Special Thanksgiving issue of Tephila Tips.
Tephila Tips 3 Giving Thanks
November 23, 2009
November 10, 2009
November 3, 2009
October 23, 2009
September 17, 2009
E-Hazzan Neshama; Soul Music
According to the renowned author and speaker, Rabbi Harold Kushner, the Neshama or soul is that spark of divine essence, which separates human beings from the rest of the animal kingdom. The soul, referred to in Hebrew using the words Neshama or Nefesh, enables our actions to be motivated by human responses such as compassion, love, passion, honor, hatred or respect, rather than by instinct or training. Our Neshama, therefore, is the mechanism that truly enables us to have free will.
Thus, in preparation for the High Holiday season we are mandated to undertake the audit of our soul, know as Heshbon ha Nefesh – to examine and evaluate our past performance in light of our plans and aspirations for the coming New Year.
If we think of the Neshama as God’s divine Ambassador that is posted with in each one of us, it is not surprising that our liturgy is full of references to our Nefesh or Neshama.
The liturgical concern for our soul is not limited to any specific season. Each day, we include in our preliminary prayers, even before the start of the public service, the passionate prayer dating back to Talmudic Times (Berachot60b), Elohai Neshama – ” My God the soul that you implanted with in me…” The text reflects the notion that at night time our soul returns to heaven when we sleep – perhaps for maintenance, only to be restored, God willing, in the morning when we awaken. Here is a stirring setting called Elokai Neshama by one of the greatest and best know Hazzanim of all times; Moshe Koussevitzky. Taken form an album entitled; Moshe Koussevitzky Earliest Recordings; a compilation of material originally recorded in Europe, this record was copyright 1967 by the Collectors Guild. The recording is part of a magnificent collection of Jewish Music Located at Florida Atlantic University, the Judaica Sound Archives.
Hallel is a collection of six Psalms (113-118), which are recited just prior to the Torah reading on festivals and other joyous occasions such as Rosh Hodesh – the new moon and Yom Ha Atzmaut – Israel Independence Day. On the intermediate days of Pesach and on Rosh Hodesh, only a partial form of Hallel that omits verses 1-11 of Psalm 115, as well as those identically numbered verses from Psalm 116 and the opening verses of psalm 117 is used. Despite some anachronistic references to events and styles of language, tradition attributes the authorship of the Psalms to King David. History records the use of Hallel in the context of the Passover Sacrifice and during the Seder at the time of the Second Temple. Rabbi Reuven Hammer in his brilliant commentary on Siddur Sim Shalom called Or Hadash looks at the presentation of themes expressed by the order of the psalms of Hallel as a “cantata:’
“To recapitulate briefly, the libretto of this ancient “Israel in Egypt” cantata is as follows:
(1) Praise God throughout the world for God’s mighty arts.
(2) When God took us from Egypt all nature rejoiced.
(3) We have turned to God in our distress and God answered us.
(4) Let us express our thanksgiving to God for rescuing us.
(5) Nations of the world, join us in praising God!
(6) We shall give thanks to the Almighty for rescuing us from our enemies in a great ceremony at the Temple”
Naturally, the purpose of Hallel is to offer songs of praise so many wonderful musical settings exist for the Hallel. For example, Hazzan Moshe Taube, a great artist and master of Cantorial art offers this heartrending setting of Psalm 116:1-11; Ahavti Ki Yismah… I Love knowing that God listens to the voice of my supplications…” The theme of this Psalm is Gods capacity to be with us in times of great peril or despair. Our Psalmist declares, “Ki Chilatzta Nafshi mi Mavet – You have delivered my soul from death.” The recording is also found the Judaica Sound Archives
Selichot, is a poignant collection of prayers of repentance and supplication that is recited for a week preceding Rosh Hashanah in the Ashkenazi community and for an entire month by the Sephardim. In most Ashkenazi synagogues, the beginning of the period of Selichot is marked by a special late night service held on the Saturday evening preceding Rosh Hashanah. Although many of these prayers originate from earlier times, the first collection of Selichot can be found in the Siddur of the great Ninth Century sage, Rav Amram. Rabbi Abraham Rosenfeld in his comprehensive, annotated compendium of Selichot prayers notes that some of these moving supplications date as far back as the seventh century of the Common Era. One of the first Selichot, found in most compilations concludes with the phrase “Ha Neshama Lach V’Ha Guf Polach – the soul is Yours and the body is the product of Your labor…” Comprised of a compilation of biblical verses from books such as Psalms and Job, this passage forms part of a Selichot poem know as L’Chu N’Rannah. As an introduction to the sprit of the High Holidays, this ode works extremely well and as such is the subject of many magnificent musical compositions. The notion that it is our responsibility to maintain and guard from harm the body our Creator fashioned for us in order to house a soul that is in essence, part of God, is presented clearly by the author of this prayer. Here is a setting of L’Chu N’Rannah by the great Hazzan Leib Glanz, taken from his appropriately entitled CD collection, The Man Who Spoke To God.
Perhaps the cornerstone of the High Holiday service is the brilliant Piyut (liturgical poem), Un’tane Tokef. One of the most poignant and moving prayers of the Holidays, Un’taneh Tokef is attributed to the 10th Century Rabbi Amnon of Mainz. Rabbi Amnon, after refusing the Archbishop’s invitation to convert, was brutally mutilated. Amnon’s last wish was to be brought to the synagogue where, with his last breath, he uttered this stirring composition and then expired. Three days later, according to the legend, Rabbi Amnon, in a dream, dictated this Piyut to the poet, Meshullam ben Kallonymus who wrote down the Un’taneh Tokef prayer. Un’tane Tokef places God on a continuum between the Celestial, Omniscient Judge who weighs our bad deeds against our good deeds and records His verdict in the Divine book of life and the compassionate Sheppard who lovingly watches over His flock. As a true Sheppard, God “counts and considers Nefesh Kol Chai – every living soul.” In its concluding portion, this outstanding elegy points to the frailty of human life and the reassurance that God will always accept us if we turn to Him, even up to the very last second. Hazzan Louis Danto, the internationaly renowned Bel Canto tenor from Toronto Canada recorded a stirring setting by the great composer and arranger of synagogue music, Leo Low of the second section of Un’tane Tekef known as “U’Vashofar Gadol – and the Great Shofar.’ Low’s composition was performed together with Hazzan Danto’s Beth Emeth Synagogue choir while on tour in Florida in 1998. This selection can be found on a Two CD set of Danto’s live recordings entitled, A Life of Music. I must say this has great significance to me as I am an alumnus of the Beth Emeth Choir and a huge fan of Hazzan Danto who I always will consider to be my Hazzan.
The Musaph service for Rosh Hashanah as I mentioned in a previous post (follow the link to see it in its entirety), is unique among all services of the year in that the Amidah contains three extra Brachot. Each of these Brachot is comprised of a selection of verses drawn from all parts of the Hebrew Bible, which are woven together in a fabric of poetic prayer. As always, the Brachot are concluded with a Chatima, or “Seal”, a section of prayer that summarizes the themes of the particular blessing. Because of the poignancy and enduring significance of the three added Brachot of the Rosh Hashanah Amidah, they have been the subjects of many musical treatments throughout the ages. Our talented composers and Hazzanim endeavor to express the deep meaning of these prayers through music. The sounding of the Shofar is used to delineate each of these prayer sections.
M’loch Al Kol Ha’olom is the opening phrase of the paragraph that introduces the Chatima of the Malchiyot, the first special Bracha of Rosh Hashanah Musaph. In this fascinating prayer, the author refers to humanity as “kol Asher Nishama B’apo… – all who draw breath.” In this context, the author employs the Hebrew word “Nishama” for “breath”, this is the word we have been translating as “soul.” Reminiscent of the biblical account of the creation of our very first ancestors, when God “breathes” a soul into a lump of clay so that it becomes a human being, this usage reminds us that our Neshama is the Breath of God that flows through us. Hazzan Moshe Ganchoff, the great Hazzan, inspired composer artist and master teacher of Cantorial art, recorded this outstanding setting of M’loch Al Kol Ha’olom, in his release, The Music Of Zeidel Rovner.
From the moment we awaken in the morning we are cognizant of the wonderful Neshama that is our gift from God. The more we are mindful of our Neshama; the more we take time to nurture and care for our Neshama; the more we can feel the presence of God in all aspects of our lives. When we despair, when we feel angry or alone or abandoned or frustrated; in moments of great elation or deep sorrow, we learn from the authors of our prayers to take the opportunity to feel the spark of divine essence flowing through our beings in the form of the Neshama that God plants within us. We gather as a community during the High Holiday season to wholeheartedly seek God. As we spend time in prayer, contemplation and supplication, our liturgy guides us through the process of taking stock of our Neshama, of finding a path that will help it to lead us to fulfillment, redemption and growth and finally to re-energizing our Neshama as we enter the new year.
Best wishes to all for a year of blessing, peace and fulfillment; Shannah Tovah!
June 8, 2009
E-Hazzan, Music for Mourning
I suppose it is due to my sadness at the resent loss of my wonderful father-in-law of blessed memory that my musical attention is tuned to the music and liturgy associated with mourning. Ever since the destruction of the Holy Temple in 956 BCE and again in 70AD much of our collective consciousness has been focused on lamenting the loss Temple and the subsequent exile of the Jewish people. Dating back to the biblical books of Psalms and Aicha (Lamentations), we have examples of an outpouring of grief channeled through sacred text and liturgical music. Here, for example, is a setting of Psalm 137 “Al Naharot Bavel”, “By the Rivers of Babylon” by the great 16th century composer, Salamone Rossi (1570-1630). One can hear the deep lamentation of the Israelite exiles as they respond to their Babylonian tormentors. The connection of the notion of collective mourning for the destruction of ancient Jerusalem and the idea of an individual lamenting the loss of a loved one is natural in Judaism. In fact, the traditional expression of condolence to a mourner is; “ Hamokom y’nachem etchem b’toch sha’ar avelei tzion v’urshalim … May you be comforted together with all of those who mourn for Zion and Jerusalem.” Our Jewish culture is designed so that no mourner need feel entirely alone but is always in a position to be surrounded by an empathetic, caring community. Thus, the liturgy and music used for Yizkor, the public memorial service held in synagogue during major festivals is practically the same as that which is employed at a funeral.
The first prayer that comes to mind when considering the liturgy of mourning is the Kaddish. Constructed around an ancient Aramaic translation of a passage from the Biblical book of Daniel, “Y’hei Shmei Rabbah m’vorach l’olam ol’olmei al maya….May His Great Name be blessed for ever and ever in to the world to come,” the Kaddish is one of the best know elements of our liturgy. Ismar Elbogen the great scholar of Jewish Liturgy notes that the great sages of the early rabbinic period attached deep meaning to this phrase which was invoked at the mention of the Holy Name. Soon this expression began to be used in the context of the formal expression of faith in God’s eternal Kingdom customarily uttered at the end of a rabbinic discourse. Although at first, these expressions were improvised by each orator, the formula eventually became the standardized in the form of the Kaddish.
Elbogen notes that the earliest reference to the Kaddish appearing as part of the synagogue liturgy can be found in a Palestinian source dating back to the seventh century. Phrases like, “L‘eila minkol birchata … beyond all blessings, hymns and praises …,” make the Kaddish an ideal vehicle for expressing the greatness and holiness of God. Similarly, the passage found in the full Kaddish beginning with, “Tikabel Tzlothon … accept our supplications and petitions …” is most meaningful in the context of the service. In the synagogue, the Kaddish serves to separate various sections of the service. Thus we find a Half or “Hatzi” Kaddish as well as a full Kaddish. There is also a Kaddish D’Rabbanan or “scholar’s Kaddish” which is recited after a selection from rabbinic literature. The mourner’s Kaddish, which is also included at various points during the service, differs from the full Kaddish in that it omits the section asking that our prayers and supplications be acceptable.
The connection of the Kaddish, which proclaims the majesty and grandeur of God, to mourning, is difficult to see on the surface. Certainly the references to the world to come and the establishment of God’s eternal Kingdom are relevant. Some say the idea of connecting the Kaddish to mourning came from an ancient practice of engaging a scholar to offer a rabbinic discourse as part of a standard memorial service. As noted above, the essence of the Kaddish would be intoned by the teacher at the end of his talk.
Elbogen also points out that the sages attributed tremendous power to the Kaddish, especially in that it invites the congregation to praise God by reciting the core of the Kaddish, “Y’hei Shmei Rabbah m’vorach l’olam ol’olmei al maya….May His Great Name be blessed for ever” and to respond to the mourner’s affirmation of faith with “Amen.” Moreover, some sages espoused a belief in the mystical power of the Kaddish to influence the progress of the soul form earth to heaven – hence the origin of the requirement for a mourner to say Kaddish for a 3 – 12 month period. Whether or not the Kaddish has magical powers, the act of attending a formal service and saying the Kaddish with the support of the community has tremendous impact on a bereaved individual. Kaddish provides a compelling opportunity to connect with the members of the community and encourage them to praise God in memory of their loved one while at the same time allowing the mourner to feel the presence of and reflect on the memory of the one being missed. At a time when one is at a loss for words and in danger of losing connection with the Creator, the natural Jewish repose is to say Kaddish. For an in-depth look at the history and development of the Kaddish; read this excellent section from Jewish Liturgy, A comprehensive History by Ismar Elbogen 1913; translated by R. Scheindlin 1993. Although it is often simply read aloud, there is a tradition to chant the Kaddish in a simple minor form. Here is the traditional chant of the mourners Kaddish.
El Male Rachaim, “Exhaulted Compassionate God” is also a prayer found both in the Synagogue and in the context of a funeral service. According to R. Reuven Hammer in his commentary on the Sim Shalom Prayer Book for Weekdays entitled Or Hadsah, this hymn began as an elegy for the victims of the medieval crusades. El Male Rachaim asks that the loved one be protected under the wings of the “Shechina,” God’s Holy presence. Our text concludes with the wish found inscribed on many memorial stones, “may the loved one’s soul be bound up in the bonds of eternal life.” Special versions of the El Maleh can be found for martyrs, for victims of the Holocaust and for fallen defenders of the State of Israel. Here is a heartfelt, moving setting of the El Male Rachaim by the Great Hazzan Gershon Sirota (1877-1943.)
Ever since Biblical times, we have turned to the book of Psalms for words of comfort and inspiration. Many selections from the 150 entries contained in this collection of exquisite biblical poetry are appropriate for a memorial services. Perhaps the most widely used is Psalm 93, “The Lord is my Sheppard, I shall not want…” Its popularity no doubt stems from the passage. “Even though I walk through the valley of the shadow of death, I shall fear no evil….” There are many settings of this inspirational Psalm; here is an intriguing example of Psalm 23 entitled, “Mizmor L’David” from a Collectors Guild compilation of the work of the exemplary Hazzan Joseph Shlisky on a recording entitled On the Sabbath: Uv ‘Yom Ha Shabbbos. In juxtaposition to the traditional setting of Shlisky, here is a choral setting of an English translation of Psalm 93 by the American Jewish composer, Jacob Druckman (1928-1996), preformed by New York Cantorial Choir & Samuel Adler. The recording is part of the Milken Archive of Jewish Music. The usage of traditional Jewish musical forms in this modern setting is one of the many reasons it is so compelling. Psalm 121, “Esa Einai El Heharim … I shall lift up my eyes to the mountains, from where shall my comfort come? … from the Lord creator of Heaven and earth” Is also an oft cited source of material of consolation and comfort. Themes like, “the sun shall not smite me by day smite me by day nor the moon by night,” as well as “the gaurdian of Israel neither slumbers no sleeps,” make this a perfect psalm for a memorial sevice and a compelling text for musical settings. Although the settings of this song range from folk to classical, the most compelling version of Esa Einai I have heard is by a Hazzan who some would argue is the greatest of all times, Moshe Koussevitzky (1899-1966).This can be found on his wonderful recording entitled The Art of the Cantor Moshe Koussevitzky
“Kol omar K’ra v’omar, Ma ekra? … A voice urges me to cry out and I respond what shall I cry out?” is a prophetic passage often cited at a Jewish funeral service. Fortunately, Judaism provides us with the means to approach that which is beyond our grasp. Beginning with phrases like, “Baruch dayen emet … blessed is the Righteous Judge” and Hamokom y’nachem etchem as noted above and continuing with liturgy such as selections from Psalms, the El Mole Rachamim and the Kaddish, our heritage provides a means to express that which can not be expressed. With profound brilliance and compassion, our tradition gives us the opportunity and tools to give voice to that which resides deep in our souls. Hazzan Michael Krasman
April 6, 2009
E-Hazzan: Pesach Liturgy
Pesach is known the joyous festival of redemption. Of course, the quintessential element in the observance of Passover is the Seder, which takes place in the home. However, Passover is also observed in the synagogue; our celebration of Pesach is marked by special insertions in the liturgy which highlight the uniqueness and festivity of this holy occasion. In addition to the various biblical insertions, great liturgical poets, inspired by the deep meaning of the prayers, sought to embellish the service by adding their own compositions know as Piyutim (liturgical poetry). These poems inspirited many great Hazzanim and composers of liturgical music.
The evening service of the first night of Pesach is punctuated by the Piyut, Leil Shimurim, “Night of Watching” This medieval Poem is comprised of an alphabetical listing of verses all beginning with the title phrase. The concluding formulae of the blessings of the evening service are preceded by several verses of the Piyut. According to the great liturgical scholar, A.Z. Idelsohn, this poem was once thought to have been authored by Rashi, the most famous of all biblical commentators. Leil Shimurim expresses the hope that just as God chose to redeem the children of Israel at midnight He will chose to redeem us at this mystical hour as well. This is a rare setting of the Leil Shimurim verses that introduce the Bracha at the conclusion of Hashkieveinu (cause us to lie down in peace), Hapores sukat shalom… “Who spreads over us His tabernacle of peace…” The artists are two all time greats Ya’Akov Koussevitzky & Zevulon Kwartin. This is a selection from an interesting collection called Leil Shimurim – A Collection of Prayers for Passover and the Omer Counting Day
One of the most notable of these special additions is the Piyut (liturgical poem) Brach Dodi – “Hasten O friend divine”. Based on verses from the Song of Solomon, an epic biblical love poem which speaks metaphorically of the relationship between Israel and G-d, Brach Dodi is inserted into the morning service immediately before the Amidah. The blessing of Geula, (redemption) links the recitation of the Shema with the Amidah. Brach Dodi, hypothesizes that, out of the tremendous love that the Lord has for His people, G-d will continue to be the redeemer of Israel in the present and in the future, just as He saved us in the past from the bondage of Egypt. Our Siddur has two versions of this prayer, one for each of the first days of Peach. While both versions date back to the middle Ages, the first version was composed by Shlomo Bavli while the second was authored by the very prolific liturgical poet, Eliezer Kalir. Here is a beautiful setting of Brach Dodi preformed by the great Hazzan Moshe Stern.
As I alluded to above, Shir Ha Shirim – the Song of Solomon is an important part of the liturgy of Passover. It is costmary to include this vividly sensual love poem on the Shabbat which falls during Pesach. Many settings of selections from Shir Ha Shirim can be found and are often heard at Jewish weddings. It is traditional to chant the Shir Ha Shirim according to the ancient Trop or biblical Cantillation. Motives from Shir Ha Shirim are also heard on the Seventh day of Pesach when Shirat Ha Yam, the jubilant song sung after the Israelites successfully crossed the red sea is read from the Torah.
Hallel, a series of Psalms (113-118) that recall the magnifent celebration in the Holy Jerusalem Temple, is added on each day of Pesach as it is on all festive occasions. We also include selections from Hallel in our Seder observance. Interestingly, while the complete Hallel is recited on the first two days of Pesach, during the rest of the festival only the partial form of Hallel is employed. Our sages explain that, just as we sadly spill drops of wine when recalling the ten plagues during the Seder, our joy must also be diminished when reciting Hallel because our deliverance came at the expense of the suffering of fellow human beings. There are innumerable musical settings of the psalms of Hallel. This is a moving setting by the inimitable Hazzan Moshe Taube of psalm 116, Ahavti Ki Yishma, “I love knowing that God hears my cry of supplications…” (Siddur Sim Shalom for Weekdays, RA.) Hazzan Taube on this Recording entitled Hallel is joined by the Beth Shalom Choir and organist Howard Cohen. Listen to the magnificent word painting in this selection.
Inserted in the Avot (merit of our ancestors) section of the Amidah, the climax of the service of the first day of Pesach is Tal – The prayer for dew. As Pesach represents a time for renewal and rebirth, it also marks the transition from the rainy season to the dry season in the land of Israel and asks for a year of prosperity which the appearance of dew represents. Siddur Sim Shalom, cites a Midrash which states that it was on the first day of Pesach that Isaac blessed Jacob and asked God to grant him “the dew of heaven,” thus the connection to our biblical ancestors. Tal, a reverse alphabetical acrostic contains 24 verses, two for each month of the year. This poem was also composed by the great liturgical poet, Eliezer Kalir. Here is a fascinating setting by, one of the greatest Hazzanim of all time, Yossele Rosenblatt. In this technically marvelous and moving setting of Tal, Hazzan Moshe Schulhof intertwines his magnificent voice with a classic recording of the great Rosenblatt. This piece is part of a compilation that is a joint project of the United Synagogue and the Cantors Assembly called The Spirit of Passover.
With its distinctive liturgy and the home Seder observance, Pesach offers us an unsurpassed opportunity to celebrate our freedom and our unique position as God’s chosen people.
Once again, best wishes to all for a “Zissen” (sweet) and joyous Pesach.
March 24, 2009
E-Hazzan: Different Music for a Different Night
Perhaps one of the best things about Pesach is that it gives us the opportunity to reconnect to age old traditions. In fact, Passover is the perfect example of the Jewish understanding of history and heritage – it is not enough to recall the travails of our ancestors; we must experience them again by reenacting their stories. The Hagadah it self states, “Bichol Dor Va Dor… In each generation every one of us must feel as though we personally came out of Egypt.” In order to accomplish this mandate, it is important to both maintain traditional melodies, foods and customs while at the same time endeavoring to re-frame these ancient elements in the idioms and genres that speak to us today.
There are lots of ways to meld new elements into a traditional Seder celebration. For example, we usually begin our Seder outside on our deck (not a good idea if it is snowing) and then liberate our guests to the dinning room for the meal. We have even build a tent in the house and dressed in traditional costumes. Sharing personal stories of deliverance is another good way to contemporize a Seder, as is including dishes from other cultures. We once had at least five variations of the Haroset, a mixture of items that represent the mortar used by the Israelites when they were slaves to Pharaoh.
Music is an excellent way to add meaning and variety to any ceremony or celebration, especially the Seder. Every Jewish tradition and culture has a collection of Seder melodies that range from the sacred to the downright silly. In every generation, talented artists explore contemporary genres in an effort to add to the ever growing and evolving collection of Pesach music. These musicians understand the vital principal of “Bichol Dor Va Dor…” adding the particular expression of their generation to that of the generations of the past.
Here are a few of the Passover goodies that I have recently found. Hopefully, you will be adding your favorites to my collection and as a community we can share some great suggestions to spice up our Passover experience.
My first selection is not new; in fact it is a classic. This is a rendition of the great hit, Go Down Moses, by the inimitable patriarch of American folk music, Pete Seger . This cut is found on his recording, American Favorite Ballads, Vol. 4, released May 25, 2006. Although many artists have recorded this classic, Seger is one of the most authentic.
Bread Of Affliction (Ha Lachma Anya) recorded by Safam, one of the original Jewish folk-rock groups dating back to 1974, is also an oldie that deserves a new listening. The ancient Aramaic invitation to all who are hungry to come and eat ends with the hope that while this year we are slaves, next year all will be free. Safam renders this old text in a mixture of modern and traditional music that is most memorable. The song can be found on the group’s first album (yes I said album) Dreams of Safam.
Rabbi Joe Black a contemporary Jewish folk singer includes this playful song; Afikoman Mambo on his 1991 release entitled Aleph Bet Boogie. With its delightful islands sound, this song provides a refreshing lightness to the often serious assortment of Seder music.
Va’amartem Zevakh Pesakh is the refrain of the traditional liturgical poem for the first night of Passover. This stirring rendition is by Divahn, the all female group featuring Middle Eastern and Sephardic music. The lovely voice of Galeet Dardashti is accompanied by a combination of western and traditional Middle Eastern instruments producing a unique musical flavor.
A combination of Hip-Hop and Reggae is provided by the internationally renowned artist Matisyahu together with Socalled & Trevor Dunn in this rendition of Eliyahu Ha Navi (Elijah the Prophet) entitled; 3rd Cup: Yahu. This song appears on an interesting, totally unusual CD called The Socalled Seder – A Hip-Hop Hagadah produced by the avant-garde Canadian artist SoCalled.
Finally, on this short list of songs, are two renderings of the Hymn, Dayenu,(it would have been enough). The artist, French born Rabbi Mikael Zerbib known as KAYAMA, presents this wonderful reggae version of Dayenu on his 2004 recording Mussareggae.
In contrast to the reggae version above, here is an “oldies” rock and roll version of Dayeu called “Dayenu (Diana)” released by Hankus Netsky, Michael S. McCown & the Nec Jewish Music Ensemble and Chorus. This song is part of a wonderful collection of Pesach tunes entitled, A Taste of Passover co-produced by Theodore Bikel and Hankus Netsky.
If you wish to have the full version of the above songs or are looking to do some exploring of your own, here are some of my favorite places to look for Jewish music. Naturally, your local Judaica shop or Jewish book store is a great place to begin. There is nothing like being able to touch the CD in which you are interested before you buy. I must say, however that I buy most of my music on line. Tara Publications also know as JewishMusic.com is one of the oldest and most established providers of Jewish music books, sheet music and recordings. Tara is internationally recognized for their expertise in all areas of Jewish Music and can sell you a physical CD or book as well as some downloads. Another on line site devoted to Jewish music is Oy Songs. They have lots of recordings and sheet music and offer the ability to sample almost any song before you purchase it. Their pricing system is somewhat confusing but their selection of contemporary Jewish music is great. Sameiach Music, also know as jewishjukebox.com has a good selection of music specializing in “Yeshiva rock”. Unfortunately, the Jewish Juke box site is down until the beginning of April 2009.The Milken Archive of American Jewish Music is a fascinating collection of music by American Jewish artists and composers covering a multitude of genres. This is a source that is defiantly worth checking out. General music sites such as Amazon.com, CD Baby and, my favorite, the iTunes store all have excellent collections of Jewish Music as well and are always a good resource. The last resource I will mention is an incredible, ever-expanding collection of Jewish Music for listening only; The Florida Atlantic University Judaica Sound Arcahives.
If you have more resources or other favorite songs to share, leave them in a comment below and we will all be able to share them.
Just like searching for new ways to cook traditional foods, part of our Passover preparation should involve searching for new methods of expressing classical Passover songs and themes. By finding ways of linking our magnificent heritage with modern day understandings, we help forge our unique link in the chain of tradition that began with Moses, Miriam and the first Pesach experienced by our Israelite ancestors in Egypt; “Bichol Dor Va Dor…”
Best Wishes to all for a Zissen (sweet) Pesach.
February 26, 2009
E-Hazzan Special Pre-Concert Edition; Sinai Sings: Our Fifteenth Annual Festival of Jewish Music
Ever since the introduction of Yuval, the ancient ancestor of “all who play the Lyre and the Pipe” in the fourth chapter of Genesis, music has been an integral part of our Jewish cultural heritage. Moses and Miriam, full of ecstasy and joy, find expression of these feelings in the song of the sea. Deborah the great Judge sings a passionate song to celebrate her nation’s victory over Sissera. Each day, King David, author of the Book of Psalms, exhorts us to “Sing unto the Lord A New Song.”
During the time of the great Temple in Jerusalem, musical instruments such as harp, lyre, trumpet and cymbals accompanied a majestic chorus of the Levites as part of the ancient ritual. After the destruction of the second Temple in 586 C.E. the Rabbis banned the playing of instrumental music on Shabbat as a way of mourning the profound loss of the Holy Sanctuary. Similarly, all forms of musical entertainment outside of the celebration of festive occasions such as a wedding or the joyous festival of Purim were frowned upon by the Rabbis. Thus a culture of music arose that mostly revolved around the aforementioned festive occasions arose.
Soon, a wonderful wave of folk and informal liturgical music such as Shabbat Table Songs and songs for Purim etc. flowed over the Jewish world in a myriad of languages and styles. These songs reflected the realities and nuances of their respective cultures. At the same time, in the synagogue, a rich tradition of liturgical vocal music arose. In every culture, from Ashkenazi (eastern European) to Sephardic (Spain, Portugal, Greece and some Baltic areas) to Mizrachi (Middle Eastern) great Hazzanim and composers enriched and elevated the experience of worship with their brilliant creations.
Although in some countries the Jews were readily accepted, many Jewish communities, such as those in Eastern Europe, faced oppression and hardship. Jewish Folk and Art music helped the members of these communities deal with their arduous and oppressive lives by providing an avenue for expression of deep emotions such as fear, frustration and despair. Frequently, the only respite from the harsh reality of the real world was to be found in the synagogue. Worshippers delighted in Shabbat and festival services that took on concert proportions; often lasting for several hours. Accomplished, passionate Cantors accompanied by choirs and a chorus of worshippers, poured out their most profound and heartfelt prayers. Even in America, synagogues would post advertisements touting the great Cantor that would be appearing for the Holydays as people flocked to purchase tickets in order to experience their magnificent services. These Hazzanim began to release recordings and perform in concerts all over the globe; heightening their popularity and increasing the scope of their music. Yiddish theatre also developed a huge following in the early part of the twentieth century, engendering an entirely new form of musical expression.
In fact, in every generation and in every culture, contemporary artists seek to embellish our great Jewish musical heritage by giving expression to our prayers and passions in their own particular idiom. From Middle Eastern to Rock to Reggae to Jazz to Rap, Jewish Music has a rainbow of variations each of which gives it own unique color and expression to our rich and vivid heritage. For the past 15 years, it has been our mission at Temple Sinai to present a Festival of Jewish Music that explores one or several of these styles and provides a venue for the Jewish community to share in this age-old tradition.
As this year marks the fifteenth year of our Sinai Sings: Festival of Jewish Music, I feel a brief history of our event would be in order. The concert series began as the annual Cantorial Concert – the idea of my predecessor, Rabbi Hazzan Burt Kieffer. For the five years that Burt produced these events at Temple Sinai, he presented an exciting array of artists including the great Alberto Mizrahi. Here is a recording of Hazzan Mizrahi Singing a selection of the Selichot, or prayers for forgiveness of the High Holidays, El Melech Yoshev
In my first year at Temple Sinai, our concert was dubbed the Sinai Sings: Festival of Jewish Music and featured my good friend Hazzan Aaron Ben Soussan whose Moroccan heritage is evident in his dynamic and engaging style. Of his many wonderful compositions, his version of L’Cha Dodi is one of Ben Soussan’s best known. One of the highlights of or concert History was a show by the great Hazzan, teacher and composer Sol Zim, one of America’s best-known Jewish musicians. This is a You Tube Video of Zim performing his magnificent setting of the Prayer for the State of Israel, Avinu Shebashomaim.
We also were proud to have presented the fast paced Rock and Roll stylings of the extremely popular Rick Recht in our synagogue. Here is a recording of his widely acclaimed, stirring hit, The Hope.
Perhaps my most memorable Sinai Sings: Festival of Jewish Music events occurred a few years ago when I was able to fulfill my life time dream of singing with my “Cantorial idol” the internationally acclaimed Hazzan Louis Danto; the Cantor in whose choir I sang in my youth. Ezkera Elohim, (“I remember, O God and I shall moan…”) a stirring setting of a Yom Kippur lamentation, is an example of Danto’s magnificent artistry.
This year on Sunday, March 1, 2009, in celebration of my ten years of service to Temple Sinai, we will present Sinai Sings: Our Fifteenth Annual Festival of Jewish Music: Something special for everyone!
The event will begin with a delicious pancake brunch followed by a concert, which will feature friends who are fellow Cantors. These artists, members of the Cantors Assembly, the world’s largest professional organization of Cantors, will be performing individually as well as in groups. Our talented Cantors will present a variety of flavors from the vast pallet of Jewish music – from Yiddish, English and Hebrew folk music to Cantorial classics. Both the Adult Choir and Youth Chorale of Temple Sinai will participate as well. We will also have some awesome musical activities for some of the younger members of our community. Not only will they have the chance to play various musical games but they will also be creating their own musical instruments, which they will have the opportunity to play on stage towards the end of the concert.
I hope that all who will be in the Hollywood are will be able to join me for this wonderful festival. This is going to be a truly unique experience in that this event promises to draw together all the diverse members of our community and remind them that we really are all one big giant Mishpocha.
Details are listed below.
Sinai Sings: Our Fifteenth Annual Festival of Jewish Music:
Something special for everyone!
Sunday, March 1, 2009
Brunch: 12:00 p.m. Concert: 1:30 p.m.
Tickets are available in advance or at the door from Temple Sinai of Hollywood:
Chaver (Special Friend): $180.00 (Premium reserved seating)
Patrons: $100.00 (Incl. 2 Reserved Tickets)
General admission: $18.00 ($20.00 at the door) under 13 free
Specific Sponsorships are also available.
For Information contact:
Hazzan Michael Krausman at the Synagogue: (954) 987-0026 cantor@sinaihollywood.org
Temple Sinai of Hollywood,
1400 North 46TH AVE Hollywood FL 33021 www.sinaihollywood.org
December 24, 2008
E-Hazzan: Happy Hanukkah from E-Hazzan!
This week Jewish communities all over the world are celebrating the joyous festival of Hanukkah. We all are familiar of the History of Hanukkah – in 167 B.C.E. the evil Seleucid forces of King Antiochus defiled the Holy Temple of Jerusalem. Replacing the ritual objects of the Temple with statues of Zeus and other pagan artifacts, Antiochus planned to have the Jewish people “forget the Torah” and completely assimilate into Hellenistic society; we would, in effect have disappeared. But, miraculously, in 164 B.C.E, the Holy Temple was cleansed and rededicated by the small but mighty forces of the priestly family of Mattathias under the leadership of the great Judah the Maccabee. The great miracle of Hanukkah is not only a that small band of righteous fighters was able to defeat a mighty evil army, but, that despite all of the compelling forces of assimilation, we, the Jewish people still exist today. Thus it is some what ironic that present-day Jews, who feel it necessary to blend into contemporary culture, deem it appropriate to celebrate Hanukkah by defiling their own homes with symbols of foreign faiths– Oy Vey!
As Hanukkah is the festival of lights, it is a commandment to publicize the Miracle of Hanukkah, not only the cool, oil lasting for eight days miracle, but the miracle to which I referred above, the fact that we are still here and, sometimes despite our own actions, still thriving. Thus we are commanded to publicly display the true symbol of Hanukkah, the 9 branched candelabra know as a Hanukiah. Naturally, when Jews wishes to celebrate, our first response is to express our feelings in song. Throughout history, from ancient times to today, Jewish musicians have chosen not to assimilate, but rather to use contemporary indiums that speak to the people of their time to communicate the joyfulness of this and all festive occasions and to broadcast the great miracle wrought by God through the Maccabees.
We are all familiar with the Hymn Maoz Tzur, a poem written by the thirteenth century German poet Mordchai ben Yitchak. In fact the first few stanzas of the poem are an acrostic of the letters of his Hebrew name. Hazzan Eliu Feldman of NJ, points out that there are several possible origins of the musical setting but that the common melody most of us are familiar with dates back to 15th or 16th Century Germany. There is also a second prominent setting of this hymn composed by the Italian Composer Bendetto Marcello (1686-1939). This beautiful setting of Maoz Tzur is performed by the Western Wind Vocal Ensemble on their Chanukah Story CD.
Of course in every language that Jews speak there are Hanukkah songs. A good example of this is the extremely popular Ladino Melody, Ocho Kadelikas (eight candles.) Hanukkah’s Greatest Hits, the source of this selection is the title of a beautiful Hanukkah collection performed by Hazzan Ken Cohen.
I Have a Little Driedle, written in the early 1900’s by Samuel Goldfarb, (he also wrote the extremely popular setting of Shalom Aleichem for Shabbat) is an example of an American Hanukkah classic. So here are a few other examples of Hanukkah music that use the wide spectrum of musical styles and genres to color and express the delight of Hanukkah.Beginning with the traditional, we have three settings. Jan Pierce, the great Hazzan and opera star, recoded on an Album called, The Art of the Cantor, a medley of two liturgical Hanukkah classics, Ha Neirot Ha Lalu, “theses lights which we kindle”, which is said after the Hanukkah candle Blessings, and Al Hanissim, “For All of the Miracles” which is included in the Amidah (silent devotion) and grace after meals of Hanukkah.
The second example is an a Capella version of the classic Hanukkah song, Mi Yimalel, “Who can Retell” appearing on a joint venture entitled Our Song by the outstanding Hazzan, Alberto Mizrahi and the internationally renowned actor and raconteur Theodor Bikel.
Our third traditional selection is a Yiddish, Hebrew, English composition by the timeless star of stage screen and pulpit, Hazzan Moishe Oisher. Hot a Gitin Hanukkah (have a happy Hanukkah) is from the Moishe Oisher Hanukkah Party album.
Hazzan Kenny Ellis, an outstanding entertainer and musician, released a wonderful Hanukkah album entitled, Hanukkah Swings! Hanu-Calypso is one of the offerings on this disc.
Also in the Caribbean mood is a captivating collection entitled, Reggae Chanukah by Alan Eder. Here is a selection form this work called, Skanukah.
Finally, a second selection from Hanukkah’s Greatest Hits performed by Hazzan Ken Cohen; this is his recording of the great song written by Peter Yarrow of Peter, Paul and Mary fame, Light One Candle.
There is an enormous supply of Hanukkah music for all ages in many languages in a multitude of genres. Why not increase the joy and light of the festival by singing or playing Hanukkah music as you eat your latkes, kindle your candles, play with your Driedle or simply enjoy time with your family and friends. As you do so, you will be fortifying your Jewish identity and perpetuating the miracle that began so long ago with our pal Judah.
Hag Urim Sameiach, best wishes to all for a Happy Hanukkah from my family to yours.
Hazzan Michael Krausman
If the embedded audio player does not work for you, please click on the name of the song that is in color and you can hear the music. You can comment on this post or send me suggestions for future posts by clicking on the comment link below. By commenting on the posts and contributing ideas, questions and suggestions; everyone can participate in this project.
I am also available to help you if you need help with a Torah reading or Haftarah and are not fortunate to have the services of a professional Hazzan available.
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