Music of the Jewish People, J. K. Eisenstein;
I' David Mizmor, C. Davidson. V M. Oct 73: 28-31

Review of New Music: Sabbath Eve Service, J. Druchman. M.
I saacson. V m Dec 74 : 60-62

Review of New Music: Hinay Ma Tov, G. Kingsley; V'shamru, S. A.
Sargon; Silent Devotion From Shirul'Adonai Shir Chadash,
G. Kingsley; Hanadneda, words G. Nahshon, music A. Rigai;
Ahavot Olam, E.J. Baker; The Lord Is My Shepherd, G. Kings-
ley; Acquainted With the Night, R. Frost. M. Isaacson. VI #3
Mr 76: 34-35

Review of New Music: L'chu N'ran'noh, B. Siegel. M. Kula. II 4&
Aug '69: 55

Review of New Music: Three Sayings of Hillel, S. Richards. M.
Shames. VIM #L J a 78: 32-33

Review of New Music: Hallel V'zimrah, G. Ephros. M. J. Silver-
man. 1 1 #2 Aug '69: 53-54

Review of New Music: Heichal Han'ghina V'hatfilah, T. Greenberg;
Neginot Todres, T. Greenberg. R. Neumann. VI #4JI 76:
27-48

Review of New Music: Shirei Rozumni, re-ed W. Lipton. Y. Mandel.
Ill m Aug 71: 56

Review of New Records: Out of Silence; A Singing of Angels. C.
Davidson. II 4A F '69: 62-63

The Right Kind of Prayers. S. Chiel. VII 4B J e 77: 39-42

"Rock"ing the Temple. D. J. Putterman. II 4B Nov '69: 22-24

Rosh Hashanah 1966. S. M. Porticha and M. J. Silverman. I 4t\
F '67: 36-40

Salomone Rossi and Claudio Monteverdi. D. Chazanoff. IV 4B Dec
72: 30-34

Salomone Rossi, Ebreo. D. Chazanoff. Ill 4t\ Sep 70: 24-28

Salomone Rossi and His Company of Musicians. D. Chazanoff. V 4&
J e 74: 27-34

Salomone Rossi's "Hash i rim Asher Li 'Shelomo." D. Chazanoff. VI
4B M r 76: 16-22

Salomone Sulzer, 1804-1890. E. Mandell. I M Sep '68: 3-13

Salomone Sulzer and the 'Seitenstettengasse Temple. M. Wohlberg.
II m Ap 70: 19-24

A Sampling of Max Wohlberg's Craftsmanship and Talent. VII #3
J e 77: 46-63

A Second Landmark Case. I #3 J a '68: 7-15

Some Classic Studies in Liturgy. H. Sky. Ill #3 Aug 71: 3-12

Some Preliminary Notes For a Future History of Hazzanut in
America. W. Belskin Ginsburg. VII 4& F 77: 23-42

Some Reflections on the Design and Use of the Pipe Organ in the
Synagogue. R. Swan. II M Ap 70: 25-27

The Songs of the Beis Hamedresh. S. Rosenbaum. V #3 Dec 74:
22-30

The Subject of Jewish Music: A Review of Nulman's "Concise
Encyclopedia of Jewish Music." M. Wohlberg. VI 4& Oct 75:
44-50

Synagogue Chants of the Twelfth Century. I. Adler. Ill 4ft Sep 70:
11-23

Synagogue Music is Dead. M. Isaacson. VI 4& Oct 75: 3-5

Synagogue Music in Eighteenth Century Amsterdam. R. Staum.
IV m Dec 72: 14-20

The Synagogue Music of Ben Steinberg. M. Isaacson. IV #3 Dec
72: 35-36

Synagogue 'Music — Traditional and Modern (1948). C. Vinaver and
Dr. K. List. IV #1-2 Ap 72: 4-12

The Synagogue Youth Choir: An Experience in Education. J . B.
Kopmar. VII #2. F 77: 16-22

The Task of the Hazzan (1957). A. J . Heschel. IV #-2 Ap 72:
62-68

The Tetragammation In Music. H. Fromm. VIM 4ft J a 78: 3-5

Theological Reflections on Music in Prayer. E. B. Gertel. VIM #
Nov 76: 26-34

Todros the Cantor. M . M i ner. VI #1 Ap 75: 43-49

TotheHazzan. M. S. Fisher. IV #3 Dec 72: 21

Trends in Contemporary J ewish Music. P. Gradenwitz. I # F '67:
41-45

A Tribute to Hazzan Max Wohl berg. G. Ephros. VII #3Je'77: 32

Understanding the Role of theHazzan. A. Lubin. IV #4 My 73:
3-8

A Unique Chapter in the History of the American Cantorate. M.
Wohl berg. VII 4A Nov. 76:3-25

A Unique Chapter in the History of the American Cantorate (I I ).
M. Wohl berg. VII «F 77:3-15

Using Recordings Creatively in the Classroom. I. Goldberg. IV #4
My 73: 13-22

Varying Concepts of Ne'imah and Their Place in Liturgy. M. Wohl-
berg. V #3 Dec 74: 16-21

Weiner's Cantata on Bontche Schweig. I . Emiot. I #3 J a '68: 46-48

A Welsh "Grace?" C. Polin. V #3 Dec 74: 6-8

The Wonder of the Psalms ( 1965). M. Samuel. IV #-2 Ap 72:
99-106

AUTHORS

ADLER, Israel

Musical Life and Tradition of the Portuguese J ewish Community

of Amsterdam in the 18th Century. V #3 Dec 74: 31-59
Synagogue Charts of the Twelfth Century. Ill 4A Sep 70:
11-23

ADLER, Samuel H.

Music in the American Synagogue. Ill #4 Dec 71: 15-21
Music in the American Synagogue. IV #3 Dec 71: 3-13

AVENARY, Hanoch

The Concept of Mode in European Synagogue Chant: An
Analysis of the Adoshem Malak Shtejger. VII # Nov 76:
47-57

BAGLEY, David

Letter from Israel. Ill #\ Sep 70: 9-10

BERLINSKY, Herman

The Days of Awe: A Trilogy. II #4 Ap 70: 3-18

BERLINSKY, Herman and others

A Forum on Synagogue Music (1963). IV #1-2 Ap 72: 81-98

BINDER, A. W. and others

Creating Synagogue Music for America. IV #1-2 Ap 72: 69-80

BIRNBAUM, A. B.

Music Section. Ill #3 Aug 71: 23-55

CASTELNUOVO-TEDESCO, Mario

Music for the Synagogue. V #3 Dec 74: 9-15

CHAZANOFF, David

Salomone Rossi and Claudio Monteverdi. IV #3 Dec 72: 30-34

CHAZAZNOFF, Daniel

An Analysis of Salomone Rossi's Sonata Detta La Modern

(1613). VI # Ap 75: 3-7
Articulating Music With Foreign Language Study. VI #2 Oct

75: 37-43

31

The Importance of Rossi in the Musical Life of the Mantuan

Court. Ill #2 F 71: 20-23
The Influence of Salomone Rossi's Music (part one). VII ffl

Oct 77: 3-6
Salomone Rossi, Ebrio. Ill 4ft Sep 70: 24-26
Salomone Rossi's 'Hashrim Asher Li'Shelomo'. VI 4B Mr 76:

16-22
Salomone Rossi and His Company of Musicians. V 4& J e 74:

27-34

CHI EL, Samuel

The Right Rind of Prayers. VII #3 J e 77: 39-42

COHEN, Gershon D.

Mitzvah and Beauty. VII 4B J e 77: 43-45

DAVIDSON, Charles

A Quarter Century of Synagogue Music in America. II 4ft F
'69: 3-10

Review of New Music: B'kol Zimra, Tzipora H. J ochsberger;
Six Short Hebrew Anthems, Herbert Fromm; Shirat Ati-
deinu, Arthur Yolkoff; Hashkivenu, Maurice Goldman;
Agada, Harry Coppersmith; Torat Emeret, Arranged Harry
Coppersmith. I #L F '67: 60-61

Review of New Music: Adonoy Moloch, Lazar Weiner; Silent
Devotion and May the Words, Walter Brenner; Forget Thy
Affliction, Herman Berlinski; Hava N'halela, Tzipora J ochs-
berger; Melodies of Israel, Tzipora J ochsberger; Yiddishe
Dichter in Gesang, ed. Mordecai Yardeini; Preliminary
Service for Sabbaths and Festivals, Pinchas Spiro. I 4&
Sep '67: 49-50

Review of New Music: The Last Judgement, Samuel Rosen-
baum, Lazar Weiner; The Lord is My Strength, Bennett
Penn: Elegy for Organ, Herman Berlinski; Cause Us
Lord Our God, Albert Rozin; We Strode Through the
Waves, J ulius Chajes; Aria of Lapidoth, J ulius Chajes.
I #3 J a '68: 53

Review of New Music: The Song of Esther, Issacher Miron,
Avrom Soltes; Four Compositions, Frederick Picket; S'lichot
Service, Leib Glantz; Yizkor, Sholom Secunda, Samuel
Rosenbaum; Ani Chavatselet Hasharon, Samuel Bugatch;

Hark My Beloved, Emanuel J . Barkan; Grant Us Peace,
Max Helfman; Six Yiddish Art Songs, Lazar Weiner; By
the Rivers of the Babylon, Edward M. Goldman; Psalm 98,
Julius Chajes; Hear My Prayer, Minnetta Kessler; Friday
Evening Service, Robert Starer. I M Sep '68: 42-52

Review of New Music: Songs of the Chassidim, Velvel Paster-
nak; Hallel and the Three Festivals, Leib Glantz; Miqra'ey
Musica, Shlomo Hofman; The Key of See, Herbert Fromm;
Edge of Freedom, Ray and David Smolover; And None
Shall Make Them Afraid, Issacher Miron; I Have a Dream,
Elie Siegmeister and Edward Mabley; Kochve Voker, Max
Wohlberg; El Hay'ladim b' Yisrael, Abraham Salkov. II 4ft
F '69: 59-62

Review of New Records: Out of Silence: A Singing of Angels.
II #L F '69: 62-63

EISENSTEIN, Judith

A New Look at Music in Jewish Education. Ill 4ft Sep 70:
3-8

EMIOT, Israel

Weiner's Cantata on Bontche Scweig. I 4B J a '68: 46-48

EPHROS, Gershon

The Hazzanic Recitative: A Unique Contribution To Our Music

Heritage. VI 4B My 76: 23-28
A Tribute to Hazzan Max Wohlberg. VII 4B J e 77: 32

FARGO, Milford

Music for a Centennial. V #2 J e 74: 15-20

FATER, Issachar

Gershon Sirota: An Appreciation. II 4B Nov '69: 16-21

FISHER, Mitchell Salem

To the Hazzan. IV 4B Dec 72: 21

FROMM, Herbert

Contemporary Synagogue Music in America. II 4B Nov '69:

3-15
Hashirim Asher LiSh'lomo of Salomone Rossi. V 4& J e 74:

3-12
Heinrich Schalit (1886-1976). VI #4 J I' 76,3-8

33

The Influence of German-J ewish Composers on the American

Synagogue. VII #4 Oct 77: 15-30
The Tetragrammaton in Music. VIM 4A J a 78: 3-5

FROST, Shimon

Hazzan Max Wohlberg: Servant of the Community. VII #3
J e 77: 38

GERBER, MaynardJ .

An American Hazzan in Sweden. VI 4B Mr 76: 29-33

GERSON-KIWI, Edith

The Legacy of Music Through the Ages. I # F '67: 3-25

GERTEL, Elliot B.

The Challenge of Synagogue Music: A Personal Statement. VI

4S. Oct 75: 6-19
The 'Organ Controversy' Reconsidered. VIII # J a 78: 12-26
Theological Reflections on Music in Prayer. VII 4A Nov 76:

26-34

GINSBURG, W. Belskin

Some Preliminary Notes For a Future History of Hazzanut in
America. VII #2 F 77:23-42

GLANTZ, Lieb

The Musical Basis of Nusach Hatefillah (1952). IV #-2 Ap
72: 31-45

GOLDBERG, Ira P.

J ewish Music as a Bridge of Understanding. IV #3 Dec 72:

22-29
Records in thej ewish School: A Lesson and Approach. VII #1

Nov 76: 35-43
Using Recordings Creatively in the Classroom. IV #4 My 73:

13-22

GOTTLIEB, Jack

A J ewish Mass or a Catholic Mitzvah. Ill #4 Dec 71: 3-7
Review of New Music: L'cha Anu Shira, Ben Steinberg; Zecher

L'maaseh, Lazar Weiner; Memorial Cantata, Herbert

Fromm. V ^Je 74: 43-48

34

GRADE NWITZZ, Peter

Trends in Contemporary Music. I 4A F '67: 41-45

HERZOG, Avigdor

On Preservation and Renewal of the Music of the Synagogue.
I m Sep '68: 14-22

HESCHEL, Abraham J .

The Task of the Hazzan (1957). IV #-2 Ap 72: 62-68

HESKES, Irene

The Cultural Leadership of the Cantor. Ill #3 Aug 71: 13-16

HYAMS, ArioS.

Kol Nidre: The World in Absolute Music. V ffi Je 74: 21-26

IDELSOHN, A. Z.

Reprise: The Kol Nidre Tune. Ill tt Sep 70: 33-49

IDELSOHN, Abraham Zevi

Reprise: Song and Singers of the Synagogue in the 18th Cen-
tury. Ill #2. F 71: 43-70

ISAACSON, Michael

Review of New Music. V 4B Dec 74: 60-62

Review of New Music: Hinay Ma Tov, Gershon Kingsley;
V'shamru, Simon A. Sargon; Silent Devotion From Shiru
Ladonai Shir Chadash, Gershon Kingsley; Hanadneda,
words Gad Nahshon and music Amiram Rigai; Ahavot
Olam, Emanuel J. Barker; The Lord Is My Shepherd,
Gershon Kingsley; Acquainted With the Night, Robert
Frost. VI #3 Mr 76: 34-35

The Synagogue Music of Ben Steinberg. IV #3 Dec 72: 35-36

Synagogue Music Is Dead. VI ffi Oct 75: 3-5

JACOBSON, Joshua R.

Jewish Music Versus Jewish Worship. VII #2 F 77: 47-50

JASSINOWSKY, Pinchos

Hazzanim and Hazzanut. VI # 1 Ap 75: 12-42

KALLEN,l_eoA.

Reprise: What Is 'Optimal' for the Human Voice. Ill #2 F 71:
31-42

KARAS, J oza

Music in Terezin. V # Oct 73:7-19

KATCHKO, Adolph

Changing Concepts of Hazzanut (1949). IV #L-2 Ap 72: 13-19

KATZ, Israel J .

A J udeo-Spanish Romancero. II # F '69: 45-59

KATZ, J ohn

Chasidisminjazz. II #4 Ap 70: 28-33

KAVON, Paul

J oshua Samuel Weisser. I 4B\ a '68: 16-42

KESSLERJackA.

New Areas in Nusach: A Serial Approach to Hazzanut. V #1
Oct 73: 3-6

KOGEN, David C.

Max Wohlberg: A Tribute. VII 33 J e 77: 35

KOPMAR, Jerome B.

The Synagogue Youth Choir: An Experience in Education. VII
m. F 77: 16-22

KULA, Morton

Record Review: Lazar Weiner Songs. II 4B Nov '69: 45
Review of the New Music: L'chu N'ran'noh, Benjamin Siegal.
II #2. Aug' 69: 55

LEIFMAN, Morton

Max Wohlberg: A Personal Memoir. VII 4B J e 77: 33-34

LEVIN E.Joseph

Abba Yosef Weisgal at Eighty-An Appreciation. II 4B. Aug
'69: 20-43

LEVINE, Joseph A.

Record Review: The Days of Awe, Sholom Kalib. VII ffiF
77: 51

36

LEVINSON, Morris

From the Introduction to 'Kol Israel'. I 4ft F '67: 27-35; and

I 4& Sep '67: 39-45
Personal Articles of Faith. I M Sep '68: 27-29

LEWIS, C. S.

On Church Music. VIM 4ft J a 78: 27-31

LIEBREICH, Leon

An Interpretation of the Sabbath Eve Liturgy. IV #L-2 Ap 72:
20-30

LOEB, Laurence D.

Hazzanut in Iran. I #3 J a '68: 3-6

LOWENSTAMM, Max G.

Music Section: S'miroth L'el Chaj Synagogengesange. Ill M
Dec 71: 31-59

LUBIN, Abraham

The Influence of J ewish Music and Thought in Certain Works

of Leonard Bernstein. Ill ffi F 71: 3-14; and III 4B

Aug 71: 17-22
The Phenomenon of Nonacceptance of the Unfamiliar. VII 4ft

Nov 76: 44-46
Understanding the Role of the Hazzan. IV M My 73: 3-8

MANDEL, Eric

A Collector's Random Notes on the Bibliography of Music. I

4S. Sep '67: 28-38
Salomone Sulzer, 1804-1890. I m Sept '68: 3-13

MANDEL, Yehuda

Review of New Music: Shiru Rozumni. re-ed William Lipton.
Ill 4B Aug 71: 56

MEISELS, Saul

In Memorium: A. W. Binder. I 4ft F '67: 26
Kingsley: A New Sound in the Synagogue. II #3 Nov '69:
25-30

MINER, Michael

Todros the Cantor. VI #1 Ap 75: 43-49

MISHCON, A.

Disrupted Phrasing in theSiddur. II #1 F '69: 11-44

MLOTEK, Eleanor Gordon

America in East European Yiddish Folksong. VI #2 Oct 75:
20-36

NAGY-FARKAS, Peter

Music in the Synagogue: A Composer's Viewpoint. VI #3 Mr
76: 12-15

NEUMANN, Richard

Brief Music Reviews: Heichal Han'ghina V'hatfilah, Todros
Greenberg; Neginot Todres, Todres Greenberg. VI #4JI
76: 27-48
The Contributions of Sholom Kalib. VII ^ F 77: 43-46

PESSAROFF, Sam

Commissioning Contemporary Composure to Write for the Syna-
gogue: The Historical Contribution of Hazzan David Put-
terman. VII M Oct 77: 7-14

POLIN, Claire

A Welsh 'Grace?' V 48 Dec 74: 6-8

POLIN-SCHAFF, Clair

Origins and Aspects of Early American Psalmody. IV #4 My
73: 9-12

PORTICHA, Stuart M. and Moses J . Silverman
Rosh Hashanah 1966. 1 # F '67: 36-40

PRICE, Joseph

Max Wohlberg: A Biographical Sketch and Preliminary Bibliog-
raphy. VII m)e 11: 21-21

PUTTERMAN, David J .

Congregational Singing. I ffl Sep '60: 23-26
"Rock"ing the Temple. II #3 Nov '69: 22-24

ROSENBAUM, Samuel

Epitaph for Jewish Music? I M Sep '68: 30-41; and IV #L-2

Ap 72: 106-116
Prayer: A Lost Art. I ffi. Sep '67: 3-8
The Songs of the Beis Hamedresh. V 4B Dec 74: 22-30

SAMUEL, Maurice

The Wonder of the Psalms (1963). IV #L-2 Ap 72: 99-106

SENDRY, Alfred

Adventures of a Bibliography. II 42 Aug '69: 15-19

Book Review: The Music of the J ews in the Diaspora. Ill ffl

Dec 71: 64
The Incongruities of the Translations in the English Bibles of

the Hebrew Musical Terms in the Tanach. Ill #4 Dec 71:

8-14

SHAMES, Morton

About This Issue. IV #L-1 Ap 72: 3

Record Review: Music From Anshe Emet Synagogue. VI #L
Ap 75: 50-61

Review of New Music: Three Sayings of Hillel, Stephen Rich-
ards. VIM mja 78: 32-33

SHAMES, Morton and Shoshanna Igra, trs

A Cantor Travels Westward, From the Autobiography of Hirsch
Weintraub. VI #1 Ap 75: 8-11

SHANOK, Morton

Motivators and Motivation in J ewish Music. V #3 Dec 74: 3-5

SILVERMAN, Moses J .

Review of New Music: Hallel V'zimrah, Gershon Ephros. II 4&
Aug '69: 53-54

SKY, Hyman

Some Classic Studies in Liturgy. Ill #3 Aug 71: 3-12

SPIRO, Pinchas

"Haggadah" : A Search for Freedom. VI m M r 76: 3-11
Havdalah-A Sabbath Pageant of Farewell. VII 4A J a 78:

6-11
A New Work Recorded: Psalms of Israel; A Hallel Oratorio,

I ssacher M i ron. V #2. J e 74: 49-50
Results of a Commissioning Project: KochveVoker — Morning

Stars. II 33 Nov '69: 31-35

STAUM, Roger

Synagogue Music in Eighteenth Century Amsterdam. IV 4B
Dec 72: 14-20

STEINBERG, Ben

Review of New Music: Shir LYom HaShabos, Weiner; Preserve
Me, God, Berger; Noches, Noches, Cuando el Rey Nim-
rod, Scalerica de Oro, Los Biblicos, Neuman; Kol Sason,
Isaacson; Three Biblical Songs: Isaiah, Ezekiel, Ruth,
Weiner; In Memoriam, Berlin&i. IV #4 My 73: 23-27

STEINBERG, Theodore

Max Wohlberg: A Rabbi's Cantor. VII 33 J e 77: 31

STRASSBURG, Robert

Alfred Sendrey: I n Memoriam. VI M J I 76: 13-20

SULZER, Solomon

Music Section : Memorial Service, Three Psahns for Male
Voices. Ill 32 F 71:24-30

SWAN, Robert

Some Reflections on the Design and Use of the Pope Organ in
the Synagogue. 1 1 34 Ap 70: 25-27

VINAVER, Chemjo and Dr. Kurt List

Synagogue Music — Traditional and Modern (1948). IV #-2
Ap 72: 4-12

WARE M BUD, Norman H.

Copyright: Protection for Intellectual Creativity. VII 34 Oct
77: 31-34

WEISGALL, Hugo and Albert Weisser

Greetings to Max Wohlberg. VII 33 J 177: 36

40

WEISSER, Albert

A. M. Bernstein (1866-1932) : An Exploration in the Form of

a Chronology. Ill 44 Dec 71: 22-30
Autobiographical Sketch: Joshua S. Weisser (1888-1952). VI

44 J 176: 9-12
Lazar Weiner: A Tribute. I 43 J a '68: 43-45
The Need for a New History of Jewish Music: A Preliminary

Study. II 42 Aug '69: 3-14

WERNER, Eric

The Concept of Musical Tradition in the Synagogue. I 42 Sep
'67: 9-17

WOHLBERG, Harry I.

Max Wohlberg: A Brother's Tribute. VII 43 J I 77: 37

WOHLBERG, Jeffrey A.

Max Wohlberg: A 'Son's Appreciation. VII 43 J I 77: 28-30

WOHLBERG, Max

The Emerging Image of the Conservative Cantor. VII #3 J I
77: 17-20

Fading Footprints. VI 44 J 176: 21-26

Hazzanut in Transition. VII 43 J 177: 5-16

The History of the Musical Modes of the Ashkenazik Synagogue
and Their Usage. IV §1-2 Ap 72: 46-61

Music and Musicians in the Works of Sholom Aleichem. VI #
Ap 75: 43

Notes on Music Old and New. Ill 42 F 71; 15-19

Pirkei Hazzanut. Personal Experiences Concerning: Job Op-
portunities; His Father. I 4t F '67: 57-59

Pirkei Hazzanut: Variations in Synagogue Music. I 4& Sep
'67: 46-48

Pirkei Hazzanut. Personal Experiences: The Arrival of His
Piano; His Change in Position From Choir Member to
Hazzan for Rosh Hashanah. I 43 J a '68: 49-52

Salomone Sulzer and the Seitenstettengasse Temple. II 44 Ap
70: 19-24

The Subject of Jewish Music: A Review of Nulman's "Concise
Encyclopedia of Jewish Music. VI 42 Oct 75: 44-50

A Unique Chapter in the History of the American Cantorate.

VII #1 Nov 76: 3-25
A Unique Chapter in the History of the American Cantorate

(II). VII m. F 77: 3-15
Varying Concepts of Ne'imah and Their Place in Liturgy. V #3

Dec 74: 16-21

42

FROM OUR 'READERS

To the Editor:

I thought that I would like to share some of my thoughts upon
hearing of the passing of Hazzan Ephraim Rosenberg of Toronto with
your readers.

I am certain that Hazzan Rosenberg's friends and admirers were
many. I hope that my own feelings and memories of that fine haz-
zan will be meaningful to them, and in a small way, help to keep his
memory alive.

Ephraim Rosenberg was to me the embodiment of everything
I was taught to revere in a hazzan. His warm friendly personality,
his regal gentlemanly stature, and his elegant manner, both on the
pulpit and off, were exemplary.

As a teenager, I 'd walk great distances to hear him almost every
Shabbes, and although I knew I would never be his equal, I secretly
groomed myself to be like him. In those days I attended Yeshiva —
and for all the varied experiences one has at Y.U. — there was at
that time for me, one conspicious lack; that was my father's world:
the world of Warsaw, and Vilna, of Hershman, Eisenstatt, Dawi-
dovicz, Leo Low, and "yibadel I'hayim", Israel Alter.

Ephraim Rosenberg filled that void for me. Ephraim was truly
a "velts ham" by virtue of his cosmopolitan upbringing, his profes-
sional training and the fact that he occupied some of the largest
pulpits in Rumania, Israel, London, the United States and, most
recently, Canada.

'My own relationship with Ephraim was unusual. I started out
as his ardent hosid and admirer and ended up as his devoted choir
director and ultimately good friend and colleague. Throughout the
years, however, though we never conferred titles upon each other,
he was my rebbe, and I, his talmid. When I conducted a choir for
him, Hazzan Rosenberg was a demanding and often severe critic
and taskmaster, always striving to maintain the highest musical and
artistic standards that were attainable under the existing conditions.
I often took his criticism hard, but fifteen years after I served with
him, I now stand on the first evening of S'lihot and understand why

it is in poor taste for a bass soloist to bellow arrogantly "mitnaheg
bahasidut — mohel avonot amo".

An artist par excellence, Ephraim drew the inspiration for his
renditions from the text and from the depths of his own heart. There
was nothing contrived or affected about his cantorial style. It was
simple — straightforward, sincere and elegant, in the beautiful tra-
dition of Moshe Steinberg. He was incapable of uttering a distorted
or displeasing sound. Ephraim possessed a truly beautiful lyric tenor
voice with unusual range, warmth and flexibility; he know no limi-
tations in the cantorial repertoire, but when it came to the "amud"
— "davenen" came first, and vocal artistry, though essential to his
style, was always second. Perhaps that is why more than any concert
renditions I heard Ephraim perform, I will always cherish the mem-
ories of those magnificient "malkhuyot, zikhronot and shofarot"
which he rendered with true "ba-al tefilah" fluidity and dexterity.

As a person, Ephraim was always the perfect gentleman. As
president of the J ewish Ministers Association he strove gallantly to
raise that organization's professional and artistic calibre to the high-
est, and to rise above degrading pettiness and politics. As an instruc-
tor of hazzanut at the Cantors Institute, Ephraim earned the love
and respect of his students, and they followed him about wherever
he went. They loved him for his sense of humor, his fatherly interest
in their individual progress, and his pragmatic approach to teaching.

As a colleague, Ephraim had only constructive comments for his
haverim, honest, perhaps, but in a positive way. The image which
he projected was perhaps the loftiest to which a hazzan can aspire.

A "talmid hakham and ba-al hora-ah", a product of the finest
traditions of European yeshivot and hasidut, a great hazzan and
wonderful "ba-al nusah", a musically gifted and inspired vocalist, a
man of rare character, he never compromised the dignity of the
cantorate and the pulpit which he so eminently occupied, for almost
half a century.

"Y'hi zikhrono barukh"

Chaim Najman
maha, N ebraska