Sacred service / Salamone Rossi
Arrangement
A selection from Salamone de Rossi's Ha-shirim asher li-Shelomo arranged as a service for cantor, chorus, and organ. Words in transliterated Hebrew.
Material Type:
Scores
Year:
1954
Doctrina de accentutatione Divina pro sensus inscrivi in Scruptura Sacra V.T. certitudine, cum tabulis (SENDREY 1980)
Material Type:
Books
Year:
1667
(DE) ACCENTUU ECCLESIASTICORU EXQUISITA RATIONE, SCZ lectionalli, epistolari, et euangelico, libellus omnibus sacris iniciatis, vicarijs et ecclesiae ministris, non minus vtillis quam neccessarius (SENDREY 1936)
Musical notes, explaination of Gregorian Chant (with Latin text). The hymn of St. Stanislaus given with notes for 4 voices; Discantus, altus, tenor, contratenor, in mensural notation, Latin text. pp. 98-101. Jewish Theological Seminary Library, NY. For further notes see Sendrey, p.82.
Material Type:
Articles in Books
Year:
n.d. [c.1540]
Capl'm de accentibus Sacrae Scrupturae mei Calo filii...rabi David Calonymos: ad complementu libri...Abrahae de Balmis (SENDREY 1947)
Birchas Kohanim
Composer
Arrangement of the Priestly blessing for voice (tenor) and piano
Material Type:
Scores
Year:
1965
Hosanna or ‘Hilk, O Herr Uns’: National Identity, the German Christian Movement, and the ‘Dejudaization’ of Sacred Music in the Third Reich
Retrieved from: The United States Holocaust Memorial Museum: Research: Bibliographies Outlines the efforts of government officials to “Germanize” and “dejudaize” the texts of sacred choral works, such as Christmas carols and traditional hymns, by modifying the verses to reflect Nazi ideals. Includes a suggested reading list on the subject.
Material Type:
Articles in Books
Year:
2002
Jews and Music
Author
An Enycylopedia in 6 volumes. A brief history of the development of Jewish art music, including a discussion on composers.
Material Type:
Articles in Books
Year:
1999
Die haeuslichen Sabbatgesaenge
Editor
Chiefly musical scores with words in romanized Hebrew; texts in Hebrew characters: 21 p. at end.
Material Type:
Scores
Year:
1937
Jewish Musical Traditions
Stories from the Hebrew Bible in the music of the Renaissance
- 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.