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Shabbat Program Shabbat Program י עֲקֹב ו הַיּ דַי

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SHABBAT PROGRAM SHABBAT PROGRAM November 9 and 10, 2018 / 2 Kislev 5779 Parashat Toldot הַקֹּל קוֹל י�עֲקֹב ו�הַיּ�דַי�ם י�דֵי עֵשׂ�ו “The voice is the voice of Jacob, yet the hands are the hands of Esau.” (Genesis 27:22) 1 Welcome to CBST! ברוכים וברוכות הבאים לקהילת בית שמחת תורה! קהילת בית שמחת תורה מקיימת קשר רב שנים ועמוק עם ישראל, עם הבית הפתוח בירושלים לגאווה ולסובלנות ועם הקהילה הגאה בישראל. אנחנו מזמינים אתכם\ן לגלוּת יהדוּת ליבראלית גם בישראל! מצאו את המידע על קהילות רפורמיות המזמינות אתכם\ן לחגוג את סיפור החיים שלכן\ם בפלאיירים בכניסה. לפרטים נוספים ניתן לפנות לרב נועה סתת [email protected] ©ESTO 2 NOVEMBER 9, 2018 / 2 KISLEV 5779 – PARASHAT TOLDOT GERMAN & AUSTRIAN SYNAGOGUE MUSIC SHABBAT TH 80 ANNIVERSARY OF KRISTALLNACHT POGROMS הֲכָנַת הַלֵּב OPENING PRAYERS AND MEDITATIONS (Mah Tovu Louis Lewandowski (1821-1894 מַה טֹּבוּ 28 *(Candle Blessing Abraham Wolf Binder (1895-1967 הַדְלָקַת נֵרוֹת שׁ�ל שׁ�בָּת 38 *(Shalom Aleichem Israel Goldfarb (1879-1956 שׁ�לוֹם עֲלֵיכֶם 40 קַבָּלַת שׁ�בָּת KABBALAT SHABBAT/WELCOMING SHABBAT (L’chu N’ran’na (Psalm 95) Samuel Lampel (1884-1942 לְכוּ נְ�נְּנָה (תהלים צה) 52 (O kommt, lasst uns singen (Psalm 95) George Friderich Handel (1685-1759 לְכוּ נְ�נְּנָה (תהלים צה) 52 *Mizmor L’David (Psalm 29) Spanish-Portuguese מִזְמוֹר לְדָו�ד (תהלים כט) 62 (L'cha Dodi (Shlomo Alkabetz) Louis Lewandowski (1821-1894 לְכָה דוֹדִי 66 (Tov L’hodot / Louis Lewandowski (1821-1894 טוֹב לְהֹדוֹת (תהלים צב) 72 Tzadik Katamar Emanuel Kirschner (1857-1938) Arr. by Larry Hochman (Born 1953) מַעֲ �יב MA’ARIV/THE EVENING SERVICE (Bar’chu Heinrich Schalit (1886-1976 בָּ�כוּ 78 Louis Lewandowski (1821-1894) Hama’ariv Aravim Nusach - Western Ashkenazi הַמַּעֲ �יב עֲ �בִים 80 *(Ahavat Olam Eric Mandell (1903-1988 אַהֲבַת עוֹלָם 86 (Sh’ma Yisrael Salomon Sulzer (1804-1890 שׁ�מַע י�שׂ��אֵל 88 (V’ahavta Torah Cantillation (Trop ו� אָ ַה בְ תָּ 89 (Mi Chamocha Johann Sebastian Bach (1685-1750 מִי כָמֹֽכָה 94 (Adapted by Ira Rosenblum) (Hashkiveinu Eduard Birnbaum (1855-1920 הַשׁ�כִּיבֵֽנוּ 98 (V’shamru Heinrich Schalit (1886-1976 ו�שׁ�מְרוּ 102 (Chatsi Kaddish Nusach (Eastern and Western European חֲצִי קַדִּ ישׁ 104 Silent Amidah עֲ מִ ידָ ה 106 (Segen (Priestly Blessing) Samuel Lampel (1884-1942 בִּ�כַּת הַכּוֹהַנִים Program Prayer for Healing תְּפִלָּה לִ�פוּאָה 130 Prayer for Our Country תְּפִלָּה לַמְּ דִ ינ ָה Program Kaddish Shalem Nusach קַדִּישׁ שׁ�לֵם 138 SERMON IN SONG: MUSIC DIRECTOR JOYCE ROSENZWEIG AND CANTOR STEVE ZEIDENBERG *(Aleinu Salomon Sulzer (1804-1890 עָלֵֽינוּ 140 Mourner’s Kaddish קַ דִּ ישׁ י �תוֹם 150 (Ein Keiloheinu Julius Freudenthal (1805-1874 אֵין כֵּא-הֵֽינוּ 155 (Kiddush Kurt Weill (1900-1950 קִידּוּש 156 *Arranged by Joyce Rosenzweig Pictured: The Vienna Great Synagogue 3 TONIGHT’S SERVICE LEADERS Service Leader: Rabbi Yael Rapport Ba’alei Tefillah: Cantor Steve Zeidenberg and the CBST Community Chorus, conducted by Music Director Joyce Rosenzweig Sermon in Song: Cantor Steve Zeidenberg and Music Director Joyce Rosenzweig Guest Pianist: Beth Robin The CBST Community Chorus Julie Levinsohn Aarlev Roy Feldhusen Paul Marsolini Marni Aarlev Geoffrey Goldberg Marc Molomot Jonathon Adler Donna Gray Julia Ostrov Ilene Block* Stacey Harris Ellen Ratner Mitch Bloom Dianne Hess Tracy Sivitz Martin Bruner Nora Isacoff Joyce Weinstein Joseph Cunin Irwin Kroot Nancy Wiener Dan Ettinger Karen Krop Janet Zaleon Ora Ezrachi Irwin Kroot Roberta Feldhusen Aari Ludvigsen *Chorus Coordinator Guest Speaker Our Guest Speaker, Rick Landman, will tell us what is was like growing up as a child of 2 Jewish refugees. His father, Henry Landman, was 18 years old when he and around 20,000 other Jewish men were rounded up and sent to concentration camps after Kristallnacht. Henry was released and eventually made his way to NY, and years later, as a US soldier, he was there when the army liberated Dachau where he was interned in 1938. Henry also was the speaker at CBST's first Kristallnacht Program in 1990. He was asked to give the speech in Dachau for the 70th Anniversary of the liberation, but he died a few months before the date of the speech. One of the last events that he attended before he died was CBST’s German-Austrian Synagogue Music Shabbat service in the Church of Holy Apostles in 2014. Segen / Priestly Blessing Text: Numbers 6:23-27 May God bless you and protect you. Es segne dich der Herr und behüte dich. May God’s face shine upon you and be gracious to you. Er lasse sein Antlitz dir leuchten und sei dir gnädig. May God’s face be turned toward you and give you Es wende der Ewge sein Antlitz und gebe dir Frieden. peace. Amen. German/Austrian Jewish Music Shabbat Kristallnacht (Night of Broken Glass) was a horrific pogrom against Jews that took place throughout Germany and Austria on November 9-10, 1938. The name refers to the shards of broken glass that blanketed the streets after Jewish-owned stores, buildings and synagogues had their windows smashed, and were set on fire. These dark and frightening days marked the transformation of Nazi Germany from words of hatred to acts of murder and destruction. We at CBST mark these days of unfathomable destruction by celebrating the glorious musical heritage of the German synagogue. We will pray our Shabbat service incorporating musical settings written by Germany and Austria's greatest synagogue composers including Lewandowski, Sulzer, Schalit and Weill. The CBST Community Chorus, under the direction of Joyce Rosenzweig, Cantor Steve Zeidenberg and guest pianist Beth Robin will bring to life many examples of this rich tradition, which continues to this day to be some of the most gorgeous and profound synagogue music ever written. 4 Composer Biographies Eduard Birnbaum (1855-1920) was born in Cracow, Poland to a family of notable rabbis and scholars. Birnbaum received his primary education at a Yeshiva in Bydgoszcz, Poland. His teachers identified his musical talent early on and sent him to Viena to study hazzanut with Salomon Sulzer. In 1869, Birnbaum was awarded a sholarship to study hazzanut at the Breslau Theological Seminary, founded by Moritz Deutsch. While studying there, he was contracted to work as a hazzan in the Seminary's Synagogue. In 1872, he received an offer to officiate as the cantor for the Magdeburg community, where he served for two years. In 1874, he moved on to a position as the chief cantor in Beuthen, taking a short two month break between posts to return to Vienna and study with Sulzer. Finally in 1879, Birnbaum replaced Zvi Hirsch Weintraub as the chief cantor of Koenigsberg, a position he held until his death in 1920. According to Birnbaum’s own account, he was offered a position to succeed Sulzer in Vienna, but decided to remain in Koenigsberg where he was offered a life contract and comfortable salary. Julius Freudenthal (1805-1874) was born in Braunschweig, Germany, and was a violinist and composer. He performed in chamber music concerts and was the concertmaster of several orchestras. He composed works for violin, piano, and voice. Together with Chazzan Hirsch Goldberg (1807-1893), he published a collection of synagogue songs for solo and small choir in two parts entitled Gesange fur Synagogen in 1843. His setting of Ein Kelohenu, written for this publication, became one of the most well-known synagogue melodies in the world. George Frideric Handel (1685-1759) was a German-born British Baroque composer, famous for his operas, oratorios, anthems and organ concertos. Handel was born into a family indifferent to music. He received critical musical training in Halle, Hamburg and Italy before settling in London (1712) and becoming a naturalized British subject in 1727. By then he was strongly influenced by the great composers of the Italian Baroque and the middle-German polyphonic choral tradition. Handel is regarded as one of the greatest composers of all time, with works such as Water Music, Music for the Royal Fireworks, Judas Maccabeus, and Messiah remaining universally popular. Handel composed more than forty operas in over thirty years, and with the revival of baroque music and original instrumentation, interest in Handel's operas has grown. The L’chu N’ran’ah (Psalm 95) that we will sing tonight is an excerpt from an Anthem (cantata) entitled “O kommt, laßt uns singen” that sets verses from Psalms 95, 96, 97, 99, and 103 and is scored for two violins, oboe, recorders and continuo. Samuel Lampel (1884-1942) was born in Berlin, and moved to Leipzig in 1914 to serve as cantor at the Gottschedstrasse Synagogue. A scholar of Jewish music, Lampel hosted a popular radio show focused on Jewish musical and liturgical history, and organized lectures for non-Jewish musicians and composers at the synagogue. His major work, Kol Shmuel, a collection of fifty-seven liturgical works, was published in 1928. Following the destruction of his synagogue during Kristallnacht in 1938, Lampel served as the last communal leader of the Leipzig Jewish community until 1942, when he and his wife Rosa were deported to Auschwitz. Tonight, we perform two of his liturgical settings: L’chu N’ran’na (Psalm 95) for Cantor and congregation, as well as his choral setting of Priestly Blessing (Segen). 5 Louis Lewandowski (1821-1894) A composer, music director, and teacher, Lewandowski was born in Wreschen (Wrzeźnia) in the province of Poznań. He and his four brothers accompanied their father as “singers” during the services. After his mother’s death and because of extreme poverty, he left for Berlin at the age of twelve and became a singerel (singer) for Cantor Ascher Lion (1776-1863).
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    THE VENETIAN JEWISH ANTHOLOGY: LITURGICAL MUSIC 1. Introduction (J. Malino) 2. Presentation to the NEH Institute by Rabbi Elia Richetti ( to be submitted by Luis) 3. Musical database: to date ( to be submitted by Luis) 4. Future additions to the database (J. Malino) 4. Miscellaneous notes from discussions with Rav Richetti (J. Malino) 1. Introduction A unique feature of the Venetian Ghetto was the density of its Jewish ethnic diversity. A significant aspect of this diversity was reflected in its many synagogues. Although only five synagogues remain in the Ghetto today, they provide ample evidence of this diversity, two being Italian Ashkenazic, one Italian, and two Sephardic (one Levantine and one Ponentine). The musical and liturgical traditions of these synagogues have evolved over time, and there is little possibility of recovering this history fully. In its place, the Venetian Jewish Anthology has set out to harvest the liturgical musical traditions from various communities across Italy, particularly those in the Veneto, whose diversity is akin to the diversity once apparent in Venice itself. To date, the focus is on Torah and Haftarah cantillation, and the music of the Pesach Seder. To this we hope to add selections from the nusach for weekday, Shabbat and festival liturgy. To preface the musical databases we have included the musical presentation to the NEH Institute by the chief rabbi of Venice, Elia Richetti. The musical recordings, which follow this presentation, were also contributed by Rav Richetti who possesses a beautiful voice, a broad knowledge of Italian liturgical music, and a great delight in sharing his knowledge.
  • From Boston to Berlin with the Zamir Chorale of Boston I Don't Believe In

    From Boston to Berlin with the Zamir Chorale of Boston I Don't Believe In

    From Boston to Berlin with the Zamir Chorale of Boston I don’t believe in ghosts. But when Zamir was in Berlin in December of 2011, I had the eerie sensation that we were channeling the spirits of Germany’s departed Jewish musicians. The Louis Lewandowski Festival committee had invited us to come to Berlin and represent the United States at their upcoming celebration of the life and work of the greatest nineteenth-century composer of synagogue music. I had a feeling we would be interested, but I was unprepared for the enthusiasm with which the members of Zamir responded to the invitation. Thirty five singers (along with a handful of spouses and partners) were eager to travel and pay for a rather expensive flight. But none of us could have anticipated the amazing experience that was about to unfold and change our lives. The festival was organized and underwritten by Mr. Nils Busch-Petersen, an influential philo- Semitic Berlin lawyer, who has served as District Mayor of Berlin-Pankow, Chief Executive of the National Association of Medium-and Large-scale retail, and Managing Director of the Berlin- Brandenburg Trade Association. He is also CEO of the Friends of the Berlin Synagogal Ensemble, and published author of four books about German Jewish merchants. Busch-Petersen spared no expense in planning this festival; there were huge billboards advertising the festival all over Berlin, and the choirs were treated like visiting royalty. Our first concert was in the Krankenhauskirche in Wuhlgarten, a neighborhood of East Berlin, and a 75-minute bus ride from our hotel.
  • Villa Heimann-Rosenthala2 | Gartenansicht 2 3

    Villa Heimann-Rosenthala2 | Gartenansicht 2 3

    1 Villa Heimann-Rosenthala2 | Gartenansicht 2 3 a3 4 5 a4 6 a5 7 8 a6 9 10 a7 11 12 a8 13 a9 14 15 a10 16 17 a11 18 a12 19 20 a13 21 In View A Photo Essay by Arno Gisinger a1 Jewish Museum Hohenems / Villa Clara Heimann-Rosenthal, front a2 Jewish Museum Hohenems, back a3 Corner of former Jews’ Lane (left) and Christians’ Lane a4 Tenants of the former Jewish poorhouse (Burgauer house) a5 Former Jewish poorhouse, back a6 Salomon Sulzer Auditorium in the former synagogue a7 Square in front of the former synagogue with Brettauer house (left) and Sulzer house (right) a8 Tenant in the Brettauer house a9 Mikvah and former Jewish school before restoration a10 Emsbach a11 Villa Arnold Rosenthal (Schubertiade festival), back a12 Betting office in one of the court factors houses a13 View of the former Jew’s Lane between court factors houses and Sulzer house a14 - 26 Jewish Museum Hohenems, interior a27 Former Jewish poorhouse (left), in the former “Judenwinkel” (Jew’s Corner) a28 Tenants of the former “Judenwinkel” a29 Former inn “Zur Frohen Aussicht” (At the Happy Prospect) a30 Former Jewish school before restoration a31 Construction activity in the former Jewish quarter: Senior citizens home (right), Brunner house (left), and Elkan house (center) a32 Former court factors’ houses a33 View from the Emsbach a34 Tenants of the Kitzinger house a35 View from the Jewish quarter a36 The count’s palace a37 Jewish cemetery, entrance and hall a38 Jewish cemetery a39 Jewish cemetery [Israelitengasse in Hohenems, Fritz and Paul Tänzer (foreground), c.
  • The Jewish Cantor in History Moshe Koussevitzky's Early Career Byron's

    The Jewish Cantor in History Moshe Koussevitzky's Early Career Byron's

    September 2019 Volume 44 Number 1 The Jewish Cantor in History Moshe Koussevitzky’s Early Career Byron’s “She Walks in Beauty,” a New Setting Odessa’s Unsung Composer — Pinchas Minkowsky Congregational Song in American Conservative Synagogues and Much More... September 2019 Volume 44 Number 1 The Journal is optimized to be read using Adobe Acrobat Reader (click here for a free download). The Bookmark feature, which allows readers to directly access and then jump between articles, may not otherwise function. Front Cover: Jubilee Synagogue, Jerusalem Street, Prague. LOOKING BACK The Jewish Cantor in History—or—Music in Medieval Judaism Israel Goldschmidt ......................................................................................................... 4 A New Setting by Charles Heller of Byron’s “She Walks in Beauty,” Gleaned from several sources (Click where indicated to access the audio file) ........ 14 A Moment in Time: Odessa and Its Unsung Composer— Pinchas Minkowsky (1859-1924) Marsha Bryan Edelman.................................................................................................. 16 Portrait of the Artist as a Young Cantor—Moshe Koussevitzky’s Early Career (1918-1928)—on the 120th Anniversary of His Birth Mark Friedlander ........................................................................................................... 26 The Development of Congregational Song in the American Conservative Synagogue 1900-1955 Geoffrey Goldberg ........................................................................................................