Zamir Chorale of Boston

The Majesty of Holiness

cdq trdhb

Masterworks from the great nineteenth-century synagogues of Berlin, Paris and Vienna

Edwin Swanborn, organ Martha Moor, harp

Hazzan Charles Osborne, Hazzan Scott Sokol and Dr. Jules Rosenberg, soloists

conducted and produced by Joshua Jacobson

BERLIN

1. Mah Tovu Louis Lewandowski 3:10

2. Lecho Dodi Louis Lewandowski 5:20

3. Tov LeHodos Louis Lewandowski 5:50

4. Enosh KeChotsir Yomov Louis Lewandowski 4:50

5. Halleluyoh Louis Lewandowski 2:35

VIENNA

6. Halleluyoh Joseph Drechsler 1:25

7. Mizmor Shir* Salomon Sulzer 0:07

8. Tov LeHodos* Franz Schubert 4:56

9. Ki Hiney Oyevecho* Salomon Sulzer 1:46

10. Vayhi Binso’a Ho’oron* Salomon Sulzer 1:35

11. Yehalelu Es Shem* Salomon Sulzer 1:09

12. Hashkivenu Salomon Sulzer 4:55

13. Halleluyoh Salomon Sulzer 8:12

PARIS

14. Mizmor LeSodo* Samuel Naumbourg 3:47

15. Min HaMeytsar* Jacques Halévy 7:07

16. Somachti* Jacques Halévy 3:50

This recording was made possible through the generosity of

David and Clare Weinstein

Lawrence and Jill Sandberg in memory of Ina S. Lermer

Michael and Joyce Bohnen

Drs. Edwin and Roselyn Kolodny

In Memory of Fritz and Hansi Oppenheimer

Joshua Jacobson, producer *Recorded June 17, 1997 at the Houghton Memorial Chapel, Wellesley College, Wellesley, Massachusetts. Recording and editing: Leon Janikian. All other selections were recorded May 20 and 22, 1985 at the Houghton Memorial Chapel, Wellesley College, Wellesley, Massachusetts. Recording and editing: Robert A. Vogt.

The Artists The Zamir Chorale of Boston Joshua Jacobson, Director The Zamir Chorale of Boston is an ensemble specializing in the full spectrum of music arising out of the various Jewish traditions. Since its formation in 1969 the Chorale has remained committed to the highest quality performance of this literature which spans thousands of years, four continents, and a variety of styles, both vernacular and cultivated. The Zamir’s credits are numerous. The Chorale has performed throughout North America, toured Israel and Great Britain, and appeared with the Jerusalem Symphony and Israel Philharmonic orchestras under the batons of Zubin Mehta and Daniel Barenboim. Locally, the chorus has appeared with the New England Conservatory Orchestra and the Pro Arte Orchestra and has performed for the International Society for Contemporary Music, the American Choral Directors Association national conventions and Boston's First Night celebrations. Zamir has received consistent praise in both local and national media; writing in the Boston Globe, Richard Dyer dubbed Zamir "a virtuoso outfit." In 1978 Zamir received the Silver Medallion award for performing excellence from Boston's Association for the Performing Arts, in 1988 the Myrtle Wreath award from the New England region of Hadassah, and in 1992 the Klal Yisrael award from the Synagogue Council of Massachusetts. The Zamir Chorale of Boston is the chorus in residence at Hebrew College.

1997 recording sessions sopranos Sheri Beker • Joanne Camann • Jacqueline Breines Danino • Larisa Isakh • Judy Israel • Marilyn Jaye • Deborah Raboy • Susan Rubin • Sharon Shore • Francene Reichel Sokol • Deborah Sosin • Helen Wanderstock* • Jody Weixelbaum • Phyllis Werlin

altos Heather Atwood • Susan Carp-Nesson • Johanna Ehrmann* • Francine Beth Ferraro • Sharon Eisner Gillett • Lisa Goldberg • Marina Gorny • Shira Lewin • Abigail Lipson • Susan London Jill Sandberg • Nancy Sargon-Zarsky • Phyllis Wilner • Heather Zacker

tenors Rick Boyar • Virgil Bozeman • Suzanne Goldman • Meir Green • Daniel Nesson • Leila Joy Rosenthal* • Lawrence E.Sandberg • Gilbert Schiffer

basses Peter Bronk • Fred Calm • Sam Farmer • Joel Gluck • Phil Goldman • Andrew Greene* • Joel Hencken • Stanley Jacobs • Arthur Rabson • Michael Rutner • Peter Squires • Mark Stepner Mark Vasa • Michael Victor • Jordan Lee Wagner

*section leaders

Edwin Swanborn, rehearsal pianist Scott Sokol, vocal coach Pamela Holmes, business manager 1985 recording sessions sopranos Robin Bergman • Joyce Bohnen* • Joanne Camann • Bonnie Lynn Chebot* • Johanna Ehrmann Elaine Finkelstein • Sara Geffen • Rachel Gold • Judith T. Israel • Alison L. Kur • Tova Shapiro Nancy Wright

altos Ruth Birnbaum Pernick • Susan E. Carp* • Robin L. Cooper • Rena Finkelstein • Amy Grossman-Narva • Shoshanna Kaplan • Dana Klein* • Susan B. Marcovitz • Nancy Sargon Zarsky • Dawn E. Shapiro* • Lucy Joan Sollogub

tenors Steve Ebstein • Adam Freedman • Dan Friedman • Hal Katzman* • Jay F. Levine* • Leila Joy Rosenthal • Lawrence E. Sandberg • Andy Schwartz

basses Herbert Birnbaum • Fred Calm • Lawton Cooper • John Curtis • Joshua Elkin • Herman Godfried • Dennis Gordan* • Chaim Parchi • Joel Schneider* *ensemble soloists Cathy Rand, rehearsal pianist

Joshua R. Jacobson, founder and director of the Zamir Chorale of Boston, holds a Bachelors degree in Music from Harvard College, a Masters in Choral Conducting from the New England Conservatory, and a Doctor of Musical Arts from the University of Cincinnati. Dr. Jacobson is Professor of Music and Director of Choral Activities at Northeastern University, where, after serving for nine years as Music Department Chairman, he is now the Bernard Stotsky Professor of Jewish Cultural Studies. He is Adjunct Professor of Jewish Music at Hebrew College. He has conducted workshops on choral music for various groups, including the American Choral Directors Association, and has guest conducted a number of ensembles, including the Boston Pops Orchestra and the Boston Lyric Opera Company. He has also written articles on various aspects of choral music, and compositions and arrangements which have been published and performed throughout the world. In 1989 he spent four weeks in Yugoslavia as a "Distinguished Professor" under the auspices of the Fulbright program. In 1994 he was awarded the Benjamin Shevach Award for Distinguished Achievement in Jewish Educational Leadership from Hebrew College. Prof. Jacobson is past President of the Massachusetts chapter of the American Choral Directors Association. Edwin Swanborn, organist, studied with Dr. Anthony Newman at the Juilliard School of Music in New York City, and has participated in master-classes with Gustav Leonhardt and Anton Heiller. Mr. Swanborn is music director of the historic First Parish Church in Duxbury, Massachusetts. He is also the artistic director of the Candlelight Concert Series of Duxbury, a nationally recognized chamber music series. Founder-director of the Boston Baroque Chamber Players and harpsichordist of the Atlanta Virtuosi, Mr. Swanborn also serves on the music staff of Northeastern University in Boston. Solo and chamber music engagements have taken him to all corners of the United States as well as to Mexico, Canada, and Europe. Mr. Swanborn has made several compact disc recordings which have been enthusiastically received by critics and audiences alike. Tenor Charles Osborne has achieved international recognition as a singer, conductor and composer. He is a graduate of the Hartt College of Music and the Cantors Institute of the Jewish Theological Seminary of America. Since 1987 he has served as Hazzan of Temple Emanuel in Newton, Massachusetts. He is the founder and director of Kol Rinah, the Jewish Youth Chorus of Greater Boston. Osborne is a frequent soloist with the Zamir Chorale of Boston, as well as with The Western Wind, Selah, and Jubal’s Lyre. Baritone Scott Sokol received his B.A. from Brandeis University, his M.A. and Ph.D. from Johns Hopkins University, and his M.S.M. and Cantorial Diploma from the Jewish Theological Seminary. He also studied viola at the Peabody Conservatory. He serves as cantor of Congregation Kehillath Israel in Brookline, Massachusetts. In addition, he is the director of the Jewish Music Institute at Hebrew College and a part-time neuropsychologist on the faculty of Massachusetts General Hospital and Harvard Medical School. He has performed as soloist with the Zamir Chorales of Boston and New York, Selah and the Cantors Institute Choir. Baritone Jules Rosenberg has officiated as cantor in Boston, Providence, Savannah and Baltimore. In addition, he has appeared in operatic productions at Tufts and Boston Universities and in New York with the Amato Opera Company and with the Greater Marlboro Symphony Orchestra. As a member of the Boston Symphony Orchestra’s Tanglewood Festival Chorus he has appeared in operas and concerts with Seija Ozawa, Colin Davis, Leonard Bernstein and Klaus Tennstedt. He has sung with Boston’s John Oliver Chorale and has appeared as a soloist with the Curtisville Consortium in Stockbridge, Massachusetts.

Martha Moor is an active harpist in the Boston area and freelances throughout New England. She has recorded with Emmanuel Music, Boston Philharmonic, Pro Arte Chamber Orchestra, New Hampshire Music Festival Orchestra, New Hampshire Symphony, Wintersauce Chorale and Zamir Chorale of Boston. She performs regularly in musicals at the North Shore Music Theater and Providence Performing Arts Center, and teaches privately in Jamaica Plain.

for a complete catalogue of recordings by the Zamir Chorale of Boston write to:

The Zamir Chorale of Boston POB 590126

Newton Centre, MA 02459

Toll-free 866-926-4720

or visit our web site: www.zamir.org

Ilustration credits:

Wischnitzer, Rachel. The Architecture of the European Synagogue. Philadelphia: The Jewish Publication Society of

America, 1964.

Krinsky, Carol Hershell. Synagogues of Europe. Cambridge (MA): The MIT Press, 1985.

Encyclopedia Judaica, s.v. Naumburg.

Werner, Eric. A Voice Still Heard: The Sacred Songs of the Ashkenazic Jews. University Park, PA: The

Pennsylvania State University Press, 1976.

Nulman, Macy. Concise Encyclopedia of Jewish Music. New York: McGraw-Hill, 1975.

Ringer, Alexander. Arnold Schoenberg: The Composer as Jew. Oxford: Oxford University Press, 1990.

Salomon Sulzer (1804-1890) and the Vienna synagogue in Seitenstettengasse.

Program Notes and Translations

The turn of the nineteenth century witnessed the exodus of the Jewish community from the confines of the ghetto into the mainstream of European cultural and intellectual life. Trained in the major universities and conservatories, talmudists turned to political science, rabbinical students to secular poetry and cantors and klezmorim ascended the operatic and symphonic stages. In this "enlightened" climate, the nature of the synagogue worship service underwent some drastic changes, as Jews sought to embrace the majestic splendor of the secular and Christian world around them. VIENNA In 1826, Salomon Sulzer was appointed to the office of hazzan (cantor) of the Seitenstettengasse Temple in Vienna. Although trained in the science of musical composition, the young Sulzer had decided to dedicate his life to the Jewish ministry after being rescued from a drowning accident.

His voice and emotional yet dignified style of performing were legendary. The great pianist-composer Franz Liszt wrote in 1859:

In Vienna we know the famous tenor Sulzer, who served in capacity of precentor in the synagogue, and whose reputation is so outstanding... We went into the synagogue to hear him. For moments we could penetrate into his real soul and recognize the secret doctrines of the fathers. Seldom were we so deeply stirred by emotion as on that evening, so shaken that our soul was entirely given over to meditation and to participation in the service.

But Sulzer's fame today rests less on the memories of his singing than on his great and lasting innovations: the harmonization of the traditional liturgy and the composition of new works in the style of the classical and early romantic Viennese school. Sulzer expressed his aims in his Denkschrift published in Vienna in 1876:

The old melodies and synagogue modes which became national should be improved, selected and adjusted to the rules of art. But also new musical creations should not be avoided and for that purpose great heroes of music stood helpful at my side.

This represented quite a departure from the ancient cantorial traditions of monophonic (solo) improvisations on Middle-Eastern modes in an unmeasured style! Between 1840 and 1866 Sulzer published his liturgical compositions and arrangements in a monumental opus entitled Schir Zion (The Songs of Zion). This innovative work contained music for the complete liturgical year composed by Sulzer himself as well as 37 compositions he had commissioned from some of the best known Viennese composers of the day, including Franz Schubert, Ignaz von Seyfried, and Joseph Drechsler. The service at the Seitenstettengasse Temple in Vienna was legendary and Sulzer’s innovations were soon imitated throughout Western Europe. BERLIN In 1855 the Jewish community of Berlin sent its young choirmaster, Louis Lewandowski, to study with the famed Cantor Sulzer in Vienna. Lewandowski had already been involved in synagogue music for a number of years. In 1840 he had become the first independent choir-master in the history of the synagogue. Until this time it had been the duty of the cantor to organize whatever harmony might be improvised in the service. But with the introduction of ordered singing in four parts from musical notation, cantors, whose musical training had generally been only in the oral traditions, were forced to hire more knowledgeable musicians to fill the void. Louis Lewandowski was born in the Polish town of Wreschen. At the age of 12, after his mother's death and because of his family's extreme poverty, he left for Berlin where he became an apprentice for Cantor Asher Lion. Soon the boy's musical ambition reached out beyond the ghetto. With the help of Alexander Mendelssohn (cousin of the composer Felix Mendelssohn), Lewandowski became the first Jew to attend the Berlin Academy of the Arts. But after showing great promise in the field of secular music (including a prize for composition from the prestigious Berlin Singakademie), Lewandowski succumbed to a serious nervous disorder and was forced to relinquish his scholarship and abandon his studies. It was after his partial recovery that the lad decided to devote himself fully to the music of the synagogue.

Louis Lewandowski (1821-1894) and the façade of the Oranienburgerstrasse synagogue in Berlin.

For 24 years Lewandowski worked as choirmaster at the Heidereutergasse Temple in Berlin, conducting the music of Salomon Sulzer. But in 1864 the building of the Oranienburgerstrasse Temple, which was equipped with an organ, offered Lewandowski the opportunity of creating an entire new service with organ accompaniment — a task never before undertaken. The culmination of his career came in 1882 with the publication of his magnum opus, Todah W’Simrah (Thanks and Song), a setting of the entire liturgical cycle for four-part choir, cantor and organ. PARIS

It was in France that the modern Jewish emancipation began. In 1791 Jews were granted complete civil rights on a par with other citizens, and in 1831 Judaism was recognized as one of the official state-supported religions. At the same time, Paris was the seat of the Grand Opera, and Grand Opera was being created and conducted by emancipated Jews.

Samuel Naumbourg (1815-1880) and the Temple Rue Notre-Dame-de-Nazareth in Paris.

Into this fertile ground came the young cantor, Samuel Naumbourg. A descendent of a three-centuries-old cantorial family in Germany, Naumbourg arived in Paris in 1843. Two years later, upon recommendation by the well-known opera composer Jacques Halévy (himself the son of a cantor), Naumbourg was appointed to the post of Chief Cantor of Paris and was commissioned by the French government to arrange a new musical service to be introduced into all synagogues. By 1847 he had succeeded in compiling and publishing his great work, Zemirot Yisrael (Songs of Israel), containing the complete liturgy for the entire year, arranged for cantor, choir and organ. THE ORGAN The introduction of the organ into the synagogue was considered to be a radical move in most communities. While the Temple in ancient Jerusalem had been famous for its spectacular Levitic choir and orchestra, in the Diaspora the use of musical instruments was frowned upon. “By the rivers of Babylon we sat and wept when we remembered Zion; by the willows we hung up our harps,” wrote the exiled Levites shortly after the destruction of the Sanctuary in 586 BCE. Some eight hundred years ago Rabbi Moses Maimonides wrote, “The rabbis at the time of the destruction of the Second Temple [70 CE]… prohibited playing musical instruments … because of the destruction [of the Temple]” (The Laws of Fasting 5:14).

Nonetheless, in their desire to “normalize” their religious practices, many enlightened European Jews advocated the use of the organ. Sulzer originally opposed the organ, and his music was published with no instrumental accompaniment. But in his later years he praised the organ’s ability “to lead and regulate congregational singing, … to free the cantor from aesthetic fetters …

and prevent him from relapsing into that lachrymose virtuosity of Polish cantors which drives the musically intelligent young generation out of the temple.” Thus, when Joseph Sulzer edited his father’s works for a revised publication in 1905, he added an organ accompaniment.

When Louis Lewandowski received his appointment at the Oranienburgerstrasse Temple, he rearranged many works which he had previously composed for the a cappella performance required by the old Heidereutergasse Temple. Nonetheless, he composed the accompaniment in such a way that “the choral pieces can always be performed without the organ. Here [in Berlin] they are sung with accompaniment only in the New Synagogue.”

The Jews of Paris seem to have been the most liberal in their acceptance of the organ. In 1856 the French rabbinate even ruled that its use in the synagogue on Sabbaths and festivals was halachically valid, as long as it was played by a non-Jew. Naumbourg himself, although he used the organ occasionally, once criticized it as being “useless” in the synagogue.

One can certainly question whether the introduction of this music into the liberal synagogues of nineteenth-century Europe added anything to the spiritual content of the worship service. One could also criticize the abandonment of the centuries-old styles of chanting in order to accommodate the prevailing harmonies, scales and rhythms of the surrounding cultures. Nevertheless a body of music of considerable significance was created. Sulzer, emulating the Austrian part-song style of Schubert; Lewandowski, modeling his compositions after the great Psalm settings and oratorio choruses of his idol Mendelssohn; and Naumbourg, bringing to the liturgy the theatricality of the Parisian Grand Opera: these men made a contribution to Jewish music that was quite consistent with the exhilarating times in which they lived. Their music stands today as a monument to the spirit of the nineteenth-century Jewish enlightenment — a spirit of dignity, splendor, and the majesty of holiness.

BERLIN 1. Mah Tovu Louis Lewandowski Dr. Jules Rosenberg, solo Sabbath morning liturgy How goodly are your tents, O Jacob, your habitations. O Israel! By Your abundant grace I enter Your house; I worship before Your holy shrine with reverence. O Lord. I love Your abode, the place where Your glory dwells. I will worship and bow down: I will bend knee before the Lord my Maker. I offer my prayer to You, O Lord, at a time of grace. O God, in Your abundant kindness, answer me with Your saving truth. -Morning liturgy 2. Lecho Dodi Louis Lewandowski Dr. Jules Rosenberg, solo Sabbath evening hymn Come my friend to meet the bride: let us welcome the Sabbath. "Observe" and "Remember" in a single command the One God announced to us. The Lord is One and His name is One for fame for glory and for praise. Come my friend to meet the bride: let us welcome the Sabbath. Shrine of the King, royal city. arise! Come forth from your ruins. Long enough have you dwelt in the vale of tears! He will show you abundant mercy. Come my friend to meet the bride: let us welcome the Sabbath. Bestir yourself, bestir yourself, for your light has come: arise and shine! Awake, awake, utter a song: the Lord's glory is revealed upon you. Come my friend to meet the bride: let us welcome the Sabbath. Be not ashamed nor confounded. Why are you downcast? Why do you moan? The afflicted of my people will be sheltered within you: the city shall be rebuilt on its ancient site. Come my friend to meet the bride: let us welcome the Sabbath. Come in peace, crown of God, come with joy and cheerfulness: amidst the faithful of the chosen people come O bride, come. O bride. Come my friend to meet the bride: let us welcome the Sabbath. -Rabbi Solomon Alkabets

3. Tov LeHodos Louis Lewandowski Dr. Jules Rosenberg, solo Sabbath evening liturgy It is good to praise the Lord, to sing hymns to Your name, O Most High, To proclaim Your steadfast love at daybreak, Your faithfulness each night With a ten-stringed harp, with voice and lyre together. You have gladdened me by Your deeds, O Lord; I shout for joy at Your handiwork. How great are Your works, O Lord, how very subtle Your designs! A brutish man cannot know, a fool cannot understand this: though the wicked sprout like grass, though all evildoers blossom, it is only that they may be destroyed forever. But You are exalted, O Lord, for all time. Surely, Your enemies, O Lord, surely, Your enemies perish; all evildoers are scattered. You raise my horn high like that of a wild ox; I am soaked in freshening oil. I shall see the defeat of my watchful foes, hear of the downfall of the wicked who beset me. The righteous bloom like a date-palm; they thrive like a cedar in Lebanon; planted in the house of the Lord, they flourish in the courts of our God. In old age they still produce fruit; they are full of sap and freshness, attesting that the Lord is upright, my rock, in whom there is no wrong. -Psalm 92 4. Enosh KeChotsir Yomov Louis Lewandowski Memorial service Man, his days are like those of grass; he blooms like a flower of the field; a wind passes by and it is no more, its own place no longer knows it. But the Lord’s steadfast love is for all eternity toward those who fear Him, and His goodness is for the children’s children of those who keep His covenant and remember to observe His precepts. -Psalm 103: 15-18 5. Halleluyoh Louis Lewandowski Rosh Hashanah morning liturgy Hallelujah. Praise God in His sanctuary; praise Him in the sky, His stronghold. Praise Him for His mighty acts; praise Him for His exceeding greatness. Praise Him with blasts of the horn; praise Him with harp and lyre. Praise Him with timbrel and dance; praise Him with lute and pipe. Praise Him with resounding cymbals; praise Him with loud-clashing cymbals. Let all that breathes praise the Lord. Hallelujah. -Psalm 150

VIENNA 6. Halleluyoh Joseph Drechsler Rosh Hashanah morning liturgy Hallelujah. Praise God in His sanctuary; praise Him in the sky, His stronghold. Praise Him for His mighty acts; praise Him for His exceeding greatness. Praise Him with blasts of the horn; praise Him with harp and lyre. Praise Him with timbrel and dance; praise Him with lute and pipe. Praise Him with resounding cymbals; praise Him with loud-clashing cymbals. Let all that breathes praise the Lord. Hallelujah. -Psalm 150 In 1828 Salomon Sulzer commissioned Franz Schubert to write a setting of Psalm 92, the “Sabbath Psalm.” Schubert set only the second through ninth verses of the Psalm; yet the liturgy demanded that the entire Psalm be performed at the Friday evening Sabbath service. Cantor Sulzer must have instructed the composer to ignore verse one and verses ten through sixteen, as he would chant these sections by himself in the more traditional manner. On this recording you will hear Schubert’s setting as it would have been heard in the Vienna synagogue, bracketed with Sulzer’s own recitatives. 7. Mizmor Shir Salomon Sulzer Hazzan Charles Osborne, solo A Psalm, a song for the Sabbath day. -Psalm 92:1 8. Tov LeHodos Franz Schubert Hazzan Charles Osborne, solo solo quartet: Sabrina Learman, Julia Priest, Charles Osborne, Scott Sokol chamber chorus: Virgil Bozeman, Susan Carp Nesson, Johanna Ehrmann, Sam Farmer, Phil Goldman, Andrew Green, Sarah Heile, Marilyn Jaye, Daniel Nesson, Leila Joy Rosenthal, Lawrence Sandberg, Nancy Sargon Zarsky, Francene Sokol, Deborah Sosin, Mark Stepner, Jody Weixelbaum It is good to praise the Lord, to sing hymns to Your name, O Most High, To proclaim Your steadfast love at daybreak, Your faithfulness each night With a ten-stringed harp, with voice and lyre together. You have gladdened me by Your deeds, O Lord; I shout for joy at Your handiwork. How great are Your works, O Lord, how very subtle Your designs! A brutish man cannot know, a fool cannot understand this: though the wicked sprout like grass, though all evildoers blossom, it is only that they may be destroyed forever. But You are exalted, O Lord, for all time. -Psalm 92:2-9

9. Ki Hiney Oyevecho Salomon Sulzer Hazzan Charles Osborne, solo Surely, Your enemies, O Lord, surely, Your enemies perish; all evildoers are scattered. You raise my horn high like that of a wild ox; I am soaked in freshening oil. I shall see the defeat of my watchful foes, hear of the downfall of the wicked who beset me. The righteous bloom like a date-palm; they thrive like a cedar in Lebanon; planted in the house of the Lord, they flourish in the courts of our God. In old age they still produce fruit; they are full of sap and freshness, attesting that the Lord is upright, my rock, in whom there is no wrong. -Psalm 92:10-16 10. Vayhi Binso’a Ho’oron Salomon Sulzer Hazzan Charles Osborne, solo Sabbath morning liturgy And it came to pass, when the ark set forward, that Moses said, “Rise up, O Lord, and let Your enemies be scattered. And let them who hate You flee before You.” …for from Zion shall go forth Torah, and the word of the Lord from Jerusalem. -Torah service liturgy (Numbers 10:35 and Isaiah 2:3) 11. Yehalelu Es Shem Salomon Sulzer Hazzan Scott Sokol, solo Sabbath morning liturgy Let them praise the name of the Lord, for His name, His alone, is sublime; His splendor covers heaven and earth. He has exalted the horn of His people for the glory of all His faithful ones, Israel, the people close to Him. Hallelujah. -Torah service liturgy (Psalm 148:13-14) 12. Hashkivenu Salomon Sulzer Dr. Jules Rosenberg, solo Sabbath evening liturgy Grant, Lord our God, that we lie down in peace, and that we rise again, O our King, to life. Spread over us Your shelter of peace, and direct us with good counsel of Your own. Save us for Your name's sake.

Shield us, and remove from us every enemy and pestilence, sword and famine and grief. Remove the adversary from before us and from behind us. Shelter us in the shadow of Your wings, for You are our protecting and saving God. You are indeed a gracious and merciful God and King. Guard our going out and our coming in for life and peace, henceforth and forever. Spread over us Your shelter of peace. Blessed are You, O Lord. who spreads the shelter of peace over us and over His people Israel and over Jerusalem. -Sabbath evening liturgy 13. Halleluyoh Salomon Sulzer Dr. Jules Rosenberg, solo for the celebration of a royal birthday Hallelujah. I praise the Lord with all my heart in the assembled congregation of the upright. The works of the Lord are great, within reach of all who desire them. His deeds are splendid and glorious; His goodness is everlasting; He has won renown for His wonders. The Lord is gracious and compassionate; He gives food to those who fear Him; He is ever mindful of His covenant. He revealed to His people His powerful works, in giving them the heritage of nations. His handiwork is truth and justice; all His precepts are enduring, well-founded for all eternity, wrought of truth and equity. He sent redemption to His people; He ordained His covenant for all time; His name is holy and awesome. The beginning of wisdom is the fear of the Lord; all who practice it gain sound understanding. Praise of Him is everlasting. -Psalm 111 PARIS 14. Mizmor LeSodo Samuel Naumbourg Hazzan Charles Osborne, solo for the marriage ceremony A Psalm of thanksgiving. Make a joyful noise to the Lord, all the earth. Serve the Lord with gladness; come before His presence with singing. Know that the Lord is God; it is He who made us, and we belong to Him;

we are His people, and the sheep of His pasture. Enter into His gates with thanksgiving, and into His courts with praise; be thankful to Him, and bless His name. For the Lord is good; His loving kindness is everlasting; and His faithfulness endures to all generations. -Psalm100 15. Min HaMeytsar Jacques Halévy soli: Hazzan Charles Osborne, Hazzan Scott Sokol, Dr. Jules Rosenberg, Jacqueline Breines Danino, Susan Rubin, Susan London, Susan Carp-Nesson Festival morning liturgy In distress I called on the Lord; the Lord answered me and brought me relief. The Lord is on my side, I have no fear; what can man do to me? With the Lord on my side as my helper, I will see the downfall of my foes. It is better to take refuge in the Lord than to trust in mortals; it is better to take refuge in the Lord than to trust in the great. All nations have beset me; by the name of the Lord I will surely cut them down. They beset me, they surround me; by the name of the Lord I will surely cut them down. They have beset me like bees; they shall be extinguished like burning thorns; by the name of the Lord I will surely cut them down. You pressed me hard, I nearly fell; but the Lord helped me. The Lord is my strength and might; He has become my deliverance. The tents of the victorious resound with joyous shouts of deliverance, “The right hand of the Lord is triumphant! The right hand of the Lord is exalted! The right hand of the Lord is triumphant!” I shall not die but live and proclaim the works of the Lord. The Lord punished me severely, but did not hand me over to death. Open the gates of victory for me that I may enter them and praise the Lord. This is the gateway to the Lord — the victorious shall enter through it. I praise You, for You have answered me, and have become my deliverance. The stone that the builders rejected has become the chief cornerstone. This is the Lord’s doing; it is marvelous in our sight. This is the day that the Lord has made — let us exult and rejoice on it. Psalm 118:5-24 16. Somachti Jacques Halévy Prelude to a Festival service I rejoiced with those who said to me, “Let us go to the house of the Lord.” Our feet are standing in your gates, O Jerusalem. Jerusalem is built like a city that is closely compacted together. That is where the tribes go up, the tribes of the Lord, to praise the name of the Lord according to the statute given to Israel. There the thrones for judgment stand, the thrones of the house of David.

Pray for the peace of Jerusalem: “May those who love you be secure. May there be peace within your walls and security within your citadels.” For the sake of my brothers and friends, I will say, “Peace be within you.” For the sake of the house of the Lord our God, I will seek your prosperity. -Psalm 122 — Program notes by Joshua Jacobson.

Publishers Mah Tovu Louis Lewandowski Broude Brothers

Lecho Dodi Louis Lewandowski HaZamir Publications

Tov LeHodos Louis Lewandowski Broude Brothers

Enosh KeChotsir Yomov Louis Lewandowski Broude Brothers

Halleluyoh Louis Lewandowski Broude Brothers

Halleluyoh Joseph Drechsler Broude Brothers

Tov LeHodos Franz Schubert Broude Brothers

Vayhi Binso’a Ho’oron Salomon Sulzer HaZamir Publications

Yehalelu Es Shem Salomon Sulzer HaZamir Publications

Hashkivenu Salomon Sulzer HaZamir Publications

Halleluyoh Salomon Sulzer HaZamir Publications

Mizmor LeSodo Samuel Naumbourg HaZamir Publications

Min HaMeytsar Jacques Halévy HaZamir Publications

Somachti Jacques Halévy HaZamir Publications Bibliography Brode, Elaine. “Schubert and Sulzer Revisited,” in Eva Badura-Skoda and Peter Branscombe,

eds., Schubert Studies. Cambridge: Cambridge University Press, 1982. Fromm, Herbert. On Jewish Music. Bloch Publishing Co., 1978. Goldberg, Geoffrey. “Neglected Sources for the Historical Study of Synagogue Music: The

Prefaces to Louis Lewandowski’s Kol Rinnah u’Tfillah.” Musica Judaica XI (1 1989-90): 28-57.

Gradenwitz, Peter. “Jews in Austrian Music.” In The Jews of Austria, ed. Joseph Fraenkel. London: Valentine, Mitchell & Co., 1967.

Idelsohn, Abraham Z. Jewish Music in Its Historical Development. New York: Holt, Rinehart and Winston, 1929. Reprint ed. Dover, 1992.

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