Simchas Torah & a Lost Minhag of the Gra,Kol Nidrei, Choirs, And

Simchas Torah & a Lost Minhag of the Gra Simchas Torah & a Lost Minhag of the Gra By Eliezer Brodt Chol HaMoed Succos is the Yarzheit of the Vilna Gaon (for an earlier post on the Gra see here and here). In this post I hope to show a source for a “forgotten” Minhag of the Gra. In 1921 the great bibliographer (and much more) Yitzchak Rivkind described a strange custom he saw during the time he learned in Volozhin (after it was reopened and headed by R’ Rephael Shapiro), in an article about Minhag HaGra. On Simchas Torah they would open the Aron Kodesh when saying Aleinu, both at night and during the day, and while singing the Niggun of Mussaf of Yom Kippur would bow on the floor exactly like we do on Rosh Hashonah and Yom Kippur. When he asked for the source of this Minhag he was told it comes from the Gra. When he visited Vilna sometime later he found the only place that they observed this unique Minhag was in the Kloiz of the Gra, but nowhere else in Vilna.[1] In 1933 R’ Meir Bar Ilan printed his memoirs in Yiddish for the first time (in book form); in it he describes the great Simcha in Volozhin on Simchas Torah, that of his father the Netziv and of the Talmidim. He then writes that when they got to Aleinu they would open the Aron and with Niggun of Mussaf of Yom Kippur would sing and bow on the floor exactly like we do on Rosh Hashonah and Yom Kippur.[2] However, this custom is not mentioned in the Maaseh Rav or any of the other collections of Minhagim of the Gra. Earlier this year (2018) R’ Dovid Kamenetsky published a very important manuscript related to the Maaseh Rav. This work sheds light on how this important sefer of the Gra’s Minhaghim was written. The Gra had a very close talmid named R’ Saadyah who wrote up the various things he witnessed the Gra doing. This formed the basis of the Maaseh Rav who then went and added to it from other sources. This original manuscript work was recently discovered and printed by Rabbi Kamenetsky; in it we find that R’ Saadyah writes that on Rosh Hashonah and Yom Kippur the Gra would fully bow (prostrate himself) during Aleinu, and did the same on Simchas Torah at night. Thus we now for the first time have the actual exact source of the Gra doing this.[3] בר”ה וי”כ וש”י כשאומר הש”ץ זכרנו:… כשהגיע לכורעים הי’ כורע ונופל על אפיו בפשיטת ידים ורגלים וכן בשמחת תורה בלילה היו אומרים מזמורים ותפילות …בים ואח”כ היו נופלים על אפיה’ כנ”ל באימ[ה] בעלינו… Here is a copy of the page in the manuscript (thanks to Rabbi Dovid Kamenetsky): A possible explanation for this Minhag is that when things were getting a bit too wild, i.e. too leibedek, they did this to remind the crowd it’s a Yom Tov. This is not the only minhag done like Yomim Noraim, in one account we find “The Musaf was chanted with the music of the New Year’s ritual.”[4] [1] HaIvri, 10:35, (1921), pp. 6-7. See Yaari, Toldot Chag Simchas Torah, p. 366. [2] MeiVolozhin Ad Yerushlayim, 1, p. 115. [3] See TorasS Hagra, p. 212. On this work see Toras Hagra, pp. 127-226. [4] Between Worlds, p. 93 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. Some identify biblical antecedents, such as Yuval, although he was not specifically Jewish. Of course, David and Solomon are the early Jews most associated with music. David used music for religious and secular purposes – he used to have his lyre play to wake him at midnight, the first recorded instance of an alarm clock. Singing and music was an integral part of the temple service, and the main one for the Levite class who sang collectively, in a choir. With the destruction of the temple, choirs, and music, in general, was separated from Judaism. After that cataclysmic event, we have little evidence of choirs and even music. Indeed, some argued that there was an absolute ban on music extending so far as to prohibit singing. It would not be until the early modern period in the 16th century that choirs and music began to play a central role in Jewish ritual, and even then, it was limited – and was associated with modernity or those who practiced a more modern form of the religion. Rabbi Leon (Yehudah Aryeh) Modena (1571-1648) was one of the most colorful figures in the Jewish Renaissance. Born in Venice, he traveled extensively among the various cities in the region.[3] He authored over 15 books, and made his living teaching and preaching in synagogues, schools, and private homes; composing poems on commission for various noblemen; and as an assistant printer. In 1605, he was living in Ferrara where an incident occurred in the synagogue that kickstarted the collective reengagement with music. Modena explained that “we have six or eight knowledgeable men, who know something about the science of song, i.e. “[polyphonic] music,” men of our congregation (may their Rock keep and save them), who on holidays and festivals raise their voices in the synagogue and joyfully sing songs, praises, hymns and melodies such as Ein Keloheinu, Aleinu Leshabeah, Yigdal, Adon Olam etc. to the glory of the Lord in an orderly relationship of the voices according to this science [polyphonic music]. … Now a man stood up to drive them out with the utterance of his lips, answering [those who enjoyed the music], saying that it is not proper to do this, for rejoicing is forbidden, and song is forbidden, and hymns set to artful music have been forbidden since the Temple was destroyed.[4] Modena was not cowed by this challenge and wrote a lengthy resposum to defend the practice which he sent to the Venetian rabbinate and received their approbation. But that did not put the matter to rest. In 1610, as he approached forty, Modena received his ordination from the Venetian rabbis and settled in Venice to serve not only as a rabbi but as a cantor, with his pleasant tenor voice. In around 1628 in the Venetian ghetto, an academy of music was organized with Modena serving as the Maestro di Caeppella . Both in name and motto that academy embraced its subversive nature. It was called the Academia degli Impediti, the Academy of the Hampered, named in derision of the traditional Jewish reluctance to perform music because of “the unhappy state of captivity which hampers every act of competence.” In this spirit, especially in light of Modena’s responsum on music in 1605, the Accademia took the Latin motto Cum Recordaremur Sion, and in Hebrew, Bezokhrenu et Tzion, when we remembered Zion, based paradoxically on Psalm 137, one of the texts invoked against Jewish music: “We hung up our harps…. How shall we sing the Lord’s song in a strange land?” On Shemini Atzeret and Simchat Torah in October 1628, a spectacular musical performance was held in the Spanish synagogue, which had been decorated with silver and jewels. Two choirs from the academy sang artistic Hebrew renderings of the afternoon service, the evening service, and some Psalms. Their extensive repertoire lasted a few hours. A throng of Christian noblemen and ladies attended the Simchat Torah service. The applause was great, and police had to guard the gates to ensure order Beyond his musical endeavors, Modena also served as an expert in Hebrew publishing. The two would create a confluence that enabled the first modern Jewish book of music. For Rabbi Leon Modena, his young friend, the musician Salamone Rossi, would herald the Jewish re-awakening. We know very little about Rossi’s life. He was born circa 1570 and died sometime after 1628, possibly in 1630. He is listed as a violinist and composer on the payroll of the Gonzaga dukes, rulers of Mantua, and was associated with a Jewish theater company, as composer or performer or both.

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