Golden Voices of Israel
Material Type:
Films
The Hazzan’s Manual
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For voice solo or with piano accompaniment.
Material Type:
Scores
Year:
1971
Tikanta Shabbat
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Arranged for cantor and SATB chorus and organ or piano.
Material Type:
Scores
Year:
1976
Naarizokh נעריצך
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For choir with (or without) solo voice. This is a part of a manuscript from the end of the 19th century.
Material Type:
Scores
Tefilot le Moshe- Sabbath Evening Service
Cantorial Pearls
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A collection of recitatives for cantor. .
Material Type:
Scores
Year:
197-
Kinot
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Choral composition by Zeidel Rovner.
Material Type:
Scores
Year:
1922
Hallel w'simrah
Omanut ha-Hazzanut
Composer
This collection is the main work of cantor and composer Abraham Ber Birnbaum. It is a treatment of liturgical music for Cantor and choir, and consists of two volumes: The first volume contains recitatives and responsory prayers, and chapters of choir for Shabbat's prayers. The second volume is dedicated to the High Holidays prayers. The collection has much enriched the synagogue music of the time.
Material Type:
Scores
Year:
1954
Avodat Habore
- 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.