Franz Schubert and the Vienna Synagogue

Official Publication of the American Choral Directors Association US ISSN 0009-5028 AUGUST 1997 CHO

Franz Schubert and the Vienna Synagogue Conducting a Prison Chorus • An Interview with Uwe Gronostay Healthy Soft Singing • Director's Rehearsal Checkup Franz Schubert and the Vienna Synagogue

by Joshua R. Jacobson

Seitenstettengasse Synagogue, Vienna

Franz Schubert is the only great composer before the twen- could not own land, and were refused permission to build a tieth century to compose a setting in Hebrew of the liturgy for synagogue. As late as 1820 only 118 Jewish families had been the synagogue.! This article examines Schubert's unique com- given permission to live in Vienna. Conditions improved some- position and places it in the context of Vienna's social, cul- what during the next ten years under the brief reign of Maria tural, and religious life in the early nineteenth century. Theresa's son, Joseph II (1780-90). In 1782 he issued an "Edict of Tolerance" that included the following proclamation: Jews in Nineteenth-century Vienna Two hundred years ago Vienna was the cultural capital of Since the beginning of our reign, we have made it one of Europe. It functioned as the political. and commercial gateway our most important goals that all our subjects, whatever between East and West and served as the seat of the Hapsburg their nationaliry or religion, since they are accepted and dynasty and the Holy Roman Empire. It was the capital of tolerated in our state, should share in the public welfare Austria-Hungary and the home of Mozart, Salieri, Haydn, and which we are endeavoring to nurture, enjoy liberry in Beethoven. The city boasted magnificent palaces, idyllic parks, accordance with the law, and encounter no hindrance in splendid theaters, concert halls, and, of course, the beautiful obtaining their livelihood and increasing their general blue Danube. In 1810 writer Johann Friedrich Reichardt raved industry by all honorable means.3 about Vienna's cultural life: This very liberal policy reinforced Joseph II's reputation as Surely, for everyone who can enjoy the good things of an "enlightened despot." The seeds for this liberal humanism life, especially for the musical artist, Vienna is the richest, had been planted by the Industrial Revolution and then spread _____--"h=aRRiest, and most agreeable residence in Europe.2 throughout Europe by Napoleon in the late eighteenth and early nmeteenili centunes. ----- The predominant religion in Vienna at that time was Roman Catholicism. Prior to the nineteenth century; Jews were either Under the influence of various measures undertalcen with denied entry or barely tolerated in Vienna and most other regard to the Jews, there will no longer be any difference European cities. During the reign of Empress Maria Theresa between them and other citizens of our empire.4 (1740-80), Jews were required to wear identifYing yellow badges, In Vienna, and throughour Western Europe, Jews were Joshua R. Jacobson is Professor of Music and Director of beginning to leave the confines of ghetto life to participate for Choral Activities at Northeastern University, Boston, the first time in the cultural activities of the surrounding Massachusetts, and Adjunct Professor of Jewish Music at community. 5 They joined their middle-class neighbors at soirees Hebrew College, Brooldine, Massachusetts. of chamber music in private homes and attended concerts and operas in the new public theaters.

AUGUST 1997 PAGE 9 These Jews began to lose their con- der why the music of their synagogue ingly out of place in the synagogue. There nection to the ancient homeland in the sounded so different. Some Jews must were no singers capable of performing Middle East, an emotional tie they had have been embarrassed by the negative music in Western notation. Furthermore, maintained ever since they were sent impression that their synagogue music the rabbis had imposed strict guidelines into exile by the Roman conquerors in made on many non-Jewish visitors. Com- on the music of the synagogue, intended the first century of the Common Era. poser Christian Friedrich Schubart wrote to preserve the ancient, monophonic The Jews of Vienna no longer consid- in 1806: Middle Eastern chant from alien accul- ered themselves temporary residents of turation. There were, from time to time, Austria as had their parents and grand- Who could possibly believe that the isolated and remarkable exceptions to this parents, biding their time until the ad- Jews, in times still had rule,_but, for the mostpaJ;t,_the_s}'na-__ vent oftl1elVIessiah who would rescue good taste, sang as horribly as the gogue did not admit European art music. them and return them to the Holy cantors in the synagogue today! At the beginning of the nineteenth cen- Land. They began to feel more like per- They distort the sound so horribly, tury, music in the Catholic churches of manent citizens. They began to feel very and their faces become often so red Vienna was splendid. After the passing of _comfortable_ll_Vienna._and_wanted_to ___and_blue_that one is sometimes . Haydn, Beethoven;·and Schubert;how.;;- blend in with their neighbors. They inclined to fear for their very lives. 6 ever, the situation deteriorated. Eduard changed their names, their mode of Hanslick wrote that one could hear only· dress, their residences, their system of Synagogue music was chanted by a "the musical bric-a-brac typical of a pe- education, and the language they spoke. male soloist called a hazzan. He sang the riod ofintellectual inactivity and the great- They were not prepared, however, to ancient monophonic chants without in- est possible degeneration in Austria."7 renounce all their religious practices as strumental or choral accompaniment. In Another contemporary critic, Joseph many other Jews had done. In Ger- some synagogues he was assisted by two Mainzer, decried the terrible quality of many, some Jews had reformed the meshorerim-a bass and a boy soprano church music, chiding church musicians synagogue service to make it resemble, who created a primitive vocal accompa- for their "unholy devotion to operatic as much as possible, a Lutheran ser- niment. The chant was in Hebrew and fare," for "changing everything into a vice. Some families had even converted was improvised by the soloist based on waltz," and berating church "organists to Christianity-an option taken by ancient melodies that had been transmit- who make their pedals growl" for special Heinrich Heine, the family of Felix and ted in the oral tradition for generations. effects.s Surprisingly, the same authors Fanny Mendelssohn, and others. The rhythms were free, lacking a regular who wrote about the sorry state of music metric beat, and the soloist was expected in Vienna's churches during the 1820s Music in Synagogues to add a good deal of embellishment to found its only redemption in the exotic and Cathedrals the melodic line. The congregation was music of the synagogue. Mainzer, a Ger- The Jews of Vienna wanted to remove rarely silent; rather, they chanted the man composer who had studied for the the barriers that separated them from prayers aloud, not usually in unison with priesthood, found it ironic that the a their Catholic neighbors. Having been the soloist, creating a richly textured, un- cappella ideal of church music that had introduced to the operas, symphonies, coordinated heterophony. Before the disappeared from most churches could and chamber music of Mozart, Haydn, nineteenth century, music by the great be found in the Jewish service. He and Beethoven, many Jews began to won- Western composers would have been glar- quently went to hear the music at Vienna's synagogue:

The synagogue was the only place where a stranger could finde, artistically speaking, a source of LIH£ ,AlL WOIIS Of · enjoyment that was as solid as it was dignified .... Never, except for the Sistine Chapel, has art given JACKSOM lillY me higher joy than in the They're all "NEW ISSUE" synagogue .... In seven months I until you've seen them! did not miss a single service. One has to ,attend no more than once, however, in order to find oneself instantly freed, as if by some sudden reaction, of all the odious .. prejudices against the Jews instilled TelephoneII (954) 563-1844 in us with baptism in early FAX (954) 563-9006 childhood. . . . What makes the 170 N.E. 33rd St. Ft Lauderdale, FL 33334 singing of the ... Jews so attractive

PAGE 10 CHORAL JOURNAL is precisely that it is not a simple in Jerusalem were drawn from one clan of the Viennese Jewish bourgeoisie. When play of the imagination, a cold exclusively-the tribe of Levi. Sulzer was a Sulzer arrived in Vienna, he found a beau- calculation, like that of the Levite; in the late eighteenth century, his tiful building, a sophisticated community, Christian .... The Dew] follows family's name was Levy. When they left the a liberal and well-educated rabbi, and a the inspiration of his religious village of Sulz to resettle in the town of liturgical music that was in wretched con- fervor, an irresistible need, an Hohenems, they became known as the dition. Sulzer wrote in his memoirs, "I enthusiasm carried to the point of Levys from Sulz, or the Sulzers, to distin- encountered chaos [when I arrived] in ecstasy; his singing is moving guish them from all the other Levys in Vienna, and 1 was unable to discover any 11 because it comes from a heart Hohenems. logic in this maze of opposing opinions." 12 pulsating with sacred emotions.9 Young Sulzer's musical talent was so great that the Jewish community of The English writer Frances Trollope also Hohenems decided to appoint the thir- praised the Vienna synagogue's music: teen-year-old boy as the hazzan of their synagogue. That appointment had to be There is in truth so wild and approved by the government. Emperor strange a harmony in the songs of Joseph II decreed that the boy could serve, Israel as performed in the but only after he had completed his edu- synagogue in this city, that it would cation. So for the next three years, Sulzer be difficult to render full justice to learned his trade. He apprenticed himself the splendid excellence of the to a master hazzan in nearby Switzerland performance, without falling into to learn the traditional Jewish chants. He the language of enthusiasm. A voice also went to Karlsruhe to study Euro- to which that of Braham in his best pean secular music. At the age of sixteen, days was not superior, performs the he returned to his home town and be- solo parts of these extraordinary came the musical leader of the synagogue. cantiques; while about a dozen The fame of this young prodigy spread voices or more, some of them being quicldy. After only five years in Hohenems, boys, fill up the glorious chorus. an invitation came from Vienna to audi- The volume of vocal sound exceeds tion for the post of hazzan at the beautiful anything of the kind I have ever new synagogue built in 1824 on Seiten- heard; and being unaccompanied stettengasse. The liberal rabbi at the syna- Figure 1. Painting of Oberkantor by any instrument, it produces an gogue, Noah Mannheimer, adapted the Salomon Sulzer. effect equally singular and ancient liturgy to suit the cultivated tastes delightful. Some passages of these majestic chants are so full of pathos that the whole history of the nation's captivity rushes upon the memory as we listen; and the eyes fill with tears at the suffering of God's people. JO

Oberkantor Salomon Sulzer The person responsible for this musical ert Tours wonder was Salomon Sulzer 1), who Cone lity! served from 1826 to 1881 as soloist, composer, music director, and con- or ductor-at the Vienna synagogue. He was ur dreamS f a nuote. the first Jewish hazzan to call himself Bring yo a call or ... "Kantor." Sulzer was born in 1804 in the f Austrian town ofHohenems, near the Swiss Give us border. As a child he displayed a prodigious talent in music and a proclivity to serve as Musica Mundi, Inc. hazzan. Perhaps this talent was a genetic 101 First Street, Suite 454 • Los Altos, CA 94022 1800 9471991 trait. For more than one thousand years in Phone 415 949 1991 • Fax 415 949 1626 UlIJV ancient Israel, all the musicians who sang E-mail: [email protected] and played instruments in the great Temple

AUGUST 1997 PAGE 11 p freely

t U F j' til F j' Sulzer set out to revitalize the music of Hash-ki-vei-nu A-do-noi e-Io-hei-nu Ie-shaw - lom ___ the synagogue. He felt that he could mod- ernize the ancient· chant without sacrific- ing its unique identity.

ve - ha - a- mi-dei - nu mal - kei - nu le-eha yim. To me it appeared that the Figure 2. Sulzer, Hashkiveynu confusion of the synagogue service resulted from a need for a restoration which should remain on Andante religioso hist(JricaLgwund, ...... -IewishJiturgy: "t-,,-,. p. -<::: >::::>- .!.. =- ... must satisfy the musical demands while remaining Jewish, and it I p' r r'- r I I· p' V V should not be necessary to sacrifice Mfeho-mo-choh bo-e-Ifm a-do - noy,_ mf ko-mo-ehoh ne-e-dor ba- the Jewish characteristics to artistic _,,_ .. __1!.=S;:::: __ --====: - - --;:--- formiC-:-. -:-Ourefiteq:Jfise--was visibly blessed by the Lord. It r - found favor with the most Mi eho - mo - choh bo-e - Ifm a - do - noy,_ mf ko - mo - ehoh :e - - dor ba- - intelligent Jewish communities, P-<::: >::::>- --====: =- = B recognition and emulation , , r r , throughout the world. The Vienna r r r r r r r' "' ri!. ritual became. a model and ====- standard, our melodies were kindly received and recognized even beyond the ocean. 13

no - ro_ s'hf - los o - se_ He reexamined the ancient chants and P/.-=== > ==- > > ==- altered them to suit the sophisticated tastes of the Viennese community.

desh, no - ro_ s'hf - los 0 - se _ fe Ie. The old tunes and singing modes t:\ P!-=== > > ==- which have become traditional should be improved, selected and ri!. adjusted to the rules of art. I set it Figure 3. Sulzer, Mi Chomocho as my duty to review, as far as possible, the traditional tunes bequeathed to us, to cleanse the ancient and dignified type from the later accretions of tasteless embellishments, to bring them PU8LI$I'IING INC..« back to their original purity, and to reconstruct them in accordance P.O. Box 9164 - 842 Truman/Slreel - Moscow, ID 83843.· c : 208-882-6760 - Fax: 20aCS82-782;3 with the rules of harmony. 14

Hank Beebe ...• Bi>Linda For example, using the traditional chant- ing modes, Sulzer produced his own ver- ottl'ers .. sion of the Friday-evening nocturnal prayer plus music from the. for peace, Hashkiveynu (Figure 2). Sulzer ,-----..; also created four-part choral arrangements . David Stocker of traditional melodies. This departed dras- College Choral : tically from the traditional practice of two meshorerim improvising simple harmonies to accompany the hazzan. Sulzer created :: CHORALWEB c· • . PUBLISHING INC. carefully thought-out arrangements using ... .An liiternet Music Publisher an early nineteenth-century harmonic WIJi:lIILV Prices, Immediate Delivery idiom. A simple example is his setting of http://www.ChoraIWeb.com Mi Chom6cho from the Rosh Hashanah evening service (Figure 3).

PAGE 12 CHORAL JOURNAL Larghetto ::::>- mfl :::::>- ,./" I P I > to.. -==== I 1"1 t\ Sulzer's original choral settings of li- S turgical texts were his most radical break A fV V from tradition. A music that had been UV I 1 r 1 1 l solo-dominated became choral; a reper- Ve - nis - Iach Ie - chol a - das be - ne yfs - ro - el ve-Ia - ger_ Im- P :::::>- -=:::::::::: ::::>- toire that had been monophonic became .'" .L > -==== polyphonic; an art that had been impro- T vised became notated; a liturgy that had fV '--' I 1 1 1 P r >1 r Ve - nis - Iach Ie - chol a - das be - ne yfs - ro - el ve-Ia - ger_ ha- been chanted in Middle Eastern modes p :::::>- -=:::::::::: ::::>- was set in European diatonic modes. > -===="'" ...... Since Sulzer had virtually no precedents B -.. I I f" ,.. >- (that he knew of), he simply composed f" - in the part-song style with which he had become familiar: unaccompanied, top- mJ::::=- voice-dominated homophony in four parts, with balanced phrases. Sulzer's setting of the penitential prayer VeNislach from the Yom Kippur Eve service, typi- kf bi go. fp -==::: fies his compositional style (Figure 4). pp ===-==- p Schubert's Synagogue Music gor be - so - chom kf Ie-chol ho - om_ bi she - go go. Through his composition teacher, ::::::==- fp mf::::=- p Ignaz Xavier Ritter von Seyfried, Sulzer -=== -======- met many of the most prominent musicians of Christian Vienna. Eager to mod- ernize the repertoire and at the same Figure 4. Sulzer, VeNislach time add prestige to his musical ser- vices, Sulzer commissioned settings in r7l Andante Hebrew of the synagogue liturgy from L.!J Solo f composers such as Ignaz von Seyfried, S Joseph Fischof, Franz Volkert, Wenzel Wilhelm Wtirfel, and Joseph Drechsler, Ie-ho - dos Ia - do noi, uI- za - mer Ie - shi - me-chaw el - Kapellmeister at the Cathedral of St. -===== :::::==- Stephen. Though largely unknown today, these composers were prominent in their day. Sulzer also commissioned Franz Schubert to compose a setting of Psalm 92, Tov LeHodos, for the synagogue. Tov Ie-I1O - dos Ia - do noi, uI- za - mer Ie - shi - me-chaw el - Solo f When he received the commission in = :::::==- -=== 1828, Schubert's reputation was only beginning to spread, and he needed the Tov Ie-ho - dos Ia - do noi, uI- za - mer Ie - shi - me-chaw el - money. The Seitenstettengasse Temple was gaining recognition as a place for = Tutti -=== ::::=- ====- musical excellence, and Schubert could be reasonably confident that the choir _yon. Tov Ie-ho _ dos Ia - do - noi, uI- za _ mer Ie-shi-me-chaw el - yon. __ lT ------..wt'.<'I'7Yoadmireduld-derjustice-to-his-musi&.-l=Ie-also- the young cantor and his musical taste. -yon. __ Schubert knew no Hebrew, so he must -- Tov Ie-ho - dos Ia - do - noi, ul- za - mer Ie-shi-me-chaw el - yon.-- __ have spent some time reviewing the pro- Tutti -=== ::::=- ;:: nunciation and the translation with the cantor. He did not employ any of the -yon. __ Tov Ie-ho - dos Ia - do - noi, uI- za - mer le-shi-me-chaw el - yon. modal or rhythmic characteristics of tra- = Tutti -=== ::::=- ====- ditional Jewish music. Rather, the writing is typical of Schubert's part-songs-ho- - yon. Tov Ie-ho - dos Ia - do - noi, uI- za - mer Ie-shi-me-chaw el - yon. mophonic texture, simple harmonies, and Figure 5. Schubert, Tov LeHodos balanced phrases. Copyright 1986 by Broude Brothers Ltd. Reproduced by arrangement with the publisher.

AUGUST 1997 PAGE 13 u-ch- sf! 10 yaw-Yin es zos. Thy med- i nor does the fool lIIl-der - stand. I" __ "''' S I - i, I I YO se Ish ba - ar 10 yey - daw, u-c 1- SI 0 yaw- Yin es zos. med-i ta tions. The wick - ed know it not, nor does the foolllll-der - stand. I" A " "'--' YO se chaw. Ish ba - ar 10 yey - daw, u-chi- sf! 10 yaw- Yin es zos. i la fionsL ---nor-doecrthe-jovhIllCder-::-ffClIlzi.------." T " - ""'" ,; YO -se chaw. Ish ba - ar 10 yey - daw, u-chi- sil 10 yaw-Yin es zos. med-i fa tions. The wick - ed know it not, nor does the fool lIll- der - stand. ".,... -- .. ---,.--. -.. --,.- -. B I 0..../ 0..../ i '"' YO se chaw. Ish ba - ar 10 yey - daw, u-chi- sf! 10 yaw - Yin es zos. med-i fa tions. The wick - ed know it not, nor does the fool lIn- der - stand. Figure 6. Schubert, Tov LeHodos Copyright 1986 by Braude Brothers Ltd. Reproduced by arrangement with the publisher.

In the opening and closing sections of middle section of the work, Schubert the work, Schubert creates an antiphonal writes his most daring modulations and NOTES texture, alternating between the solo quar- indulges in tone-painting. For example, 1 A few lesser masters contributed to the music of tet and the choir in the manner of when the text speaks of the fool, the the synagogue. Among them are the Christiarl psalmody (Figure 5). In the music shifts suddenly and dramatically composers Carlo Grossi, Louis Saladin, arid from major to major to minor Joseph Drechsler, arid the Jewish composers (Figure 6). Salamone Rossi arid Jacques Halery-. Several Schubert repeats words in only two Christiarl composers, including Max Bruch, places for rhetorical emphasis. The first is Maurice Ravel, arid Modest Moussorgsky, for the text "to destroy them [the evildo- made use of traditional Hebrew material in ers] forever," which is repeated four times their secular compositions. A number of over ten measures. The other is the final nineteenth-century Jewish =tors composed word of the composition, le'olawm (for choral music for the synagogue, most notably eternity), which is stretched out to sug- Salomon Sulzer in Vienna, Louis gest its meaning (Figure 7). Lewandowski in Berlin, Samuel Naumbourg Schubert set only the second through in Paris, arid David Nowakowski in Odessa. ninth verses of the psalm. Yet the liturgy 2 J. F. Reichardt, Briefe geschrieben auf einer demanded that the entire psalm be per- Reise nach Wien (Amsterdam, 1810); Jlfll formed at the Friday evening Sabbath translated in Oliver Strunk, Source tJ1ilnas !Musieal service. Sulzer must have chanted verse Readings in Music History-The Classic Era The Music Education Resource one and verses ten through sixteen in the (New York: W. W. Norton, 1965), 154. Guide That Puts Every Choral Service at your finger tips! more traditional manner.!5 3 H. H. Ben-Sasson, A History of the Jewish Schubert composed this work in July People (Cambridge: Harvard Universiry Request Your FREE COpy Today! 1828, and it was performed shortly there- Press, 1976),756. MUSIC WORKSHOPS INTERNATIONAL after in Sulzer's synagogue.!6 Though we 4 Ibid., 762. POBox 3309 Terre Haute IN 47803 Office 812-234-2124 • Fax 812-234-1496 have no written account of that perfor- 5 One can point to only a few examples of E-mail: [email protected] mance, the juxtaposition of Sulzer's re- Jewish participation in the general culture nowned singing, which music critic prior to the nineteenth century, the most · M' CJ597 D Send me A II r:h mgs us/cal Eduard Hanslick described as combining brilliant of which was in sixteenth- ($3 enclosed for shipping/handling.) "the charm of the exotic with the persua- century Italy, the era that produced the DAlso send a FREE COPY of IN CONCERT siveness of a glowing faith,"!7 against Jewish composer Salamone Rossi. The The National Choral Newsletter. nineteenth century, however, witnessed Name ______Schubert's elegant choral setting must have been memorable. In this bicentennial year the first ongoing arid widespread exodus Organization ______ofSchubert's birth, conductors might con- of Jews from the ghettos ofWestetn arid Address ______sider reviving this one-of-a-kind work in Central Europe.

______ the Viennese master's choral output. 6 Schubal't's Ideen zu einel' Asthetik del'

PAGE 14 CHORAL JOURNAL Tonkunst; quoted in Alexander Ringer, "Salomon Sulzer, Joseph Mainzer and the Romantic a cappella Movement," Studia ve-a taw maw- rom le- 0 - lliwm A- do noi, Ie - Musicologica 11 (1969): 362. f.f for the Lord on high is for ev - er last - ing, for- 7 Eduard Hanslik, Geschichte des Concertwesens in Wien (Vienna, 1869); 364, quoted in A

Ringer, 355. ve-a taw maw- rom Ie - 0 - lawm A - do noi, Ie - for the Lord on high is for ev - er last------ing, for- 8 Joseph Mainzer, "Vienna et la Synagogue f.f p Juive pendant les annees 1826, 1827 et T 1828," Gazette Musicale de Pa/'is 1 ve-a - taw maw- rom le- 0 - hiwm A- do nai, Ie - (1834): 126; quoted in Ringer, 361-62. for the Lord on high is for ev - er last - ing, for- 9 Ibid., 359-60. ------p 10 Frances Trollope, Vienna and the Austrians B (London 1838),373; quoted in Ringer, 356. ve-a - taw maw- rom le- 0 - hiwm A - do noi, Ie - 11 Elaine Brody, "Schubert and Sulzer for the Lord on high is for ever-last - ing, for - Revisited," in Eva Badura-Skoda and Peter Branscombe, eds., Schubert Studies ..,,, pp (Cambridge: Cambridge University Press, fI} r 1982), 53. 0 hiwm, Ie - 0 hiwm. 12 Salomon Sulzer, Denkschrift an die Wiener ev er, for - ev er. pp rail. israelitische Kultusgemeinde (Vienna 1886), " t:I 9; quoted in Eric Werner, A Voice Still fI} Heard: The Sacred Songs ofthe Ashkenazic 0 lawm, Ie - 0 lliwm. Jews (University Park, PA: Pennsylvania ev er, for - ev - er. pp 10. ra!!;-._-__ State University Press, 1976), 21l. " 13 Ibid. ,; 14 Salomon Sulzer, Schir Zion (Vienna 1845), 0 hiwm, Ie - 0 hiwm. preface; quoted in Abraham Z. Idelsohn, ev er, for - ev er. pp rall. t:I Jewish Music in Its Historical Development

(New York: Holt, Rinehart, and Wmston, . . 1929; reprint ed. Englewood Cliffs, NJ: "" 0 lawm, Ie - 0 hiwm. ev er, for - ev er. Dover, 1992),249-50. Figure 7. Schubert, Tov LeHodos 15 Sulzer's setting of the missing verses is available Copyright 1986 by Broude Brothers Ltd. Reproduced by arrangement with the publisher. in an edition by the author: Salomon Sulzer, Mizmor Shir LeYom HaShabbos (Newton, MA: HaZamir Publications, 1997 [distributed by Transcontinental Music Publications, New York, NY]). The score of Call Schubert's Tov LeHodos, with both the original Hebrew and an alternative English 1-800-797 -KJOS text, is available from Broude Brothers for your free CD Publications. A recording of the work is available from the Zamir Chorale of Boston, We regret that the P.O. Box 126, Newton, Massachusetts previous phone number 02159; website: www.zarnir.org. was incorrect.

17 Eduard Hanslick, "Salomon Sulzer," Die neue freie Presse, No. 551 (Vienna 1866); quoted in Werner, 216. -C]- VvS 60 'tfealU oJ h!uJ,k Neil A. Kjos Music Company 4380 Jutland Drive, San Diego, CA 92117

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