Thanks, Daniel! I certainly know this tradition from the USA, though it may be more academically taught than handed down. I learned it in school and did an Oscar Julius setting for one of my nusach practica: https://youtu.be/CaSuQ9Ea0OA?si=YEXX_xHONlRIt8Ik
I am Daniel Tunkel, from London UK, though sitting in a Sukkah in Netanya, Israel, as I write this.
Here is a seasonal musical suggestion for you. The Jews of Frankfurt-am-Main had a musical tradition for Simchat Torah that spread a bit, though not as far and wide as one might have thought, given that it is great fun. After Musaf, the cantor (perhaps assisted by a choir) would intone the Jahrkaddisch (Yahrkaddish, if you prefer).
This would in essence be the text of Kaddish Titkabal, but with each section sung to a different melody from some part of the Jewish festival year. All put together for the fun and jollity of the occasion (and, I dare say, to remind folk that the festivals are over now for the winter (well, at least until Hanukkah) and that this is as good a way of underlining this musically as one might).
I seem to recall that there is a very early Yahrkaddish version given in Idelsohn’s volume of 18th century or earlier German Jewish manuscripts. Attributed to one Jekl Singer from Amsterdam (somebody please correct me if I have this wrong). I’m not sure whether any of the nusach books from Frankfurt itself offer this interesting format (again, fire away if you reading this know better). However, much the most elaborate version I am aware of is produced by (ie in the name of) Mombach in Neim Zmiros Yisroeil, which was the posthumous publication of his music from 1881, and not therefore wholly reliable. It is set for cantor and choir, runs to several folio pages, and offers tunes from 7 or 8 festivals (if memory serves).
Mombach came from Pfungstadt, a very small community in central Germany that would have been in Frankfurt’s domain. I’m not aware of whether he visited Frankfurt, though since he came to London at the age of about 13 and stayed his entire life, I think that is relatively unlikely. My supposition is that Mombach created his Yahrkaddish based on the premise of the tradition, rather than conveying an actual Frankfurt composition into English usage.
Although much Mombach is still sung in the UK, this piece has fallen into disuse. Certainly I’m not aware the tradition ever caught on in the UK. Maybe it is time to revive this end-of-season gimmick, even if just for concert performance.
Some communities still do a pastiche Adon Olam on the evening of Simchat Torah. Each verse is a melody associated with the yamim tovim in sequence. My Reform Movement-trained cantor mixes in the Habanera from Carmen for one stanza.
Thanks, Claire. I’m glad that this spirit is still alive even in Reform contexts! I could only dare to venture Habanera or other opera contrafacts on Purim (although admittedly I do non humorous Mozart requiem contrafacts on the High Holidays).
Shalom! We met in Cleveland, and this is my second Sukkot spent largely without my lulav and etrog... I wonder, what TSA would have thought if I had tried to fly with it? I overslept yesterday and missed services, but a big hole in my heart remains from last Simchat Torah. We've had way too many shocks to bear, yet we must carry on.
I’m Jordan Friedman, a second year rabbinic student at HUC in NYC. I love your approach to music and its sanctity, and wish to restore a sense of the elevation that music can produce in souls in the Reform movement. I’m interested in re-acquainting average Jews in the pews with complex sacred music that is rendered in a way that’s soulful and exciting, not stodgy or too schmaltzy. In my experience, in the few places where that actually happens, typical complaints about western classical music in shul tend to be somewhat muted. But I also think this is not a matter of style—it’s a substance unto itself. There are aspects of the nature of God that cannot be transmitted with musical triteness or mediocrity. I struggle to balance this undeniable fact with an aggadic values-based disdain for elitism and exclusion.
Thanks, Jordan! I agree that it is difficult to marry excellence of form and musical complexity with excellence of spirit. Often when one succeeds the other suffers, and vice-versa. I also totally agree that aspects of HaShem are in eclipse without grandeur, and that old forms inhere some of God’s sonic sovereignty. I appreciate your thought and readership!
Thanks, Daniel! I certainly know this tradition from the USA, though it may be more academically taught than handed down. I learned it in school and did an Oscar Julius setting for one of my nusach practica: https://youtu.be/CaSuQ9Ea0OA?si=YEXX_xHONlRIt8Ik
I am Daniel Tunkel, from London UK, though sitting in a Sukkah in Netanya, Israel, as I write this.
Here is a seasonal musical suggestion for you. The Jews of Frankfurt-am-Main had a musical tradition for Simchat Torah that spread a bit, though not as far and wide as one might have thought, given that it is great fun. After Musaf, the cantor (perhaps assisted by a choir) would intone the Jahrkaddisch (Yahrkaddish, if you prefer).
This would in essence be the text of Kaddish Titkabal, but with each section sung to a different melody from some part of the Jewish festival year. All put together for the fun and jollity of the occasion (and, I dare say, to remind folk that the festivals are over now for the winter (well, at least until Hanukkah) and that this is as good a way of underlining this musically as one might).
I seem to recall that there is a very early Yahrkaddish version given in Idelsohn’s volume of 18th century or earlier German Jewish manuscripts. Attributed to one Jekl Singer from Amsterdam (somebody please correct me if I have this wrong). I’m not sure whether any of the nusach books from Frankfurt itself offer this interesting format (again, fire away if you reading this know better). However, much the most elaborate version I am aware of is produced by (ie in the name of) Mombach in Neim Zmiros Yisroeil, which was the posthumous publication of his music from 1881, and not therefore wholly reliable. It is set for cantor and choir, runs to several folio pages, and offers tunes from 7 or 8 festivals (if memory serves).
Mombach came from Pfungstadt, a very small community in central Germany that would have been in Frankfurt’s domain. I’m not aware of whether he visited Frankfurt, though since he came to London at the age of about 13 and stayed his entire life, I think that is relatively unlikely. My supposition is that Mombach created his Yahrkaddish based on the premise of the tradition, rather than conveying an actual Frankfurt composition into English usage.
Although much Mombach is still sung in the UK, this piece has fallen into disuse. Certainly I’m not aware the tradition ever caught on in the UK. Maybe it is time to revive this end-of-season gimmick, even if just for concert performance.
Some communities still do a pastiche Adon Olam on the evening of Simchat Torah. Each verse is a melody associated with the yamim tovim in sequence. My Reform Movement-trained cantor mixes in the Habanera from Carmen for one stanza.
Thanks, Claire. I’m glad that this spirit is still alive even in Reform contexts! I could only dare to venture Habanera or other opera contrafacts on Purim (although admittedly I do non humorous Mozart requiem contrafacts on the High Holidays).
Shalom! We met in Cleveland, and this is my second Sukkot spent largely without my lulav and etrog... I wonder, what TSA would have thought if I had tried to fly with it? I overslept yesterday and missed services, but a big hole in my heart remains from last Simchat Torah. We've had way too many shocks to bear, yet we must carry on.
HI Matt
I love your articles. I thought you might like my Ushpizin composition:
I have written a chant for the opening Ushpizin prayer (it’s in Aramaic) for inviting guests into your Sukkah
https://soundcloud.com/linda-hirschhorn/ushpizin
Ushpizin © Linda Hirschhorn
Teevu Teevu Ushpizin Ushpizin eelahin
Teevu Teevu ushpizin Ushpizin kah-dee-sheen
(Teevu Teevu Ushpizin dim-hay-mih-noo-tah) x2
(Sit sit you lofty guests, you holy guests, you guests of faith)
I’m Jordan Friedman, a second year rabbinic student at HUC in NYC. I love your approach to music and its sanctity, and wish to restore a sense of the elevation that music can produce in souls in the Reform movement. I’m interested in re-acquainting average Jews in the pews with complex sacred music that is rendered in a way that’s soulful and exciting, not stodgy or too schmaltzy. In my experience, in the few places where that actually happens, typical complaints about western classical music in shul tend to be somewhat muted. But I also think this is not a matter of style—it’s a substance unto itself. There are aspects of the nature of God that cannot be transmitted with musical triteness or mediocrity. I struggle to balance this undeniable fact with an aggadic values-based disdain for elitism and exclusion.
Thanks, Jordan! I agree that it is difficult to marry excellence of form and musical complexity with excellence of spirit. Often when one succeeds the other suffers, and vice-versa. I also totally agree that aspects of HaShem are in eclipse without grandeur, and that old forms inhere some of God’s sonic sovereignty. I appreciate your thought and readership!
Moadim l'simcha from Singapore!
I'm enjoying reading about the Jahres Kaddish, which was introduced to me by Hazzan Israel Goldstein z"l. What a great tradition!
Versions I have sung (and altered) include "Kaddish L'Simchas Toroh" by Abba Weisgal and this one, by Hazzan Charles Davidson z"l
/Users/faith/Library/Containers/com.apple.mail/Data/Library/Mail Downloads/34AA1756-A77F-4A39-AA14-7B2CC06A601F/Jahres Kaddish-Ch.Davidson.pdf
Shalom chazn! Thank you for sharing this - can you send me the PDF via email? I can then post a screenshot here.