Nights in Canaan: Early Songs of the Land of Israel (1881-1946)

Nights in Canaan: Early Songs of the Land of Israel (1881-1946)

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Material Type: 
Recordings
Publisher: 
Jewish Music Research Centre, The Hebrew University of Jerusalem
Place of Publication: 
Jerusalem
Place of Recording: 
Israel (various locations)
Year: 
1999
Edition: 
1
Series: 
Anthology of Music Traditions in Israel
Volume: 
13
Pages: 
1 CD
Recording Number: 
AMTI CD 9804
Type of Recording: 
Research Recording
Media: 
CD
Languages: 
English
Hebrew
Country / Area: 
Israel
Tradition: 
Israeli
Description: 

A collection of songs from the period of 1882-1946, sung in Canaan - Palestine - Land of Israel. Sung in Hebrew, Yiddish and Arabic by various performers. Collected and annotated by Yaakov Mazor. Program notes in Hebrew.

 

Performers: Yirmiyahu Rosenzweig, Bat-Ami Zemiri, Shimon Felman, Ra'ya Rotem, Miryam Levitin, Ezra Kadduri, Rami Bar-Giora, Carmeliyya Sela, Professor Menashe Har-El, Moshe Kedem. 

Sound Examples: 
El ha-mayan (To the spring)

Yaakov David Kamzon poet and author immigrated to the Land of Israel in 1926 and wrote mainly for children. This poem written during his first year in the country immediately became popular and has been sung for decades in schools and youth movements; up until the 1970s it was often included in children's theatrical performances. The melody is considered typically Israeli.

Gilu ha-Galilim (Rejoice Galileans)

A second Aliya (1904-1914) song which became an integral part of the historical repertoire of Hebrew song. Both native-born and newly arrived pioneers sang it in all possible circumstances: at home at school in the youth movement in mass rallies and so on. The refrain alone but with the entire melody was used as accompaniment for the Hora. Almost simultaneously a variant appropriate to both the "Maccabee" movement and the Hanukah festival came into being: 'Rejoice heroic Maccabeans...' In the present version the song is performed antiphonally. The melody judging by its style may be a Hasidic dance tune. At any rate the melody of the refrain is based on motives that make up the first section of two Hasidic dance tunes one of which belongs to the repertoire of the Zanz Hasidim. The song has been published in song-books with two additional verses.