“So Wild and Strange a Harmony” Synagogue Choral Music of Salomon Sulzer Coreen Duffy
Anthony Antolini is senior lecturer in music at Bowdoin College, and Artistic Director of Down East Singers and Lincoln Festival Chorus.
Holy Roman Emperor “one of the fi rst European mon- In Vienna, the Jewish community recruited Rabbi archs to relax anti-Jewish legislation.”4 What would Isaac Noah Mannheimer (1793–1865) to devise for its become known as “Jewish emancipation” soon spread synagogue “an order of divine service in keeping with across Europe as nations began to abolish discrimina- the era of Enlightenment,” which later became known tory laws, tear down ghetto walls, and allow Jews to as the “Mannheimer Rite” or “Vienna Rite.”9 However, participate in society.5 “For the fi rst time since the the Seitenstettengasse members required Mannheimer, destruction of the Jerusalem Temple and the termina- a radical reformer from Copenhagen, to modify his tion of Jewish autonomy in Israel, Jews could claim
CHORAL JOURNAL Volume 53 Number 7 29 “So Wild and Strange a Harmony” outlook somewhat to suit their views, Sulzer strongly disagreed with re- His convictions contrasted sharply with which were far more conservative than formists’ “opinion that the regeneration that of other Jewish youth in Europe, Jacobson’s.10 In 1826, Mannheimer dem- of the service can be achieved only who found “Christian-style worship an onstrated his break from the severity of by a complete break with the past, by attractive alternative to ‘out-moded’ Jacobson’s musical model by inviting a abolishing all traditional and inherited Jewish rituals.”14 Sulzer believed that tra- young cantor from Hohenems named historically-evolved liturgy.”11 He be- ditional Jewish chant was not only worth Salomon Sulzer to work with him in lieved that Jacobson’s limitations of “the saving, but also deserving of integration reforming the Seitenstettengasse service. entire service to a German hymn before into a new musical format with choral Whereas Jacobson had eliminated tradi- and after the sermon” amounted to harmony, given his strong background tional chant and the cantor’s role entirely giving “a certifi cate of divorce to tradi- in three areas of study: Jewish ritual, from Jewish worship, Mannheimer, the tion.”12 Rather, Sulzer advocated that vocal performance, and music compo- son of a cantor, chose to appoint the “Jewish liturgy must satisfy the musical sition. That Sulzer ultimately managed best Jewish baritone voice in Austria to demands while remaining Jewish; and it to accomplish his goal in an extremely reform synagogue music at the Seiten- should not be necessary to sacrifi ce the infl uential manner was a result of his stettengasse. Jewish characteristics to artistic forms.”13 strong religious and musical training; his exquisite baritone voice; his com- mitment to building, maintaining, and providing music for an excellent choir; and his charismatic personality. According to legend, Sulzer, a mis- chievous child, once wandered off and nearly drowned in a fl ooded creek in his native Hohenems.15 His mother, thank- ful that he was spared, dedicated her son to a life of rabbinic service.16 The boy, however, already showed interest Let your music in music and preferred to study to be a cantor rather than a rabbi. By the time of his Bar Mitzvah at age thirteen, Sulzer be heard… regularly led prayer services at his home synagogue and formally applied for the in Italy! position of cantor.17 The government regulated the appointment of religious “I can’t thank you enough offi cials; in this case, the Emperor Franz for all of your hard work in Josef “personally endorsed the thirteen- preparing our concert tour year-old Sulzer’s appointment as can- of Italy. We had a great tor of Hohenems community on the time!! The whole trip was express condition that he fi rst devoted wonderful!! I look forward to himself to further cantorial studies.”18 another trip with Witte” For three years, Sulzer “embodied the — Justin Addington, Director post-Emancipation preference for at- Skidaway Island United Methodist taining both Judaic and worldly knowl- Church Chancel Choir edge”19 by studying at the Yeshiva in Endigen, Switzerland, the musical center of Karlsruhe, Germany, and then as an Witte has been arranging exceptional apprentice to cantors in Switzerland, concert tours through Italy and the 800 GO WITTE France, and Germany.20 Upon his re- rest of the world since 1975. wittetours.com turn to Hohenems, Sulzer developed a reputation as an exceptional singer, a
30 CHORAL JOURNAL Volume 53 Number 9 Synagogue Choral Music of Salomon Sulzer
founder of a choir at his synagogue, and and compose choral responses to them; if to emphasize that the king’s strength as an athlete and thrill seeker: (3) to compose new choral-cantorial comes from above. At measure four- works for the liturgy; and (4) to commis- teen, on the word melech [king], the Anecdotes are told of Sulzer at sion new choral-cantorial works from phrase cadences in the relative minor, this time which picture him as a well-known Viennese composers. The harmonically underlining the relation- combination of physical vivacity and results of this monumental undertaking ship between God (C major) and king serious piety. He was passionately appear in two volumes of music for the (A minor). fond of riding, and would often be met galloping madly into town to synagogue, entitled Schir Zion [Songs Schir Zion contains a vast array of be in time for afternoon prayer. He of Zion], published in 1839 and 1865, cantorial chants and choral responses is said once to have plunged wildly respectively. for all types of services in the liturgical down a precipitous mountain side Many of Sulzer’s newly-composed year; some of these are unaccompanied, in order to reach the synagogue in choral works are dramatic, well-crafted some include optional organ accompa- 21 time. settings that largely employ Western niment, and others feature signifi cant tonal harmony.23 For example, in Sulzer’s organ solo passages.25 The best of these Sulzer became cantor at the Seit- C-major setting of Psalm 21 for mixed integrate traditional chant melodies enstettengasse in 1826, at the age of choir, baritone, and organ (Figure 1), in their proper prayer modes (nusach twenty-two. He confronted the chaotic majestic choral entrances proclaim that ha-tefi llah) with complementary choral state of synagogue music directly, seeking “the king shall rejoice in the strength writing featuring Western harmony to overhaul what he saw as a buildup of of the Lord.”24 The outer voices enter molded to follow the modal contour “foreign accretions and popular styles” imitatively, beginning at the pickup to of the nusach. For example, Sulzer’s in synagogue chant while integrating measure nine, each proclaiming the haunting setting of B’rôsch haschonoh Western harmonizations into newly- word Adônoj [God] twice, using pitches yikkosewun [On Rosh Hashanah It is 22 composed choral responses. Sulzer outlining the C-major triad, while the Written] (Figure 2), a prayer for the soon embarked upon an unprecedent- inner voices adorn the regal proclama- High Holy Days, seamlessly alternates ed, four-fold task: (1) to identify, isolate, tion of the soprano and bass. The pair between Western tonic-dominant har- purify, and notate traditional Jewish of upper voices then declaim the word mony and the Phrygian mode linked chants; (2) to harmonize these chants b’os’cho [strength] in a high tessitura, as with the prayer Ahavah Rabbah [With
CHORAL JOURNAL Volume 53 Number 9 31 “So Wild and Strange a Harmony”
32 CHORAL JOURNAL Volume 53 Number 9 Synagogue Choral Music of Salomon Sulzer
Abounding Love].26 The text graphically octave to F4. To accommodate the Kol According to a biographical sketch depicts the awe-inspiring signifi cance Nidre nusach, Sulzer found it necessary about Sulzer by New York rabbi Adolph of the period between Rosh Hashanah to raise the sixth scale degree in mea- Guttman (1854–1927), one of Sulzer’s ♭ ♮ [the New Year] and Yom Kippur [Day of sure four (from G to G ), which either co-workers, a Adolph Jellinek, marveled ♭ Atonement], and offers an opportunity provides a Dorian sensation in B minor at Sulzer’s vocal abilities: to reassess the precious nature of life, or hints at a tonicization of F minor. The the severity of God’s judgment, and the intervallic ascension of a twelfth from That voice, who can describe it? Its promise of renewal: the basses’ opening pitch on Rôsh has- strengths and its softness, its richness chonoh, when God’s decree is written, to and its tenderness, its fervor and its pathos. That voice charmed, the cantor’s high F on Jôm Kippur, when On Rosh Hashanah it is written, overpowered and inspired, opened on Yom Kippur it is sealed: it is sealed, underscores the expanse the gates of heaven and penetrated How many shall pass on, how and importance of the period between the depths of the soul. That was many shall come to be; the two holy days. Sulzer used exactly the expression of an honest, tender who shall live and who shall die; ten different pitches in the fi rst fi ve heart. For he was, in the fullest sense measures of B’rôsch haschonoh, perhaps of the word, a ‘messenger of the who shall see ripe age and who 28 shall not; representing the ten days of prayer and congregation.’ who shall perish by fi re and who refl ection between the New Year and by water; the Day of Atonement. On the word Sulzer’s vocal prowess and accom- who by sword and who by beast; jôm [day], the cantor soars to a new plishments in both choral sound and who by hunger and who by pitch—the high F—emphasizing that this composition drew praise from various thirst; is the day of judgment and forgiveness. sources. One, a “prolifi c writer of Ro- who by earthquake and who by The fi rst thirteen bars of B’rôsch has- mantic travelogues” named Frances Trol- plague; chonoh almost exclusively use pitches in lope, marveled at the music she heard ♭ 29 who by strangling and who by B minor. At measure fourteen, however, at the Seitenstettengasse. stoning; the cantor, alone and pianissimo, utters the question, mi jichjeh [Who shall live?]. There is, in truth, so wild and who shall be secure and who strange a harmony in the songs of shall be driven; For this most dramatic moment, an the children of Israel as performed who shall be tranquil and who augmented second signals a departure in the synagogue in this city, that shall be troubled; from Western tonal harmony: the music it would be diffi cult to render full ♭ ♮ who shall be poor and who shall proceeds from B to a raised D, then justice to the splendid excellence ♭ be rich; descends through an exotic C on its of the performance, without falling ♭ who shall be humbled and who way back to B , only to fl utter up to a into the language of enthusiasm. ♭ ♭ A voice, of which that of Braham exalted. D-grace note, passing again through C ♭ in his best days was not superior, But Repentance, Prayer and toward B . The tenor and bass voices in performs the solo parts of these Charity measure fi fteen echo the text, parlando extraordinary cantiques; while about temper judgment’s severe and pianissimo, on an open fi fth. For the a dozen voices more, some of them decree. question, mi jomus [Who shall die?], both being boys, fi ll up the glorious chorus. ♭ cantor and choir swell from B minor to The volume of vocal sound exceeds Sulzer’s setting (Figure 2) of the a C dominant-seventh chord on the anything of the kind I have ever B’rôsch haschonoh prayer begins with word mi [who]. Then the cantor fi nishes heard; and being unaccompanied by an instrument, it produces an effect unison bass voices, hushed and slowly the question alone, in measure eighteen, 30 ♭ ♭ equally singular and delightful. climbing from the depths of B minor returning to B , suggesting that death to pause on the dominant. The can- returns a person to his place of origin. Seitenstettengasse attracted and tor’s part—which Sulzer wrote for his Sulzer managed to win support delighted diverse throngs of synagogue own baritone voice—picks up where for his new musical ideas for the Jew- goers. Many of them were non-Jewish the basses left off, on F3, and presents ish service in no small part due to international tourists seeking musical material based upon the nusach motif his beloved personality and golden uplifting, such as Frances Trollope. Sul- from the Kol Nidre prayer (sung on the voice. His singing melted the hearts of zer’s music program managed to attract Eve of Yom Kippur) before leaping up an worshippers at the Seitenstettengasse. signifi cant attention outside of Vienna’s
CHORAL JOURNAL Volume 53 Number 9 33 “So Wild and Strange a Harmony”
Jewish community for two reasons. First, than fourteen Hebrew numbers to the sicians culminated in Sulzer’s commission Sulzer regularly reached out and inter- fi rst part of the collection Schir Zion.31 of Schubert to compose a new choral acted with non-Jewish musicians and Most famously, Sulzer associated setting of Psalm 92 in Hebrew (Tôw statesmen. For example, upon moving and collaborated with Franz Schubert l’hôdôs) [It is good to give thanks]. Sul- to Vienna, Sulzer studied with Ignaz von (1797–1828). Scholars suggest that zer’s extensive study and collaboration Seyfried (1776–1841), who had studied Sulzer may have met Schubert through with prominent non-Jewish musicians with Haydn and socialized with Mozart Seyfried, who had composed operas such as Schubert certainly helped him and Beethoven. Sulzer also studied com- based upon Old Testament subjects.32 to build a strong musical reputation and position with Seyfried’s student, Josef The two forged a friendship; Schubert attract interest to his synagogue beyond Fischhof (1804–1857). He commis- “considered Sulzer’s lyrical yet vigorous the Viennese Jewish community. sioned liturgical contributions from both tenor voice ideal for the rendition of A second reason for signifi cant non- of these masters, and Joseph Dreschler his songs.”33 According to one account, Jewish interest in Sulzer’s music at the (1782–1852), who turned out to be Schubert once requested that Sulzer Seitenstettengasse relates to the dimin- “Sulzer’s most industrious Christian col- sing Der Wanderer three times in a row.34 ished state of Viennese music in general laborator, eventually contributing no less The camaraderie between the two mu- following the deaths of Beethoven and
34 CHORAL JOURNAL Volume 53 Number 9 Synagogue Choral Music of Salomon Sulzer
Schubert.35 The fi rst Emperor of the fashionable to do so”) and later wrote Perhaps the most famous composer new Austrian Empire, Francis I (reigned extensively about what he saw and to write of his own transcendental ex- 1804 –1835), along with his chief min- heard.38 For example, Mainzer noted: perience with Sulzer’s voice and music ister, Metternich (who also served as “The Synagogue was the only place was Franz Liszt: chancellor of Austria from 1821 to where a stranger could fi nd, artistically 1848), imposed restrictive policies of speaking, a source of enjoyment that was [I]n order to hear [Sulzer], we went censorship and regimentation of the as solid as it was dignifi ed.”39 to the Synagogue where he was in charge of the music and performed arts. Viennese opera, church music, and The praise lavished upon Sulzer and the principal solo part as well. Only orchestra suffered and so disappointed his choir was extraordinary, especially rarely has emotion taken such a both local and non-local music lovers considering that virtually none of the deep hold of us, have we been so that the Seitenstettengasse earned a non-Jewish devotees had had previ- irresistibly stirred, surrendered our reputation for being one of the few ous experience with Jewish music or entire being without reservation to venues where one could experience worship, and many in fact were also nothing but prayer and devotion, quality—even transcendent—music in anti-Semitic. Trollope, for example, as on that night when by the light of a thousand candles the muffl ed, the city. Frances Trollope complained “heartily disapproved of Judaism and hollow voices of a strange chorus bitterly about the state of the Vienna frankly expressed her contempt for Jews arose around us like stars on a vast opera house in 1836, writing: “They have in general, and Viennese Jewish bankers fi rmament.42 not a single voice in any degree capable in particular.”40 Mainzer, however, felt of sustaining an opera in such a style as somehow relieved of his anti-Semitism In keeping with his manifestation of one seems to have a right to expect through his experiences at Seitenstetten- goodwill toward Jews and Christians, in Vienna.”36 Moreover, after attending gasse: Sulzer adapted and composed several high Mass at St. Stephen’s, she wrote, works that seem designed, at least in “the voices of the Jews of Vienna have In seven months, I did not miss a part, for inter-faith relations and out- made those of the Christians appear single service. One has to attend no reach. For example, Sulzer based a four- feeble by comparison.”37 Joseph Mainzer, more than once, however, in order to fi nd oneself instantly freed, as if part choral setting of Psalm 21, verse 5, a German-born priest who later popu- by some sudden reaction, of all the on Volkshymne, a song Haydn had com- larized choral singing in England, fi rst odious prejudices against the Jews posed for the birthday of Holy Roman visited the Seitenstettengasse in 1827 instilled in us with baptism in early Emperor Franz II in 1797 (Figure 3).43 (“at a time when it had not yet become childhood.41
CHORAL JOURNAL Volume 53 Number 9 35 “So Wild and Strange a Harmony”
Sulzer appropriated this secular tune has served as the German national an- pleasant it is when brothers live together by replacing the original text (which them since 1922. in unity!) seems to have presented a praises the Emperor), with a Hebrew Sulzer also set German texts and perfect opportunity for Sulzer to reach transliteration of Psalm 21, verse 5 translations to his own newly-composed out both to his Jewish and Christian (which extols the military victories that choral works. For instance, Sulzer com- brothers in composing this tuneful and God has afforded the king). Sulzer’s posed a new setting of Psalm 133 and well-crafted work for mixed choir, bari- contrafactum of Haydn’s song joins a included both Hebrew and German tone soloist, and organ. Incidentally, the multitude of others, the most famous singing texts (Figure 4).44 The particu- score calls for “Bariton Solo” rather than of which is Deutschland über alles, which lar text of Psalm 133 (How good and Sulzer’s typical indication of “Cantor,” perhaps suggesting that the composer hoped for perfor- mances of the work outside of the Seitenstettengasse and the Jewish community. Twentieth-century Jewish musicians such as Abraham Wolf Binder (1895–1966), a synagogue composer and mu- sic director, criticized Sulzer’s ambivalence between usage of traditional, Eastern European nusach featuring augmented seconds and Western, Protes- tant harmonizations: “Sulzer frequently followed an exqui- site cantorial recitative with a choral response in Western style, which was incongruous. He did not achieve the ability to develop a Jewish tune or mode.”45 Binder also criticized Sulzer’s mission to cleanse tra- ditional chant of its inauthentic accretions, claiming that the result was too thorough: “In paring off unnecessary musical accumulations on the canto- rial chant, which Sulzer set as one of his most important tasks, he sometimes cut down to the bone and even into the marrow.”46 Finally, Binder lamented that Sulzer fell “vic- tim” to the waltz craze that commandeered Vienna during the reign of Johann Strauss, too often composing prayers in triple meter. In a bizarre and unfortunate twist of history,
36 CHORAL JOURNAL Volume 53 Number 9 Synagogue Choral Music of Salomon Sulzer
the melodies of Sulzer still used regu- cians, or eclipsed by the music of Louis nese school, while his death heralded larly in contemporary synagogues are Lewandowski (1821–1894) and other the beginning of the second. When his triple-meter settings of prayers such synagogue composers who followed in Viennese secular and sacred music fell as Sch’ma Jisroel [Hear, O Israel] and Ki Sulzer’s footsteps. into disrepair in the decades following mizijôn [For from out of Zion (will come Through a different lens, however, Beethoven’s death, it was Sulzer, a Jewish the Torah)].47 For the most part, the Sulzer’s vacillation between disparate composer, who brought a musical fl ow- great choral-cantorial works contained styles was fi tting for a Jew who straddled ering—and interfaith following—to the in the two volumes of Schir Zion remain different worlds in several capacities. culturally-beleaguered city. His composi- largely forgotten in Jewish synagogues, Sulzer’s lifetime began in the vestiges of tions retain traditional chant within the and unavailable and almost completely severe Jewish persecution and ended context of a new, harmonically vibrant unknown to the non-Jewish music during a time of unprecedented Jewish choral structure. His choral-cantorial community. One possible explanation is freedom. His music is of and for the hybrid form served as the model for that Binder’s criticisms of Sulzer’s works people of Vienna, a city that straddles Jewish composers for the next hundred were largely shared by other twentieth- Eastern and Western Europe. His birth years. Similar to the composers of the century cantors and synagogue musi- came toward the end of the fi rst Vien- traditional Viennese schools of Western
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CHORAL JOURNAL Volume 53 Number 9 37 “So Wild and Strange a Harmony”
art music, Sulzer’s works and philosophy in The Jews of Austria, ed. Josef Fraenkel 3 Ibid. of music infl uenced musicians and listen- (London: Vallentine, Mitchell & Co. Ltd., 4 Ibid. ers far beyond Vienna. Just as his choral 1967), 17, n7. 5 Jonathan L. Friedmann, “Introduction: Sul- 2 music gained recognition by Jewish and Elaine Brody, “Schubert and Sulzer Re- zer, Idelsohn, and the Revival of Jewish non-Jewish admirers alike during his visited,” in Schubert Studies, ed. Eva Music,” in Music in Jewish Thought: lifetime, Sulzer’s music now deserves Badura-Skoda and Peter Branscombe Selected Writings, 1890– 1920, ed. to be rediscovered and performed by (Cambridge: Cambridge University Jonathan L. Friedman (Jefferson, N.C.: contemporary choirs of all backgrounds. Press, 1982), 49. The Empress Maria McFarland, 2009), 7. Theresa referenced here should not be 6 Marsha Bryan Edelman, Discovering Jew- confused with Maria Theresa of Naples ish Music (Philadelphia: The Jewish NOTES and Sicily (1772–1807), a patroness of Publication Society, 2003), 54. Haydn, who later became the last Holy 7 Abraham W. Binder, “A Rebirth of Biblical 1 Peter Gradenwitz, “Jews in Austrian Music,” Roman Empress and the fi rst Empress Chant,” in Studies in Jewish Music: of Austria. Collected Writings of A.W. Binder, ed. Irene Heskes (New York: Bloch Pub. Co, 1971), 277. 8 Ibid. 9 Eric Mandell, “Salomon Sulzer, 1804-1890,” in The Jews of Austria, ed. Josef Fraenkel (London: Vallentine, Mitchell & Co. Ltd., 1967), 222–224. 10 Brody, “Schubert and Sulzer Revisited,” in Schubert Studies, 51– 52. ROCKY MOUNTAIN CHORAL CAMP 11 Salomon Sulzer, Denkschrift (Vienna, 1876), quoted in Gradenwitz, , “Jews in Austrian YMCA² ESTES PARK, COLORADO Music,” The Jews of Austria, 19. ZZZURFN\PRXQWDLQFKRUDOFDPSFRP 12 Sulzer, Denkschrift (Vienna, 1876), quoted in Friedmann, preface to Music in Jewish -XQH-XQH WK (PDLO Thought, 12. 13 DGPLQLVWUDWRU#URFN\PRXQWDLQFKRUDOFDPSFRP Sulzer, Denkschrift (Vienna, 1876), quoted ,QFOXGHVQLJKWV/RGJLQJ in Friedmann, preface to Music in Jewish 0HDOV0XVLFDQG &RQGXFWRU)DFLOLW\)HHV Thought, 3. 14 Friedmann, introduction to Music in Jewish 2QO\ Thought, 11. 15 Mandell, “Sulzer,” in The Jews of Austria, 222. 16 Benjamin F. Peixotto, “Solomon Sulzer: Reminiscences of Vienna (1890),” in Music in Jewish Thought, 136. 17 Mandell, “Sulzer,” in The Jews of Austria, 222. 18 Ibid. at 222–223. 19 Friedmann, introduction to Music in Jewish Thought, 10. 20 Brody, “Schubert and Sulzer Revisited,” in Schubert Studies, 49. 21 Peixotto, “Sulzer,” in Music in Jewish Thought, 136. 22 Friedmann, introduction to Music in Jewish Thought, 3. 23 Only one composer had previously sought to create a comprehensive collection
38 CHORAL JOURNAL Volume 53 Number 9 Synagogue Choral Music of Salomon Sulzer
of choral settings of the Jewish liturgy: 30 Frances Trollope, Vienna and the Austrians 41 Ibid., 360. Salamone Rossi (ca. 1570–1630), With Some Account of a Journey Through 42 Ibid., 365, quoting Franz Liszt, Die Zegeuner whose publication of unaccompanied, Swabia, Bavaria, the Tyrol, and the und ihre Musik in Ungarn (Pesth: G. polyphonic Jewish choral music, Ha- Salzbourg (London: R. Bentley, 1838, Heckenast, 1861), 52–53. shirim asher li-Shlomo [The Songs of Vol. I), 367, quoted in Ringer, “Sulzer,” 43 Sulzer, “No. 494, Volkshymne: Psalm 21, v.5,” Solomon], remained largely hidden in 356. Trollope’s comparison of Sulzer to quoting a song by Joseph Haydn, in Schir obscurity during Sulzer’s lifetime. “Braham” references Jewish tenor John Zion, 415. 24 Salomon Sulzer, “No. 494, Psalm 21,” Braham (ca. 1774–1856), a star on the 44 Sulzer, “No. 483, Hineh ma-tôv, Psalm 133” in Schir Zion Gesänge für den London opera stage. in Schir Zion, 382–385. israelitischen Gottesdienst, (Frankfurt 31 Ringer, “Sulzer,” 357, n9. 45 Binder, “Salomon Sulzer’s Legacy to the am Main: J. Kauffmann, 1922), 415. 32 Brody, “Schubert and Sulzer Revisited,” Cantorate,” in Studies in Jewish Music, The transliterated Hebrew published Schubert Studies, 53. 286. in Schir Zion follows the Ashkenazic 33 Ringer, “Sulzer,” 357. 46 Binder, “Sulzer’s Legacy,” in Studies in Jewish pronunciation favored among Eastern 34 Ibid., citing Aron Friedmann, Der synagogale Music, 285. European and Yiddish-speaking Jews Gesang: eine Studie. Zum 100. 47 Cf. Friedmann, introduction to Music in through 1948. Contemporary Israeli Geburtstage Salomon Sulzer's und 10. Jewish Thought, 14–15. and American Jews use the Sephardic Todestage Louis Lewandowski's (1904) pronunciation, originating with Jews from nebst deren Biographien (Berlin: C. Boas Spain. For example, Sulzer transcribes Nachf, 1904), 125. the Hebrew Adonai [God] as adônoj. 35 Ringer, “Sulzer,” 355–356. 25 Tina Frühauf, The Organ and Its Music in 36 Ibid., 355. German-Jewish Culture (Oxford: Oxford 37 Ibid., 356. University Press, 2009), 38. Sulzer 38 Ibid., 359. originally opposed the use of the organ, 39 Ibid., 359 (quoting Joseph Mainzer, “La but his perspective evolved to the point Chapelle-Sixtine à Rome,” Gazette where he argued that “an instrumental Musicale de Paris I (1834): 39. accompaniment for the singing in the 40 Ibid., 356. worship service should be introduced everywhere, in order to ease the active participation of members of the congregation in the same…. To provide the requisite accompaniment Repertoire & Standards National Chair Vacancies to this end, the organ deserves to be recommended, and no religious reservations confl ict with its use on the The National Children's and Community Sabbath and holy days.” Cf. Frühauf, The Youth and Ethnic and Multicultural Organ, 230, n4. R&S Chairs are being vacated. 26 Sulzer, “No. 354, B’rôsch haschonoh,” in Schir Zion, 266–267. If you are interested in applying for this 27 Chaim Stern, Gates of Repentance: The New position please send a resume and short Union Prayerbook for the Days of Awe Statement of Intent (your vision for the = Sha‘are Teshuvah (New York: Central future of Children's and Community Youth Conference of American Rabbis, 1996), 108–109. or Ethnic and Multicultural & R&S) to 28 Adolph Guttman, “The Life of Salomon Amy Blosser, National R&S Chair Sulzer (1903),” in Music in Jewish Thought, 143.
CHORAL JOURNAL Volume 53 Number 9 39