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Simon Spiro8.559460 Linernts.Indd
Cover Art Cantor Simon Spiro A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. While much of this music had become a vital force in American and world culture, even more music of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture. -
2016 Pakn Treger Translation Issue
Table of Contents “You Have Not Betrayed Me Since the Day We Met” and “You Olive Tree in the Night” by Avrom Sutzkver, translated by Maia Evrona “On the Landing” by Yenta Mash, translated by Ellen Cassedy “From Eternity to Eternity: Thoughts and Considerations in Honor of Passover” by Moyshe Shtarkman, translated by Ross Perlin “In Which I Hate It and Can’t Stand It and Don’t Want to and Have No Patience at All” by Der Tunkeler, translated by Ri J. Turner “Letters” by H.D. Nomberg, translated by Daniel Kennedy “Blind Folye” by Froyim Kaganovski, translated by Beverly Bracha Weingrod “Mr. Friedkin and Shoshana: Wandering Souls on the Lower East Side” (an excerpt from Hibru) by Joseph Opatoshu, translated by Shulamith Z. Berger “Coney Island, Part Three” by Victor Packer, translated by Henry Sapoznik “Old Town” (an excerpt from The Strong and the Weak) by Alter Kacyzne, translated by Mandy Cohen and Michael Casper An Excerpt from “Once Upon a Time, Vilna” by Abraham Karpinowitz, translated by Helen Mintz “To a Fellow Writer” and “Shloyme Mikhoels” by Rachel H. Korn, translated by Seymour Levitan “The Destiny of a Poem” by Itzik Manger, translated by Murray Citron “The Blind Man” by Itsik Kipnis, translated by Joshua Snider Introduction he translation theorist Lawrence Venuti closes his short essay “How to Read a Translation” on a note of defiance: T Don’t take one translation of a foreign literature to be representative of the language, he tells us. Compare the translation to other translations from the same language. Venuti’s point is both political and moral. -
Wertheimer, Editor Imagining the Seth Farber an American Orthodox American Jewish Community Dreamer: Rabbi Joseph B
Imagining the American Jewish Community Brandeis Series in American Jewish History, Culture, and Life Jonathan D. Sarna, Editor Sylvia Barack Fishman, Associate Editor For a complete list of books in the series, visit www.upne.com and www.upne.com/series/BSAJ.html Jack Wertheimer, editor Imagining the Seth Farber An American Orthodox American Jewish Community Dreamer: Rabbi Joseph B. Murray Zimiles Gilded Lions and Soloveitchik and Boston’s Jeweled Horses: The Synagogue to Maimonides School the Carousel Ava F. Kahn and Marc Dollinger, Marianne R. Sanua Be of Good editors California Jews Courage: The American Jewish Amy L. Sales and Leonard Saxe “How Committee, 1945–2006 Goodly Are Thy Tents”: Summer Hollace Ava Weiner and Kenneth D. Camps as Jewish Socializing Roseman, editors Lone Stars of Experiences David: The Jews of Texas Ori Z. Soltes Fixing the World: Jewish Jack Wertheimer, editor Family American Painters in the Twentieth Matters: Jewish Education in an Century Age of Choice Gary P. Zola, editor The Dynamics of American Jewish History: Jacob Edward S. Shapiro Crown Heights: Rader Marcus’s Essays on American Blacks, Jews, and the 1991 Brooklyn Jewry Riot David Zurawik The Jews of Prime Time Kirsten Fermaglich American Dreams and Nazi Nightmares: Ranen Omer-Sherman, 2002 Diaspora Early Holocaust Consciousness and and Zionism in Jewish American Liberal America, 1957–1965 Literature: Lazarus, Syrkin, Reznikoff, and Roth Andrea Greenbaum, editor Jews of Ilana Abramovitch and Seán Galvin, South Florida editors, 2001 Jews of Brooklyn Sylvia Barack Fishman Double or Pamela S. Nadell and Jonathan D. Sarna, Nothing? Jewish Families and Mixed editors Women and American Marriage Judaism: Historical Perspectives George M. -
Rosh Chodesh and the Transformation of Ritual a GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT
Rosh Chodesh and the Transformation of Ritual A GREAT JEWISH BOOKS TEACHER WORKSHOP RESOURCE KIT Teachers’ Guide This guide accompanies resources that can be found at: http://teachgreatjewishbooks.org/resource-kits/rosh-chodesh-and- transformation-ritual. Introduction Rosh Chodesh means “head of the month,” and refers to the minor Jewish holiday that occurs at the beginning of each new month in the Hebrew calendar. The ancient Rabbis interpreted the Biblical verses Exodus 12:1-12:2 as requiring that the new month be determined by eyewitness testimony. Just as God showed Moses and the high priest Aaron the new moon, witnesses were supposed to testify before the judges of the Sanhedrin, the Great Court in Jerusalem, that they had seen the new moon. The officiants at the Holy Temple would then mark the occasion with a sacrifice, feasting, and fanfare. After the destruction of the Second Temple, this eyewitness procedure was replaced by astronomical and mathematical calculations that were used to determine when each month began. Bonfires were lit on the mountains between Jerusalem and Babylonia to announce the arrival of the new moon. In later years, as witnesses and messengers were replaced with a fixed calendar, few Rosh Chodesh rituals remained, although it continued to be marked liturgically by the birkat ha-chodesh (or, in Ashkenazic pronunciation, birkas hakhoydesh), the blessing of the month, which is recited on the Saturday before each new month begins. Because of associations between women and the moon, Rosh Chodesh has long been considered a special holiday for women. This association was taken up by Jewish feminists in the 1970s as they innovated to create Jewish rituals that affirmed women’s strength and created empowering female community within Jewish ritual life. -
Courtesy of Theyood Family TABLE of CONTENTS
Courtesy of TheYood Family TABLE OF CONTENTS Introduction 3 MIGRATIONS 4 Daniel Soyer: Goldene Medine, Treyfene Medine: Judaism Survives Migration to America 5 Deborah Dash Moore: The Meanings of Migration: American Jews, Eldridge Street and Neighborhoods 9 PRACTICE 13 Riv-Ellen Prell: A Culture of Order: Decorum and the Eldridge Street Synagogue 14 Jeffrey Gurock: Closing the Americanization Gap between the Eldridge Street Synagogue’s Leaders 19 and Downtown’s Rabbis ENCOUNTERS 23 Jeffrey Shandler: A Tale of Two Cantors: Pinhas Minkowski and Yosele Rosenblatt 24 Tony Michels: The Jewish Ghetto Meets its Neighbors 29 PRESERVATION 34 Samuel Gruber: The Choices We Make: The Eldridge Street Synagogue and Historic Preservation 35 Marilyn Chiat: Saving and Praising the Past 40 MUSEUM AT ELDRIDGE STREET | ACADEMICANGLES 3 he Eldridge Street Synagogue is a National Historic Landmark, the first major house of worship built by East European Jews in America. When it opened in September of 1887 it was an experiment, a response to the immigrants’desire to practice Orthodox Judaism, and to do so in America, their new Promised Land. Today the Eldridge Street Synagogue is Tthe only building on the Lower East Side—once the largest Jewish city in the world—earmarked for broad and public exploration of the American Jewish experience. The Museum at Eldridge Street researches the history of the building, uncovering new ways and stories to bring the building and its history to life. Learning about the congregants and their history ties us to broader trends on the Lower East Side and in American history. To help explore these trends, the Museum at Eldridge Street asks leading scholars to lend their expertise. -
Chazzonos, As Presented Here for My Thesis, Represents Three Chapters
AN ABSTRACT OF THE THESIS OF Lyle RockIer for the degree of Master of Arts in Englishpresented on May & 1997. Title: Chazzonos. Redacted for Privacy Abstract approved: I Tracyba Chazzonos, as presented here formy thesis, represents three chapters of what will be a novel of thesame name. Chazzonos is about Hal Perimutter, a cantor, who at the outset of the novel, isresigning his position of twenty years. The novelprogresses as Hal decides where he will go after Mirthgate Temple and what will be meaningfulto him. Hal's decision is complicated by the opposing forces thatrun through him: the conservative side that is attracted to ritual, tradition, and, especially, themusic of the ancient and respectable art of the cantor; and the liberal,neo-60s, almost anarchic nature of his personal life. In these three chapters, the dilemmas of Hal's lifeare introduced. He deals with the implications ofan inheritance that has allowed him to resign; he struggles with the mystery ofa relationship that is developing between his homosexual son anda new lover; and he is challenged by his long-time girlfriend to make the ultimate commitment of marriage.Throughout the narrative, Hal is affected by his attachment to the musicof chazzonos (the cantorial art) and by memories of family and tradition,nostalgic as well as painful. The questions these three chapters introduceand thatwill develop as the entire novel progressesare those of love, tradition, obligation, and how one struggles with opposing forces in one'snature. CHAZZONOS Lyle Rockier A THESIS submitted to Oregon State University in partial fulfifiment of the requirements for the degree of Master of Arts Presented May 8, 1997 Commencement June 1997 Master of Arts thesis of Lyle Rockier presentedon May 8. -
The Hazzan on the 21St Century
Hazzanut AT THE MASORTI MOVEMENT The Hazzan on the 21st Century The Hazzanut is one of the trades that have undergone more transformations throughout history, all conditioned by the complex-and often tragic- experience of the Jewish people in exile. What is Hazzanut? In essence, it is the job of the Shilchei Tzibur, to direct the prayers. This occupa- tion was consolidated after the destruction of the Beit Hamikdash, when the choirs of leviim (along with all sacerdotal duties) fell into disuse, and Jewish religious dynamics largely concentrated in the synagogue. In other words, the Hazzanut is an eminently religious activity, resulting from the disappearance of the old institutions of Judaism. But it is also our "art music", equivalent to western classical music. Perhaps the difference is that the latter was developed as part of a culture of expansion, while Judaism focused on surviving and preserved its original strictly religious character. This had a palpable effect on the evolution of the office of the Hazzan, who gradually has also had to deal with educational work, taking the concept of "emissary" to a level beyond the musical: not only does he sing and inspire the prayer of those who hear him sing; he must also be a daily example and be present in moments of joy and grief of all families in their community. And his duty is not only to sing: it is to teach and transmit a passion for Judaism and a love for the tradition of Israel. His job is to teach others to lead prayers and connect to Torah and mitzvot through music and to help each person understand what they are living, thereby strengthening the ancestral identity of every Jew. -
The Ser-Charlap Family Newsletter the Family In
1 THE SER-CHARLAP FAMILY NEWSLETTER Vol. 5, No. 4 Tevet 5755; December 1994 THE FAMILY IN CANADA SER, SIER, SAIR The great migration of eastern European Jews that began in 1881 brought hundreds of thousands new immigrants to North America. The vast majority found safe haven in the United States but Canada also absorbed some of the newcomers. The Jewish population of Canada in 1881 was almost 2,400. By the tum of the century 12,000 new immigrants had swelled these numbers considerably. Montreal had the largest concentration of Jews but active communities had been established in Toronto and in Winnipeg. As in the large cities of the United States, a significant number of Jews were employed in the garment industry. Others tried their entrepreneurial skills as craftsman and small retailers. The Canadian Pacific Railway, which was expanding rapidly, provided many skilled jobs as carpenters, tinsmiths, mechanics, and locksmiths. The Baron de Hirsch movement came to Montreal in 1891 and encouraged Jews to settle on farms in the western provinces. Jewish immigration from Russian controlled territory continued to grow. In 1904 4,000 Jews arrived, about double the number of the previous year. Lawrence Tapper is a senior member of the National Archives of Canada and the author of Archival Sources For the Study of Canadian Jewr_y. He bas been very helpful in providing information on genealogical research in Canada. But our connections go beyond the academic. Lawrence is a descendant of a branch of the Ser family which had been living in the Ukraine. We had learned that several Ser ancestors had fled from Nur and Ciechanowiec during periods of war and pogroms. -
Transdenominational MA in Jewish Music Program, Preparing
THIS IS THE INSIDE FRONT COVER EDITOR: Joseph A. Levine ASSOCIATE EDITOR: Richard Berlin EDITORIAL BOARD Rona Black, Shoshana Brown, Geoffrey Goldberg, Charles Heller, Kimberly Komrad, Sheldon Levin, Laurence Loeb, Judy Meyersberg, Ruth Ross, Neil Schwartz, Anita Schubert, Sam Weiss, Yossi Zucker TheJournal of Synagogue Music is published annually by the Cantors As- sembly. It offers articles and music of broad interest to theh azzan and other Jewish professionals. Submissions of any length from 1,000 to 10,000 words will be consid ered. GUIDELINES FOR SUBMITTING MATERIAL All contributions and communications should be sent to the Editor, Dr. Joseph A. Levine—[email protected]—as a Word docu- ment, with a brief biography of the author appended. Musical and/or graphic material should be formatted and inserted within the Word document. Footnotes are used rather than endnotes, and should conform to the fol- lowing style: A - Abraham Idelsohn, Jewish Liturgy (New York: Henry Holt), 1932: 244. B - Samuel Rosenbaum, “Congregational Singing”; Proceedings of the Cantors Assembly Convention (New York: Jewish Theological Seminary), February 22, 1949: 9-11. Layout by Prose & Con Spirito, Inc., Cover design and Printing by Replica. © Copyright 2009 by the Cantors Assembly. ISSN 0449-5128 ii FROM THE EDITOR: The Issue of Niggunim in Worship: Too Much of a Good Thing? ..................................................4 THE NEO-HASIDIC REVIVAL AT 50 Music as a Spiritual Process in the Teachings of Rav Nahman of Bratslav Chani Haran Smith. 8 The Hasidic Niggun: Ethos and Melos of a Folk Liturgy Hanoch Avenary . 48 Carlebach, Neo-Hasidic Music and Liturgical Practice Sam Weiss. -
Special Articles the Assault on Holocaust Memory
Special Articles The Assault on Holocaust Memory BY ALVIN H. ROSENFELD J EWISH LITERATURE OF THE HOLOCAUST is animated by the im- perative to remember. Through the innumerable pages of the testimonial writings of those who endured the ghettos and camps of occupied Eu- rope runs a passionate determination to record the Nazi crimes and trans- mit knowledge of them to others. These authors, for all the differences in their backgrounds and the diverse nature of their Jewish identification, issue one common appeal: know what has happened to us in these infer- nal places, and keep the memory of our fate alive. To be sure, the inscription, transmission, and reception of historical memory are not simple matters. The work of the Holocaust deniers, whose manifest malevolence and dishonesty—as proven in Deborah Lip- stadt's legal victory over David Irving in a British courtroom in 2000— put them beyond the pale, should be less a cause for concern than the work of the critics of what is coming to be called, pejoratively, "Holo- caust consciousness." These are writers who question not the facts but the prominence of the Holocaust in public consciousness and the motives of those who seek to perpetuate its memory. Norman Finkelstein is a case in point. His book, The Holocaust In- dustry, published in 2000, indicts "The Holocaust" as an ideological rep- resentation of history that has been fraudulently devised and "sold" to the American public in order to revive a faltering Jewish identity and to "justify criminal policies of the Israeli state and U.S. -
$Be J M L^ Id F S In
WAverly $be jM l^idf Sinus 3 9207 ■ 8 VN’MTUP AND SCHOOL DISTRICT OF H11X81DB VQL. XXXI— ; HILLSIDE, ,N, J., THURSDAY; DECEMBER 1-5, 1955; PRICE 8 CENTS Present Flag To Prosecutor To Forego Xmas Party Association Will I To Aid Crippled Children Be Santa To 347 Barricade Of ae Christmas spirit will replace1 The Elmer’s Association of Hill- the customary yuletide spirits this oh Saturday. December 17 at Jl :30 impie ted final arrange* ments for its annual Christmas par- a t : the General Brass & Ma p.ra. Program for the occasion will ties for the children of Hillside. m chine Works, Inc., 25 Montgomery include a tour of the hospital'by' a The first party will be on Sunday( street.------ oommi-ttee—representing—the—em December i8r'Rt 2""p.TiT;^tr"'Zin;lm,F * Milton Nussdorf, personnel direc ployes. Hall, 334 Yale avenue; 150 young •The employes, however, will cele Roads Scored sters will, see Santa deliver Christ- tor, today announced the plant, brate Christmas in the time-hon which employs 210 people, wili tpre-- ored manner .with a party of their and soda. * Barricading' the intersection go the annual Christmas party and own at Zatko’s Bar &, Grill. .334 - -The second Christmas party will "Yale avenue, on Friday, December of Wilder street and* Irvington Mil donate the money usually be on Friday, December 23, 11 a-im avenue came under attaok in . spent on oonvlviality to the Crip at Calvin Ooolidge. School, Tillman Youth Arrested In General Brass & Machine Works letters to the Township Com pled Children’s Hospital, 89 Park manufactures metal parts for Jet- This party will have 197 child- mittee Tuesday night. -
Music/Words Needs Your Help to Flourish
YAMAHA ARTIST SERVICES Music/Words Season 4 2011–11–18 Inna Faliks, piano –Cecily Parks, poetry Cecily Parks- - poems CPE Bach – Sonata in a minor Allegro deciso Andante espressivo – Allegro molto - Inna Faliks, piano Cecily Parks – poems Frederic Chopin - Barcarolle opus 60 Inna Faliks, piano Cecily Parks – poems Ljova Zhurbin, Sirota for piano and historical recording, composed in 2011 for Inna Faliks (Sirota employs a 1908 recording of the famed cantor Gershon Sirota,(1874-1943), one of the great European cantors in the first half of the 20th century, known as the Jewish Caruso. Sirota was born in Odessa – like Ms. Faliks – and Mr. Zhurbin chose this recording in order to attempt to" bring the pianist back to her homeland", according to the composer. Caruso. perished in the Warsaw Ghetto.) Cecily Parks - poems Lera Auerbach, Ludwig's Alptraum ("Ludwig's nightmare", based on a theme from Beethoven's sonata opus 27 # 1) - Inna Faliks, piano Cecily Parks – poems Ludwig van Beethoven Sonata opus 57 "Appassionata" in f minor Allegro assai Andante con moto Allegro ma non troppo -------------------------------------------------------------------------------- Music/Words is the LMCC award winning interdisciplinary series created and curated by pianist Inna Faliks. Now in its fourth season, the series explores connections between literature and music by presenting collaborations between exciting solo performers and acclaimed contemporary poets in the form of a live recital/reading. Faliks created the series in order to foster a chance for poets and musicians to work together and inspire each other, as well as to allow different audiences to come together for these musical-literary events.