Community Corner

IT ONLY TAKES A MOMENT

A funny thing happened on the way to writing a serious article on the history of Jewish Music…

With the best of serious intentions, I did my research and sat surrounded by many Jewish music history books. I'd been puzzling over how to make this article both interesting and informative, teaching about the ancient instruments and also reminding our congregation of our special Cantorial Shabbat coming this weekend. So here I am, with loads of information to share. But the topic of Jewish music is so wide; from Biblical times, to hundreds of years of European synagogue music, to the great Golden Age of the Cantor in the 20th Century. We can't leave out the different styles of Jewish Music, multilayered with the influences of Ashkenazic or Sephardic flavors, depending on where you grew up. As a self professed “musical theater nerd” I cannot ignore the contributions our tribe has made to the American Musical Theater either. Which brings me back to the title of the article above.

Jewish music is mentioned in the Torah right in the beginning; parashat Bereshit. We are told of Lamekh, the second man in the Torah to take the life of another. He composed the first song where he boasted that G-d would protect him for 77 generations, in spite the fact that he was a murderer. Lamekh is the father of Jubal, who is called the “father of all who play the lyre and the pipe” (Gen 4:21). Instruments were mentioned in the Torah as well. They are Nevel, Kinnor, Tof , Asor, Minim, Uggav, Chatzotzra and of course, the Shofar. The Nevel and Kinor are both stringed instruments. Nevel is the big harp and Kinnor is the little lyre or harp. The tone of the Kinnor is described in the Bible as sweet, tender, soft and lyrical. The tone of the Nevel was stronger, as the Nevel was a larger instrument, and was eventually modified to have a resonant body.

The wind instruments were comprised of the Chatzotzra, or trumpet, the Uggav, the small flute or pipe and the Shofar. While the Shofar is not truly musical, reflecting sounds that are noted in the Bible as “blowing/tekia” and “shouting/terua”, it is one of the most recognizable symbols of Jewish music in the world. The Shofar is the only instruments that retained its position in the Synagogue throughout the Medieval Ages up to the present day. As the Shofar was used to summon the people, it is an integral part of religious life during the month of Elul and the High Holy Day period. (Jewish Music in its Historical Development, A.Z. Idelsohn, 1956)

The percussive instruments were comprised of the Tof, or little drum. Tof were used for religious celebrations and are still used today, both in services and it concert music. Tziltzal were cymbals that were played in the time of David and Solomon. There are also mentions of the Paamonim, or little bells, which were attached to the skirts of the robe of the High Priest.

Because Judaism has never been a religion of worshiping idols or images, music has long played an integral part in our services. Singing is a traditional way to express prayer. Melodies can be ancient, like those called Mi Sinai melodies, or part of our tradition for a particular holiday, like Un'tan'ah Tokef for Rosh Hashanah, a piece of great emotional power that captures the image of each of us passing before G-d on the Day of Judgment. There are prayers that are call and response, like Ashrei or text directly from the Torah like V'shamru, Shema, V'ahavta and L'maan Tizkaru that are chanted as part of the progression of services. A most famous example of Torah Text as part of the service would be Shirat Ha'Yam, The Song of the Sea, chanted at Shabbat Shira a few weeks ago, and also sung daily in the Shacharit service. This is a song sung by Moses and the children of Israel in thanksgiving after the safe crossing of the Red Sea. (Exodus 15:1-18)

Vocal music grew as a tool with the use of music as a way to convey ideas. Putting text to music was a way to express thought and feelings as interpreted by the leader. The tradition of a Cantor in the synagogue has existed for many centuries. It has produced legendary musicians, composers and different types of music. We have had a Golden Age of Hazzanut with Star Cantors in the 19th and 20th Century, including Moshe Koussevitsky, Yossele Rosenblatt and Samuel Malovsky, to name just a few. If you have ever had the pleasure of listening to any of these or others, you heard a vocal artistry and understanding of the music of the synagogue that was unparalleled. If you went to a Broadway show by Leonard Bernstein, Stephen Sondheim or many other Jewish composers of the American stage, you heard similar artistry, rich with meaning to move the story forward. Think back to the first musical you ever saw…what was it? Do you know who wrote it?

This brings me to our own very special Cantors, Herschel Fox and Phil Baron. We celebrate their artistry, love of Judaism and Jewish music, and above all, their talents this weekend. I am honored to work with them both and to call them both mentors in my own cantorial journey. Please join us at Shabbat services this Friday night at 7:30 and Saturday morning to hear them at their best. There will be lots of ruach at both services. In addition, to honor such wonderful Cantors, we have a Special Guest, Cantor Alberto Mizrahi as our Cantor/Scholar in Residence. Cantor Mizrahi is a huge talent, and a man who is a gifted singer and teacher. We will have the pleasure of hearing him davan with our Cantors in our congregation. Additionally, he will be leading a Shabbat Shiur entitled “Origins and development of Jewish Music; the best voices of the 20th Century”. Cantor Mizrahi serves at Anshe Emet Synagogue in Chicago, and is also the current president of the Cantors Assembly.

I hope to see you all in shul this very special weekend. Mazel Tov to our talented Cantors, and Shabbat Shalom.

Cantor Toby Schwartz