20. "Yismah Yisra'el Be-'Osav"

^{Community singing, Tish of 15th Shevat, "Tiferet Yisra'el" Yeshiva,Jerusalem, 2 February 1988.}

Let Israel rejoice in its Maker;
Let the children of Zion exult in their king.
Let them praise His name in dance;
With timbrel and lyre let them chant His praises.

This niggun was composed in the United States by the Rebbe of Pittsburg, R. Yosef Leifer (d. 1966), a scion of the Nadvorna line, to the words "Yismehu ha-shamayim" ("Let the heavens rejoice"; Ps. 96:11). It soon spread among Hasidic, as well as non­ Hasidic Ashkenazi, communities, becoming a "Velts-niggun" (that is, a niggun belonging to the whole world, a folk tune). According to Akiva Brilant (see above, no. 11), the niggun was brought to Israel in 1959 or 1960, adapted to the words "Yismah Yisra'el be­ 'osav" ("Let Israel rejoice in its maker"; Ps. 149:2-3). It was quickly taken up by the Boyaner Hasidim in Israel and they still sing it to those words. Occasionally, however, they also sing it to the original words.

The changes of tempo and varied clapping rhythms in this recording are due to the interaction between the Rebbe and the congregation. The singing of the niggun began when the Rebbe signaled the choir. While it was being sung for the first time (not recorded here), sporadic clapping could be heard. When it was repeated, some members of the choir began to clap hands. In section B of the niggun, with the words "Yehalelu shemo be-mahol" ("Let them praise His name in dance"), the Rebbe raised his eyes to the congregation and moved his head in time to the singing; the congregation then joined in the clapping and the tempo was accelerated. Later the Rebbe lowered his eyes but continued to tap on the table with his finger. The congregation continued singing without change. In the next repetition of the niggun (the third in this recording), the Rebbe clapped his hands, and the congregation broke into stormy clapping and continued to accelerate. When the Rebbe varied the clapped tempo, the congregation always followed him. When he stopped, the congregation stopped clapping only gradually, though continuing to accelerate the tempo. The Rebbe could then be heard singing to himself at a slower tempo than the congregation, which was apparently unaware of this, continuing to sing at the same fast tempo. Only when the Rebbe raised his hand and waved it more slowly did the congregation alter the tempo, but still singing with great gusto. At the next repetition, the Rebbe gave a sign with his hand for the singing to stop, and the congregation, as one man, slowed down and stopped.