Between Tradition and Modernity: The High Holy Days Melodies of Minhag Ashkenaz
Vollständiger Jahrgang von Terzett-und Chorgesängen der Synagoge in München
Composer
Collection of trios and choir songs of the synagogue in Munich, for the entire yearly cycle.
Collected in three volumes: 1st vol.: 27 songs, recitatives and responses for the Sabbath.
2nd vol.: 39 general songs and songs for Shlosha Regalim: Sukkot, Pesach and Shavu’ot.
3rd vol.: 95 songs for This’a Be’av, Purim and High Holidays.
Material Type:
Scores
Year:
1839
Thesaurus of Hebrew Oriental Music
Editor
The most important anthology of Jewish music. The first five volumes contain music of Oriental Jewish communities which Idelsohn heard in Jerusalem during the years 1907-1921. The other five volumes contain music of Ashkenazi communities which Idelsohn collected from different sources. Volumes VI and VII are based on the manuscripts of the Birnbaum Collection at the Library of the Hebrew Union College Cincinnati.
Material Type:
Scores
Year:
1914 (vol. I), (1922-1933 (vol. II-X)
- A Polka Mazurka
- Niggun of the Meggid of Mezerich From the album, "The Hasidic Niggun as Sung by the Hasidim." This dance niggun is the seventh and last in a series of niggunim sung by Bratslav Hasidim as they dance after the Shabbat evening service on Friday night. Some have attributed the niggun to R. Dov Ber, the meggid of Mezerich.
- Kol B'ru'ei (Padua, Italy) From the album, "Italian Jewish Musical Traditions from the Leo Levi Collection (1954-1961)." The poem depicts "all creatures" singing and praising the unity of God, and was recited in the Italian rite during the daily morning prayer. This melody was sung only on Rosh Hashanah (New Year) in the Italian tradition of Padua.
- Yigdal From the album, "Judeo-Carribean Currents, Music of the Mikve Israel-Emanuel Synagogue in Curaçao," performed by Gideon Zelermyer. The Yigdal is part of the ceremonial section of the liturgical order of Shabbat and the Holy Days in the Curaçao synagogue. It is one of the ending hymns of the service.
- Eres Chiquita y Bonita From the album, "Judeo-Spanish Moroccan Songs for the Life Cycle," sung by Alicia Bendayan from Tetuan. This is a song about courtship, related to the Jewish rituals that mark the events of the life cycle.
- Sweet Shalt Be My Chant From the album, "Kulmus Hanefesh," performed by Yair Harel on voice and tar, and Matti Kovler on voice and piano. A sacred hymn attributed to Rabbi Yehuda ha-Chasid, this is a Chabad tune with a near-Eastern arrangement.
- Lyr II From the album, "The Music of the Mountain Jews." Lyr is a genre found among all Turkish peoples, consisting of long, complex compositions usually comprised of three parts.
- Gilu ha-Galilim (Rejoice Galileans) From the album, "Nights in Canaan, Early Songs of the Land of Israel (1882-1946)." This is a Second Aliyah (1904-1914) song which became an integral part of the historical repertoire of Hebrew song. Both native-born and newly arrived pioneers sang this song in all circumstances.
- Saperi Tama From the album, "With Songs They Respond: The Diwan of the Jews from Central Yemen." This is a girdle poem by Se'adia ben Amram. Saperi Tama is sung to many melodies and is one of Yemenite Jewry's most common poems.