DOCSLIB.ORG

The Song That Won the War N the Eve of Yom Please Keep in Mind That This and Threatened to Wipe out Israel‪

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Song That Won the War N the Eve of Yom Please Keep in Mind That This and Threatened to Wipe out Israel‪ Elie Lederman The Song that Won the War n the eve of Yom Please keep in mind that this and threatened to wipe out Israel . Yerushalayim, come take song was first released at the Yom With that, when you closely examine a fascinating journey with HaAtzmaut celebrations that year, Shemer ’ s lyrics, one cannot but feel me of the poet Naomi Shemer’s some three weeks before the Six-Day that this song was prophetically O 1 celebrated song, “Jerusalem of Gold,” War , a time of great anxiety for the inspired , drawing from Biblical and let’s explore the wealth of Jewish people living in Israel. Am Yisrael sources and envisioning Jerusalem ’s sources from which Shemer drew her was genuinely fearful of Abdul Nasser reunification as promised by our inspiration. who had closed the Straits of Tiran prophets . ְי ּרושׁ ָ ַל ִים שׁ ֶ ל ָז ָהב Jerusalem of Goldnaomi shemer אֲוִיר הָרִים צָלוּל ּכַיַּיִן אַך ְ ּבְבוֹאִי הַיּוֹם לָשִׁיר לָך ְ The mountain air is clear as wine But as I come to sing to you today וְרֵיחַ אֳרָנִים וְלָך ְ לִקְשֹׁר ּכְתָרִיםAnd the scent of pines And to adorn crowns to you 13 12 ּנִשָׂא ּבְרוּחַ ּהָעַרְבַיִם קָ ט ֹנ ּ ִ ְתי14 ּמִצְעִיר ּבָנַיִך Is carried on the breeze of twilight I am the smallest of the 15ְ עִם קוֹל ּפַעֲמוֹנִים וּמֵאַחֲרוֹן ּהַמְשׁוֹרְרִיםWith the sound of bells youngest of your children 16 And of the last poet וּ ּבְתַרְדֵמַת אִילָן וָאֶבֶן ּכִי שְׁמֵך ְ צוֹרֵב אֶת ּהַשְׂפָתַיִם And in the slumber of tree and stone שְׁבוּיָה ּב ַּחֲלוֹמָה2 ּכִנְשִׁיקַת שָׂרַףCaptured in her dream For your name scorches the lips 17 הָעִיר אֲשֶׁר ּבָדָד יוֹשֶׁבֶת3 אִם ּאֶשְׁכָחֵך ְ יְרוּשָׁלַיִםThe city that sits solitary Like the kiss of a seraph 18 ו ּ ּבְלִב ָּה חוֹמָה אֲשֶׁר ּכֻלּ ָּה זָהָב And in its midst is a wall If I forget thee, Jerusalem Which is all gold יְרו ּשָׁלַיִם שֶׁל זָהָב4 יְרו ּשָׁלַיִם שֶׁל זָהָב... Jerusalem of gold ו ְשֶׁ ל נ ְח ֹשֶׁ ת5 וְשֶׁל אוֹרAnd of copper, and of light Jerusalem of gold... 6 הֲל ֹא לְכָל שִׁירַיִך 7ְ חָזַרְנוּ אֶל ּבוֹרוֹת ּהַמַיִם Behold I am a violin אֲנִי ּכִנּוֹר8 ל ַּשׁו ּק ו ְל ַּכ ִּכָר for all your songs We have returned to the cisterns שׁוֹפָר קוֹרֵא ּבְהַר ּהַבַיִתTo the market and to 19 אֵיכָה9 יָבְשׁוּ ּבוֹרוֹת ּהַמַיִם ּבָעִיר ּהָעַתִיקָה How the cisterns have dried the market-place ּכ ִּכַר ּהַשׁוּק רֵיקָה The market-place is empty A ram’s horn calls out on And no one frequents the Temple Mount וְאֵין ּפוֹקֵד אֶת הַר ּהַבַיִת10 וּ ּבַמְעָרוֹת אֲשֶׁר ּב ַּסֶלַע the Temple Mount In the Old City ּבָעִיר ּהָעַתִיקָה אַלְפֵי שְׁמָשׁוֹת זוֹרְחוֹת20 נָשׁוּב נֵרֵד אֶל יָם ּהַמֶלַח In the Old City And in the caves in the mountain וּ ּבַמְעָרוֹת אֲשֶׁר ּב ַּסֶלַע11 ּבְדֶרֶך ְ יְרִיחוֹ מְיַלְּלוֹת רוּחוֹת And in the caves in the mountain Thousands of suns shine וְאֵין יוֹרֵד אֶל יַם ּהַמֶלַח יְרו ּשָׁלַיִם שֶׁל זָהָב... Winds are howling We will once again descend ּבְדֶרֶך ְ יְרִיחוֹ And no one descends to the Dead Sea to the Dead Sea By way of Jericho By way of Jericho. יְרו ּשָׁלַיִם שֶׁל זָהָב... Jerusalem of gold... Jerusalem of gold... 12 | Elie Lederman I was first exposed to this educational before they even stepped onto the exercise when I participated in a battlefield. The war was won in the father - son learning session at my hearts of the Jewish people, and the youngest son ’ s school . We were soldiers just sealed the deal. instructed to look up these sources, By studying the song, the timing and identify these hints within of its launch and its aftermath, we the song. It was a very exciting can really see how Yerushalayim’s educational experience. I invite you to unification was a result of this engage in the same exercise – you’ll reciprocal relationship of love. find it exhilarating and renew your own connection with Jerusalem. To add depth to your educational experience, I suggest that you and your child/children look up the 1 https://www.youtube.com/ watch?v=iJws5yNc1-U actual sources as they appear in the 2 Tehillim 126:1. footnotes. Naomi Shemer 3 Eicha 1:1. The song contains an endearing 4 Nedarim 50a. expression of love for Israel and for found its mark, and the chassid 5 Yeshayahu 60:17. 6 Yeshayahu 60:1. Jerusalem, with a burning desire to changed his mind and remained in 7 Yechezkel 26:13. renew the connection of the nation Yerushalayim. 8. A verse from Rabbi Yehuda ”ציון הלא תשאלי“ and its history, to Jerusalem, its Similarly, Rav Yehuda Halevi writes at HaLevi’s piyut capital city. the end of his epic work, HaKuzari: 9 Eicha 1:1. 10 Yirmiyahu 26:18. The same message is brought home The redemption for the city will 11 Shir HaShirim 2:14. in a wonderful Chassidic tale, .דרש רבי סימאי come when they desire it with a full 12. Shabbat 88a, from which tells of a chassid who made .בשעה שעלה משה heart and yearn for it. When that 13. Menachot 29b, from aliyah to Eretz Yisrael and made his complete yearning finally comes, the 14 Bereishit 32:11. home in Jerusalem. Unfortunately, Land will want the people and the 15 Bereishit 25:23. he was unable to acclimatize to stones will ask for the people to settle 16 Divrei HaYamim 1, 15:19-25. the difficult living conditions and within them, as it is written “You will 17 Yeshayahu 6:6-7. decided to return to Poland. Before arise and have compassion on Zion 18 Tehillim 137:6. returning though, he went to seek (Jerusalem), for it is time to show favor 19 Nechemia 4:14. a blessing from the tzaddik, Rabbi to her; the appointed time has come. 20 Yeshayahu 54:12. Simcha Bunim of Vorka, who lived in For your people love every stone in her Jerusalem. walls and cherish even the dust in her streets” (Psalms 102:13-14). Adapted from the original Hebrew article, The chassid explained to Rabbi published by Arutz-7 in celebration of the Simcha Bunim his reasons for When speaking of those amazing six 50th celebration of Yom Yerushalayim. leaving the Land. The tzaddik sighed days 53 years ago, we sometimes get deeply and said, “I pity you. It seems caught up in the stories of the brave Elie Lederman is co-founder of Haboydem you did not find favor in the eyes of soldiers. But if we ask those soldiers, social clothing shops in Jerusalem and Yerushalayim, for if you had found they would tell us they cannot explain chairman of Habayit Shel Benji, home and favor in her eyes, she would have the military success and in retrospect, guidance center for lone combat soldiers, found favor in yours.” The message they see the war was already won located in Ra’anana | 13.
Load more

Recommended publications
  • Lyre of the Levites: Klezmer Music for Biblical Lyre
    LYRE OF THE LEVITES: KLEZMER MUSIC FOR BIBLICAL LYRE "Lyre of the Levites: Klezmer Music for Biblical Lyre" is the sequel album to "King David's Lyre; Echoes of Ancient Israel". Both of these albums are dedicated to recreating again, for the first time in almost 2000 years, the mystical, ancient sounds of the "Kinnor"; the Hebrew Temple Lyre, once played by my very own, very ancient Levite ancestors in the Courtyard of the Temple of Jerusalem, to accompany the singing of the Levitical Choir (II Chronicles 5:12)... THE CHOICE OF REPERTOIRE FOR THE ALBUM "Lyre of the Levites" uniquely features arrangements of primarily traditional melodies from the Jewish Klezmer repertoire arranged for solo Levitical Lyre - the concept of the musical performances on this album, are meant to be evocations, not reconstructions, of the sounds & playing techniques that were possible on the ten-stringed Kinnor of the Bible; there are sadly too few unambiguously notated melodies from antiquity to make an album of "note for note" reconstructions of ancient instrumental solo lyre music a feasible reality. However, the traditional Jewish scales/modes in which these pieces are actually written may well have roots which stretch deeply back to these distant, mystically remote Biblical times, according to the fascinating research of the late Suzanne Haik Vantoura, in attempting to reconstruct the original 3000 year old music of the Hebrew Bible. THE TWELVE TRACKS There are 12 tracks to the album - corresponding to the 12 Gems which once adorned the Breastplate of the Levitical Priests of the Temple of Jerusalem. These 12 Gems represented the 12 Tribes of Israel.
    [Show full text]
  • “A Person Cannot Walk Away from Jerusalem Unchanged….”
    “A person cannot walk away from Jerusalem unchanged….” 2000 years ago there was a Jewish Kingdom whose capital Destroyed and .ירושלים ,was Jerusalem, Yerushalayim desecrated for centuries, the Jewish People were finally reunited with the holiest of cities central to our faith, our history and our identity. Join us as we celebrate our origin, our return and our connection to Zion, the City of Gold! Yom Yerushalayim: The Reunification of A People And A Past By Elana Yael Heideman There has been a continuous Jewish presence in Jerusalem, and our connection to and passion for the city has been preserved as a memory by Jewish people around the world. Though the modern state of Israel was born in 1948, for years Jews were cut off from the Old City of Jerusalem and the Kotel, the Western Wall - the heart of the Jewish people, the axis of our collective national and historical identity, the center of our faith, and the focus of the history of the Jewish people for generations. Throughout Israel and around the world, on the 28th of the Hebrew month of Iyar, we celebrate being reunited with the city of Zion, Yerushalayim Shel Zahav, our only Jerusalem. History shows that it was the Jews who have made Jerusalem important to the world. In 1004 BCE, King David established Jerusalem as the capital of the Kingdom of Israel (2 Samuel 5:6). Following the first exile, he proclaimed: "If I forget you Jerusalem, let my right hand lose its strength. Let my tongue cling to my palate if I fail to recall you, if I fail to elevate Jerusalem above my highest joy." Three times a day, or even just twice a year, for thousands of years, Jews turn their faces towards Jerusalem and the Temple Mount and pray for a return to Jerusalem and to Tzion.
    [Show full text]
  • Jewish-Israeli Identity in Naomi Shemer's Songs: Central
    JEWISH-ISRAELI IDENTITY IN NAOMI SHEMER’S SONGS: CENTRAL VALUES OF THE JEWISH-ISRAELI IMAGINED COMMUNITY La identidad judía israelí en las canciones de Naomi Shemer: principales valores de la «comunidad imaginada» judía israelí MICHAEL GADISH Universidad de Barcelona BIBLID [1696-585X (2009) 58; 41-85] Resumen: El presente artículo analiza una selección de las canciones más populares de la prolífica cantautora israelí Naomi Shemer, con el objetivo de reconocer y señalar las pautas de pensamiento más repetidas en sus canciones. La primera parte del artículo expone brevemente la importancia de las canciones de Naomi Shemer para la identidad Judeo-Israelí y argumenta por qué las pautas de pensamiento que encontramos en ellas se pueden considerar relevantes para la comprensión de la identidad Judeo-Israelí en general. El análisis de las letras seleccionadas expone algunos elementos contradictorios en el núcleo de la identidad Judeo-Israelí que las canciones de Naomi Shemer representan. Abstract: The following article analyzes the lyrics of a selection of the most popular songs by the prolific Jewish-Israeli songwriter Naomi Shemer, in order to recognize and highlight the most repeated patterns of thought in them. The first part of the article briefly explains the importance of Naomi Shemer’s songs for Jewish-Israeli identity and why the patterns of thought found in them can be considered relevant for understanding Jewish- Israeli identity in general. The analysis of the selected lyrics reveals some contradictory elements at the core of the Jewish-Israeli identity as represented by Naomi Shemer’s songs. Palabras clave: Naomi Shemer, canciones, folclore, ritual, cantautor hebreo, Judío-Israelí, sionismo, comunidad imaginada, identidad, nacionalismo.
    [Show full text]
  • SISTERHOOD CORNER—-November, 2016 Judy Frank, President ([email protected]) Diane Rosenfeld, Editor ([email protected])
    The Ezra-Habonim, Niles Township Jewish Congregation SISTERHOOD CORNER—-November, 2016 Judy Frank, President ([email protected]) Diane Rosenfeld, Editor ([email protected]) From the President’s Desk… The Tishrei cycle of 5777 is coming to an end as I write this article. We have enjoyed the unseasonably warm weather and leaves starting to change colors. We hope you will join us at our Rosh Chodesh program on Wednesday, November 2 nd as we usher in the month of Cheshvan. We are excited to have Lori Lippitz of the Maxwell Street Klezmer Band lead us in song. Also in November, our Book Club will meet on the 9 th to discuss “The Jazz Palace” (see below)—and our annual Holiday Boutique will be on Sunday, November 20 th . Please plan on doing your holiday shopping with us! Along with our own gift shop filled with wonderful gift items and lots of Chanukah merchandise, we will have great items from many other vendors. And of course, we look forward to seeing you at our Chanukah Party and Latke Luncheon on Wednesday, December 7 th with musical entertainment by Jeff and Janis. Watch your mail for more details on our upcoming programs and events! B’ShalomB’Shalom!!!! Judy Frank _______________________________________________________________________________________________________________________________________________________________________________________________________________________________ News and Notes… BOOK CLUB TO DISCUSS “The Jazz Palace” Be a media mogul! A $5 contribution makes you a sponsor of our Sisterhood bulletin. by Mary Morris Please mail your contributions to: The next meeting of the Sisterhood Book Club will be Diane Rosenfeld c/o EHNTJC Sisterhood on Wednesday, November 9th at 4500 Dempster Street 10:30 a.m .
    [Show full text]
  • Klezmer Music, History, and Memory 1St Edition Ebook Free Download
    KLEZMER MUSIC, HISTORY, AND MEMORY 1ST EDITION PDF, EPUB, EBOOK Zev Feldman | 9780190244514 | | | | | Klezmer Music, History, and Memory 1st edition PDF Book Its primary venue was the multi-day Jewish wedding, with its many ritual and processional melodies, its table music for listening, and its varied forms of Jewish dance. The second part of the collection examines the klezmer "revival" that began in the s. Krakow is not far from Auschwitz and each year, a March of the Living, which takes visitors on a walk from Auschwitz to the nearby Birkenau death camp, draws tens of thousands of participants. Its organizers did not shy from the topic. But, I continued, we don't celebrate the military victory. Some aspects of these Klezmer- feeling Cohen compositions, as rendered, were surely modern in some of the instruments used, but the distinctive Jewish Klezmer feel shines through, and arguably, these numbers by Cohen are the most widely-heard examples of Klezmer music in the modern era due to Cohen's prolific multi-generational appeal and status as a popular poet-songwriter-singer who was very popular on several continents in the Western World from the s until his death in Ornstein, the director of the Jewish Community Center, said that while the festival celebrates the past, he wants to help restore Jewish life to the city today. All About Jazz needs your support Donate. Until this can be accessed, Feldman's detailed study will remain the go-to work for anyone wishing to understand or explore this endlessly suggestive subject. With Chanukah now past, and the solstice just slipped, I am running out of time to post some thoughts about the holiday.
    [Show full text]
  • Israeli Music and Its Study
    Music in Israel at Sixty: Processes and Experiences1 Edwin Seroussi (Hebrew University of Jerusalem) Drawing a panoramic assessment of a field of culture that resists clear categorizations and whose readings offer multiple and utterly contrasting options such as Israeli music is a challenge entailing high intellectual risks. For no matter which way your interpretations lean you will always be suspected of aligning with one ideological agenda or another. Untangling the music, and for that matter any field of modern Israeli culture, is a task bound to oversimplification unless one abandons all aspirations to interpret the whole and just focuses on the more humble mission of selecting a few decisive moments which illuminate trends and processes within that whole. Modest perhaps as an interpretative strategy, by concentrating on discrete time, spatial and discursive units (a concert, a band, an album, an obituary, a music store, an academic conference, etc) this paper attempts to draw some meaningful insights as sixty years of music-making in Israel are marked. The periodic marking of the completion of time cycles, such as decades or centuries, is a way for human beings to domesticate and structure the unstoppable stream of consciousness that we call time.2 If one accepts the premise that the specific timing of any given time cycle is pure convention, one may cynically interpret the unusually lavish celebrations of “Israel at Sixty” as a design of Israeli politicians to focus the public attention both within and outside the country on a positive image of the state 1 This paper was read as the keynote address for the conference Hearing Israel: Music, Culture and History at 60, held at the University of Virginia, April 13-14, 2008.
    [Show full text]
  • Notes from the Artistic Director
    Notes from the Artistic Director Yehezkel Braun was born in Breslau, Germany in 1922, and was brought to the land of Israel with his parents when he was two years old. Braun recalled that his earliest musical memories were on the one hand the recordings of Italian opera that his father would often play, notably Madame Butterfly and La Bohème, and on the other hand the indigenous singing of Yemenite women who would pass by his home on their way to work. Braun studied composition with Alexander Boscovic, who believed that composers should strive to cultivate an “Israeli” style by consciously incorporating rhythms and melodic motifs borrowed from traditional Jewish chant. Braun was certainly attracted to traditional Jewish melodies; he collected them and used many of them in his compositions. But he also was attracted to Gregorian Chant, in which he immersed himself with several sojourns to the Solemnes Monastery. He studied music at the Tel Aviv Academy, from which he graduated in 1953, and then returned to academia two decades later to study for a bachelor’s degree in Classics at Tel Aviv University. One can hear all these influences in Braun’s music. Braun’s love of vocal melodies is certainly appreciated by anyone who sings his music. Many years ago Braun told me that he doesn’t compose harmonically, rather he composes “horizontally,” conceiving of each voice part as its own melody. And as Jehoash Hirshberg pointed out in a recent article, Braun never thought about composing while he was composing. Braun wrote, “I gave up on two things: on thinking about music and on thinking what to think and how to think, to compose while thinking.
    [Show full text]
  • Professional Artistic Education and Culture Within Modern Global Transformations
    Professional Artistic Education and Culture within Modern Global Transformations Professional Artistic Education and Culture within Modern Global Transformations Edited by Olga Oleksiuk Professional Artistic Education and Culture within Modern Global Transformations Edited by Olga Oleksiuk This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Olga Oleksiuk and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0663-0 ISBN (13): 978-1-5275-0663-3 TABLE OF CONTENTS Chapter I .................................................................................................... 1 The Philosophical Foundations and Historical Experience of Professional Artistic Education and Culture Jerusalem—The Heart of the Jewish People in Poetry and Song ................ 3 N. Davidovitch The Oleksandr Koshytsia Choral Conducting School as a Social Phenomenon ............................................................................ 15 H. Karas Arts Education: A Functional-Personal Model in the Dimension of Modernity.................................................................. 27 G. Padalka Typology of Early Jazz:
    [Show full text]
  • 27FKZ Program EN.Pdf
    Rynek Głowny a k s r a l o t S 11 Dominikańska Grzegórzecka Festival Office, ul. Józefa 36 S t r 2 Cheder – Festival Official Club, ul. Józefa 36 a s z 14 e w 3 Ticket Office, Information Centre, ul. Jakuba (next to Cheder) s k i e y g Mi st d o 4 Spółdzielnia Ogniwo, ul. Paulińska 28, 1 floor u r c t r h a ł Ge a 5 Tempel Synagogue, ul. Miodowa 24 . S w i ś e d l 6 High Synagogue, ul. Józefa 38 e la t c e k i i e D 7 Popper Synagogue, ul. Szeroka 16 g o św. Seb 8 Alchemia Club, ul. Estery 5 astiana 9 Secondary School no. 6, ul. Wąska 7 ś w . S e b 10 CKŻ (Centre for Jewish Culture), ul. Meiselsa 17 a s t ia n 11 Dominican Monastery, ul Stolarska 12 Wawel a S t a r o w B i 12 Teatr Nowy, ul. Krakowska 41 rz ś oz ln o a w a l a a w t o d e io i 13 Galeria BB, ul. Skałeczna 5 M D H a li ck la 14 Market Square near the Market Hall, ul. Grzegórzecka 3 S t 24 a t e r i ad D o 15 a m ow 15 Jewish Community Centre (JCC), ul. Miodowa 24 5 d o s Mi k a 28 a r e 16 Galicia Jewish Museum, ul. Dajwór 18 E J 27 u a a s h k t c e s u L S r ar ba e z y a W w e 17 Jerusalem Boulevard / BARKA, vis-à-vis ul.
    [Show full text]
  • Yerushalayim Shel Zahav
    SPECIAL NOTICE: The song lyrics on this web page are here for the personal enjoyment of our visitors and are provided through the courtesy of the Copyright owners and Warner Bros. Publications. Please know that any duplication, adaptation, and/or transmission of this copyrighted musical content requires the prior written consent of the Copyright owners and Warner Bros. Publications U.S. Inc. Unauthorized uses are an infringement of the Copyright Laws of the United States and other countries and are punishable thereunder. The following is a literal translation from the Hebrew by Yael Levine. JERUSALEM, THE GOLDEN CITY By Naomi Shemer The mountain is clear as wine And the scent of pines But as I come to sing to you today, Is carried on the breeze of twilight And to adorn you with crowns With the sound of bells. I am the smallest of the youngest of your children And in the slumber of tree and stone And of the last poet. Captured in her dream The city that sits solitary For your name scorches the lips And in its midst is a wall. Like the kiss of an angel If I forget thee, Jerusalem, Jerusalem of gold, and of bronze, and of light Which is all gold… Behold I am a violin for all your songs. Jerusalem of gold, and of bronze, and of light How the cisterns have dried Behold I am a violin for all your songs. The market-place is empty And no one frequents the Temple Mount We have returned to the cisterns In the Old City.
    [Show full text]
  • Jewish Music Scene, This Dynamic Collection Yisraél • Nigun • S’Vivon • Hatikvah
    Hal Leonard has Special Offer! The Best in Stock up now and save! Contact your Hal Leonard sales rep for more details on our limited-time special offer. Jewish Call toll-free 1-800-554-0626 Email [email protected] Music Internet www.halleonard.com/dealers Hal Leonard is your source for top-notch songbooks from the Jewish tradition, featuring quality publications from Tara Publications, Transcontinental Music and other respected publishers. RECENT RELEASES Jewish Klezmer Chanukah Favorites Fiddle Today arr. Eric LEARN THE MELODIES, THE NEW HOLIDAY Baumgartner TECHNIQUES AND STYLES SONGBOOK Mid-Elementary OF A GREAT TRADITION Transcontinental Music Level Taught by Lisa Gutkin Publications Willis Music with Pete Rushefsky – Tsimbl Ready for a new Homespun generation of cool and This collection contains nine Klezmer, Israeli, Klezmer, the celebra- contemporary tunes to and holiday favorites arranged for the young tory dance music of light the menorah by? beginner. Each piece includes an optional Eastern European Jews, Chanukah Today is the teacher duet part as well as lyrics and historical has gained popularity in recent years, partly remedy for the perennial “I Have A Little notes. Selections include: Heyveynu Shalom through the work of the musical super-group, Dreidel” overdose. Featuring songs from world- Aleichem • Oh Hanukkah • Tumbalalaika • the Klezmatics. Lisa Gutkin, their virtuosic fid- renowned artists from inside and outside the Dayénu • I Have a Little Dreydl • David Melech dler, has made a DVD that’s perfect for anyone, Jewish music scene, this dynamic collection Yisraél • Nigun • S’vivon • Hatikvah. including bluegrass, Celtic and classical players, is a breath of fresh air that will infuse some 00416532 Book ......................................$5.99 who wants to delve into this still-living tradition.
    [Show full text]
  • “Yerushalayim Shel Zahav” the Sources That Influenced the Famous Song Source Sheet by Rachel Buckman
    “Yerushalayim shel Zahav” The Sources that Influenced the Famous Song Source Sheet by Rachel Buckman This analysis of the song is based on Ofir Ben Yair’s article that appears on the NLI and Snunit website focusing on piyutim and prayers, The Secret of Many Voices: A Journey to the Heart of Piyut and Prayer. Recording from National Library of Israel archives Background: Naomi Shemer on the Writing of “Yerushalayim Shel Zahav” “In the winter of ‘67 I was approached by Gil Aldema from Voice of Israel [the former Israeli Broadcast Authority]. Teddy Kollek [the then mayor of Jerusalem] had asked him to commission a song about Jerusalem. For many years, Voice of Israel held a song competition on Independence Day, until then broadcast only on the radio only [because we only got television in 1968]. That same year, 1967, they decided, on a one-time basis, to also commission songs from five professional composers; I was among them. I found it very difficult to write the song, until I recalled the legend about Rabbi Akiva promising his wife Rachel a ‘city of gold,’ that is, a piece of gold jewellery depicting Jerusalem. I chose Shuli Nathan to perform the song. She was a 20-year old soldier-teacher, with a guitar and a beautiful voice. The song was a hit from the very first performance and, at midnight, when Shuli was asked to return to the stage, the audience was already joining her in the chorus...” What Sources Inspired Naomi Shemer’s Song? Understanding the First Verse אֲוִירהָרִ ים צָלּול כַּיַּיִן וְרֵ יחַּ אֳרָ נִים The mountain air is clear as wine and the נִשָאבְ רּוחַּ הָעַּרְ בַּיִםעִ ם קֹול פַּעֲמֹונִים scent of pines ּובְתַּרְ דֵמַּת אִ ילָן וַּאֶבֶןשְ בּויָה בַּחֲלֹומָ ּה Is carried on the breeze of twilight with the sound of bells.
    [Show full text]