The article deals with research of the "Adonai Malach" Steiger using 30 melodies representing an existing tradition. "Adonai Malach"'s scale, motives, the motives' function, placement and the Steiger's "ethos" are all examined. The Steiger proves to be an extraordinary phenomenon in European music but there is an obvious similarity to the melodic structure of Eastern music in the past and present.
The core of the article is a translation from the German of Lewandowski’s prefaces to his major works of synagogue music. Unfortunately omitted from the editions currently printed by Sacred Music Press, the prefaces provide invaluable material on the evolution of these works, the aims of the composer, and his ideas on synagogue music and hazzanut. The introduction to the article takes issue with aspects of the accounts of Lewandowski found and repeated in the literature.
Sigmund Schlesinger was one of the most influential figures among the group of mid- to late-19th-century American synagogue organists and choirmasters who attempted to create and adapt music to suit the new ritual and format of American Reform congregations — before and especially after their consolidation within an official movement.
Born in Praga (near Warsaw). After serving as a cantor in Poland and Germany, he moved to London, and worked there as a cantor until his death. Among his compositions are oratorios, cantatas and hymns.