Cantorial Anthology
Chemdat Shabbat: A new Sabbath morning service for Hazzan and Congregation
Hebraeisch-orientalischer Melodienschatz, 06[G]: Der Synagogengesang der deutschen Juden im 18. Jahrhundert
Author
Also exists in English. Synagogue music of the German Jews in the 18th century, according to manuscripts. Includes an introductory essay on Sulzer's musical influence, the Reform, Birnbaum and the preservation of musical scores, and the cantors whose manuscripts are published in this volume for the first time.
Material Type:
Books
Year:
1932
Hebraeisch-orientalischer Melodienschatz, 06[E]: Der Synagogengesang der deutschen Juden im 18. Jahrhundert [The Synagogue Song of the German Jews in the 18th Century]
Author
Also exists in German. Synagogue music of the German Jews in the 18th century, according to manuscripts. Includes an introductory essay on Sulzer's musical influence, the Reform, Birnbaum and the preservation of musical scores, and the cantors whose manuscripts are published in this volume for the first time.
Material Type:
Books
Year:
1932
Hebraeisch-orientalischer Melodienschatz, 05[G]: Gesaenge der marokkanischen Juden
Author
Also exists in Hebrew. Music of the Moroccan Jews. Includes an introductory essay on their relationship with Spanish Jews, their pronunciation of Hebrew, and their music (modes and melodies).
Material Type:
Books
Year:
1929
Hebraeisch-orientalischer Melodienschatz, 03[G]: Gesaenge der persischen, bucharischen und daghestanischen Juden
Author
Also exists in Hebrew. Music of Persian, Bukharan and Daghestani Jews. Includes an introductory essay on their life and customs, their pronunciation of Hebrew, and their music.
Material Type:
Books
Year:
1922
Hebraeisch-orientalischer Melodienschatz, 02[G]: Gesaenge der babylonischen Juden
Author
Also exists in English and Hebrew. Music of Babylonian Jews (and Kurdish Jews). Includes an introductory essay on their customs, their language (in comparison to Syrian pronunciation of Hebrew), and their music (modes, motives and Arabic influence, as well as comparison of Biblical cantillation of various communities); contains some information also about the Jews of Kurdistan and their language (Aramaic).
Material Type:
Books
Year:
1922
Hebraeisch-orientalischer Melodienschatz, 02[E]: Gesaenge der babylonischen Juden [Songs of the Babylonian Jews]
Author
Also exists in German and Hebrew. Music of Babylonian Jews (and Kurdish Jews). Includes an introductory essay on their customs, their language (in comparison to Syrian pronunciation of Hebrew), and their music (modes, motives and Arabic influence, as well as comparison of Biblical cantillation of various communities); contains some information also about the Jews of Kurdistan and their language (Aramaic).
Material Type:
Books
Year:
1923
Hebraeisch-orientalischer Melodienschatz, 01[G]: Gesaenge der jemenischen Juden
Author
Also exists in English and Hebrew. Music of Yemenite Jews in Jerusalem. Includes an introductory essay on their customs and language with analysis of their music (chant, scales and rhythm).
Material Type:
Books
Year:
1914
- 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.