Kol Nidrei, Choirs, and Beethoven: the Eternity of the Jewish Musical Tradition
Kol Nidrei, Choirs, and Beethoven: The Eternity of the Jewish Musical Tradition Kol Nidrei, Choirs, and Beethoven: The Eternity of the Jewish Musical Tradition On April 23, 1902, the cornerstone to the Taharat Ha- Kodesh synagogue was laid, and on Rosh Ha-Shana the next year, September 7, 1903, the synagogue was officially opened. The synagogue building was on one of Vilna’s largest boulevards and constructed in a neo-Moorish architectural style, capped with a blue cupola that was visible for blocks. There was a recessed entry with three large arches and two columns. The interior housed an impressive ark, located in a semi-circular apse and covered in a domed canopy. But what really set the synagogue apart from the other 120 or so places to pray in Vilna was that above the ark, on the first floor, were arched openings that served the choir. In fact, it was generally referred to by that feature and was known as the Choral Synagogue. The congregants were orthodox, most could be transported to any modern Orthodox synagogue and they would indistinguishable, in look – dressing in contemporary styles, many were of the professional class, middle to upper middle class, and they considered themselves maskilim, or what we might call Modern Orthodox.[1] The incorporation of the choir should be without controversy. Indeed, the Chief Rabbi of Vilna, Yitzhak Rubenstein would alternate giving his sermon between the Great Synagogue, or the Stut Shul [City Synagogue], and the Choral Synagogue.[2] Judaism can trace a long relationship to music and specifically the appreciation, and recognition of the unique contribution it brings to worship.
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