Mahzor

New York Public Library

Churches

Sarajevo Haggadah

Mah Nishtanah

Sarajevo haggadah

Antaea Darom

Israeli women's art

Action

Torah as music

Ben Heine

Action

ceramic bowl

Mohammad Said Kalash, "Offering Reconciliation" exhibit (photo: Ilan Amihai)

Action

Punch and Judy/Pinchas and Jamila

Avi Katz

Action

David Grossman

Ben Heine

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Eldrige Street shul

Lower East Side

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Dove

Ben Heine

Action

Two birds

Hoda Jamal

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Israeli and Palestinian boys

from documentary, Promises

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Cat in the Hat

Yiddish version

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Daylight through the Wall

Banksy: graffiti art on Separation Wall

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Maurice Sendak's Brundibar set

New Victory Theater (photo: Nan Melville/NYT)

Action

Daniel Barenboim, West-Eastern Divan Orchestra

Palestinian-Israeli musical ensemble (photo: Kerstin Joensson/AP)

Action

Great Day on Eldrige Street

N.Y.'s klezmer greats celebrate shul rededication (photo: Leo Sorel)

Action

Joint Appeal for Peace

(Avi Katz)

Joint Appeal for Peace

Ketubah, Ancona, Italy (1772)

(Jewish Theological Seminary library)

Ancona ketubah

Posts Tagged ‘jewish music’

Passover Music: Andy Statman and David Grisman’s ‘Adir Hu’

Friday, April 7th, 2006

Songs of Our Fathers
Andy Statman & David Grisman have recorded a rousing version of Adir Hu (hear it), traditionally sung as part of the Hallel prayer at the conclusion of the seder:

Mighty is He,
May He soon build His House,
Speedily, speedily in our days.

It anticipates the rebuilding of the Holy Temple and the return of the Jewish people to the land of Israel.

This melody–not the traditional one with which I was brought up–was composed by the remarkable Hasidic musician and rebbe, Shlomo Carlebach. He was to Jewish music what Pete Seeger was to folk music: a fertile and fervent purveyor of spiritual Hasidism through music.

Statman and Grisman recorded the song on Songs of Our Fathers. On this album, the traditional klezmer musician, Statman and mandolin great, Grisman unite to perform traditional Jewish music. They focus on songs from the liturgy and other Jewish spiritual traditions. On this particular cut, they play Adir Hu in a medley with another tune, Moshe Emes (“Moses is True”).

Click here to read the other Passover music posts in this series.

For more information about Carlebach, visit the Carlebach Foundation site.

Passover Music: Sephardic Cantor Alberto Mizrahi ‘Sings Ki Lo No’e’

Thursday, April 6th, 2006

Chants-Mystiques; Hidden Treasures Of A Living Tradition
In 1995, a Jewish neonatologist decided that the world needed a Jewish answer to the Gregorian chant craze that was sweeping the music world at the time. His answer was Chants Mystique: Hidden Treasures of a Living Tradition. The recording features Sephardic cantor Alberto Mizrahi’s undeniably gorgeous tenor voice under the baton of Matti Lazar. While I find the recording strikingly beautiful in parts I find it strikingly annoying in other parts. The New York Times critic had mixed views of the recording. But she liked precisely the section I didn’t:

Particularly effective is the “circular chanting,” in the opening selection and elsewhere: the choristers form a circle, and their entrances are staggered to achieve an unmanicured sound close to what might actually be heard during congregational chanting in a synagogue. At other times the choral sound is seamless, but the irregularity at the beginning sets the mood.

I found these sections of “circular chanting” (blessedly there are only two examples) to be both arresting and annoying at the same time. Arresting because they come the closest to imitating or reflecting the spectral Gregorian chant “sound.” And annoying because I can’t make heads nor tails of what the singers are actually singing since they each seem to be singing something different at the same time; and I even know the lyrics!

But in the Passover seder song, Ki Lo No’e (hear it), Mizrahi returns to a more conventional cantorial style, rich and beautiful. As the Times noted:

…The finale, Ki Lo No’e (“For to Him praise is proper”), a Passover prayer set to an Eastern European folk tune, offers some rousing extemporizations by the cantor.

The melody was composed by the great Eastern European Jewish cantor and composer for Yiddish films, theater and synagogue, Moishe Oysher. Oysher derives from an Ashkenazi musical tradition. It’s an important symbol of the streams of Jewish traditions enriching each other to hear a Sephardic cantor embrace an Ashkenazi rendition of this song.

Rabbi Peretz Rodman describes the song’s musical and Biblical background thus:

[It] describes the praise of the divine king by angelic choruses. Playing on verses in Psalms (65:2, 89:12) and I Chronicles (29:11), the refrain is built of repeating one- and two-syllable words and rhymes, and is therefore simple enough for children to sing: l’kha u-l’kha, l’kha ki l’kha, l’kha af l’kha…ki lo na’eh, ki lo ya’eh.

Click here to read the other Passover music posts in this series.

Passover Music: Western Wind’s ‘Chad Gadyo’

Wednesday, April 5th, 2006

the passover story album cover
Here’s the second in my series on Passover music. Like the first entry, I’m keeping with the wonderful seder tune, Had Gayda (or as Western Wind transliterates the title, Chad Gadyo). But unlike Yehoram Gaon’s Sephardic version of the song tonight we’ll hear a version written by the famed American Jewish composer, Moishe Oysher. This is not the tune I grew up with, but I learned it as an adult and found it much more lively and musically compelling than the one I knew as a child.

So give a listen to the wonderful Oysher version of Chad Gadyo (hear it).

Click here to read the other Passover music posts in this series.

Passover Music on the Radio

Monday, March 20th, 2006


For quite some time, I’ve been disappointed at my otherwise stellar Seattle public radio station, KBCS for its lack of Jewish music programming. When the major holidays come around, there’s almost no Jewish music to be found anywhere on its air. I can’t tell you how sick and tired I am of hearing Christmas music but relatively little Hanukah music.

arthur szyk haggadahArthur Szyk’s The Haggadah opened to the Four Questions (image: Library of Congress)

I decided to try to rectify that by offering to produce a show for Passover. Peter Graff, producer of The Old Country, graciously offered me a slot in the coming weeks for this show. Most Pesach music derives from the very musical, traditional haggadah. So many wonderful songs: Avadim Hayinu, Dayeinu, Eliyahu Hanavi, Had Gadya, the Four Questions, not to mention all the great songs from the Hallel service recited on all major festivals including Pesach.
Garden of Yidn
I plan to offer music I have in my collection starting with a Pesach Suite (hear it) consisting of Avadim Hayinu, Dayeinu, Baruch Hamakom and Ki L’Olam Chasdo. I recorded this with my brother, Todd, years ago on Jewish Songs of Celebration and Struggle. I also have a wonderful 1970s recording of the Israeli Sephardic popular singer, Yehoram Gaon, Songs for Passover in the Sephardic Tradition. At least one song in the show will come from this. Yale Strom, the great chronicler of Jewish music of the Carpathian Mountains, performed klezmer music at our wedding in 1998. I wrote asking him if he had any Pesach-themed music and he replied that he’d written Buena Semana, based on a Ladino folk song for his Garden of Yidn album. I haven’t heard the song yet, but if I like it I’ll be using it for the show.

I’d like to find Pesach music from other Jewish traditions like the Abayudaya of Uganda, the Bukharan Jews of Uzbekistan, Solomoni Rossi, North Africa (Morocco?) and in the Yiddish language. If anyone has recommendations please e mail me immediately. It would help even more if you’d be willing to send the music to me via mp3 file so as not to waste too much time ordering it online (not to mention the cost).

Click here to read the subsequent Passover music posts in this series.

Kitka’s Shimmering Vocal Harmonies

Friday, November 18th, 2005

This blog has several different sections and I have different purposes in mind when I write for each one. When I write about Mideast or U.S. politics, most often rage and injustice motivate my choice of subjects and my style in addressing them. I also sometimes have the pleasure of writing about positive developments (lately this only applies to the Israeli-Palestinian conflict) though this happens less frequently.
Wintersongs
But my world music mp3 blog is another story. It is entirely based on love for the music. Love for the strange, wonderful and ethereal sounds of other cultures. When writing about this music, I search for astonishing songs, songs that–when I hear them–mesmerize and, in a few instances, even make me swoon.

This is the case with Kitka‘s ravishing Ma Navu (hear it). The song is from Isaiah 52:7 and the music was written by Israeli composer Yossi Spivak. There is an equally enchanting folk dance to this tune choreographed by Raya Spivak (one assumes this was his spouse).

How wonderful upon the mountains are the feet of the bearer of good tidings.
Who proclaims peace, the harbinger of good, who proclaims salvation

מַה-נָּאווּ עַל-הֶהָרִים רַגְלֵי מְבַשֵּׂר, מַשְׁמִיעַ שָׁלוֹם מְבַשֵּׂר טוֹב–מַשְׁמִיעַ יְשׁוּעָה

Kitka’s arrangement begins with a single soprano voice singing the melody, then joined by a second which adds an unusual harmonic line. The two voices proceed to intertwine, doing beautiful vocal pirouettes. Finally, the entire ensemble joins together for a breathtaking concluding section. Parts of the harmony sound oddly dissonant like those you might hear in early music. But these dissonant harmonies are so unusual that they sound contemporary as well. This gives you the impression of a song that is both ancient and modern at the same time.

I also love the folk dance version of Ma Navu. It’s quite simple but infinitely elegant and precise. Back in my folk dance days, it was always a pleasure to dance Ma Navu. You didn’t need virtuosic technique or manic energy as you sometimes do in Israeli folk dance. But you did need to internalize your body’s movements and to join your body to the grace of the music. You had to combine your own emotional experience of the music with physical movement in a way that was (if you did the dance well) very precise.

This is music of grace, of beauty, and of peace. It is music that soothes the soul. A perfect rejoinder to the hate and violence that presently afflict our world and especially the Middle East.

You may purchase downloads of Kitka’s Wintersong (which include Ma Navu) online at Magnatune. Or you can buy the CD at Amazon. Thanks very much to Shira Cion of Kitka and to Magnatunes for agreeing to allow their music to be featured here.

Magnatune features a service I’ve never seen before on a music site. If your use of their music is non-commercial they will allow you to download it for free under a Creative Commons license. I can’t tell you how refreshing this is for an mp3 blogger like me. The people at Magnatunes get it when it comes to MP3 blogs. They understand that we provide a secondary market for promoting their artists’ music. Often, I have to buy an entire CD (at import prices ranging upwards of $25) to feature a single song here. And at that, I sometimes do not have or cannot get the label or artist’s permission to offer their work here (though of course if any artist objected I would remove it immediately).

Just as an example, a few weeks ago I heard a gorgeous song on KBCS and wrote the musician asking if I could feature it here. She replied that she didn’t know how to send me the music file and that she wanted to read what I planned to write before I published. No one had ever placed such a condition on their participation here. I replied that the condition was acceptable though I thought she didn’t need to be overly concerned about what I’d write since I only write about what I love. She never replied.

Instead of hostility, ignorance or indifference to mp3 blogging, Kitka and Magnatunes embrace it. What a breath of fresh air. Magnatune’s section of their site on Open Music is simply inspiring. Now, if only more artists and labels would get religion.

Catherine Rose Crowther is a member of Kitka. I met her through my friend Sara Glaser, an Oakland Hebrew calligrapher, artist and graphic designer. I’d asked Sara to do the calligraphy and artwork for our ketubah (Jewish wedding contract), when she told me she could only write the text. She recommended Katherine Rose to create the artwork. Crowther did a splendid job of translating my thoughts about a Hudson River Valley scene as the backdrop for our ketubah. She also designs all of Kitka’s gorgeous album covers (see above).

‘Pincus and the Pig’: Klezmer Music by Shirim , Art by Sendak

Saturday, December 25th, 2004

In this season when everyone and their brother is buying Christmas presents, I thought it’d be counterintuitive and recommend buying something for that “special [Jewish] person.” My friend, David Kosins discovered Pincus and the Pig: A Klezmer Tale, a CD and booklet illustrated by the incomparable Maurice Sendak with Klezmer music performed by the Shirim Orchestra. The story is a retelling of the Peter and the Wolf story with a Yiddish accent (which Sendak puts on in his narration of the story–and it is fabulous!). Peter has become a “boychik” named Pincus. The wolf is now a chozzer (pig). The hunters are Cossacks. All in all, an apt adaptation of the original. Shirim have taken Prokofiev’s inimitable music and turned it klezmer-like. The entire production is utterly charming and would be a great present for anyone from 5 to 85. What a great Hanukah present it would make too!

Here are some of Sendak’s exquisite graphics from the book:

WARNING: This mp3 blog exists to spread the wonder and genius that is traditional music. It does NOT exist to enhance your private mp3 collection. So by all means come, listen, enjoy, then follow the links to buy the music. If you come, listen, download, then leave—you’re violating the spirit behind this blog and doing nothing to support the artists featured here. And if you link to my mp3 file at your own site, then you’re stealing my bandwidth and being pretty uncool. So please don’t do it.