Dem Pastekhls Kholem
From the play the "Lost Sheep" by Boris Thomashefsky
Material Type:
Scores
Year:
1913
Mit Gelt Tor Men Nit Shtoltsirn
Arranged by Albert Terres for voice and piano.
Material Type:
Scores
Year:
1908
Di Torah
Composer
Composer
Cover Title: "Success of the Season, Prof. Horowitz's Opera "The Two Tannaim." Score arranged for violin and piano.
Material Type:
Scores
Year:
1912
Shenk Mir Mayn Mame
Music from the Play 'Israel's Hope' by Perlmutter & Wohl, featured at Thomashefsky's National Theatre, special words by Solomon Small (Smulewitz). Score is arranged for voice and piano.
Material Type:
Scores
Year:
1916
Dos Shefele
From the operetta the "Jewish Crown" by Boris Thomashevsky
Material Type:
Scores
Year:
1913
Abi Gezint: for chorus, solo, clarinet, and piano
Moischelach and schloimelach/ Boys like Moyshe and Shloyme
Composer
Author
For an elaborate explanation about the song, see Song of The Month, March 2010.
Material Type:
Scores
Year:
1905
The Yiddish Theater in America
Funny, it doesn’t sound Jewish : how Yiddish songs and synagogue melodies influenced Tin Pan Alley, Broadway, and Hollywood
Author
An attempt to demonstrate the deep layers of "JM" embedded in the popular American song by analyzing a plethora of examples showing the presence of innuendos, motives, paraphrases or flat quotations of music deriving from "authentic" Jewish repertoires (mostly liturgucal).
Material Type:
Books
Year:
2004
- 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.