An Index to Gershon Ephros' Cantorial Anthology
A guide to the unpublished works of Gershon Ephros (1890-1978): An annotated bibliography
An overview of congregational song in the German synagogue up until the Shoah
Saul Brown (Pardo): First Known Chazan in New York
Material Type:
Articles in Books
Year:
1936
Congregational singing as a norm of performance within the modal framework of Ashkenazi liturgical music
Amsterdams chazzanoet : synagogale muziek van de Ashkenazische gemeente
Texts in Hebrew with translation into English and Dutch. Introductory matter in Dutch and English by H.M. Polak inserted. English title: Amsterdam chazzanut. Hebrew title: שירי חזני אמשטרדם.
Material Type:
Scores
Year:
1990
Yossele Rosenblatt: The story of his life as told by his son
Author
The life story of cantor Yosef (Yossele) Rosenblatt as told by his son (Discography on pages 369-371).
Material Type:
Books
Year:
1954
Schire Beth Adonai
Composer
Composer
Three volume collection of synagogue compositions: The first two volumes are liturgical choral compositions. The third volume, titled Schire Schelomo, contains chants and settings composed by Hirsch Weintraub's father, Salomon Weintraub (Kashtan).
The first edition, under the same name, which did not include "Schire Schlomo", was published in Koenigsberg in 1865.
Material Type:
Scores
Year:
1901/R
Three schools of cantorial music [Yeshiva University; The Theological Seminary of America; The Hebrew Union College - Jewish Institute of Religion]
- A Polka Mazurka
- Niggun of the Meggid of Mezerich From the album, "The Hasidic Niggun as Sung by the Hasidim." This dance niggun is the seventh and last in a series of niggunim sung by Bratslav Hasidim as they dance after the Shabbat evening service on Friday night. Some have attributed the niggun to R. Dov Ber, the meggid of Mezerich.
- Kol B'ru'ei (Padua, Italy) From the album, "Italian Jewish Musical Traditions from the Leo Levi Collection (1954-1961)." The poem depicts "all creatures" singing and praising the unity of God, and was recited in the Italian rite during the daily morning prayer. This melody was sung only on Rosh Hashanah (New Year) in the Italian tradition of Padua.
- Yigdal From the album, "Judeo-Carribean Currents, Music of the Mikve Israel-Emanuel Synagogue in Curaçao," performed by Gideon Zelermyer. The Yigdal is part of the ceremonial section of the liturgical order of Shabbat and the Holy Days in the Curaçao synagogue. It is one of the ending hymns of the service.
- Eres Chiquita y Bonita From the album, "Judeo-Spanish Moroccan Songs for the Life Cycle," sung by Alicia Bendayan from Tetuan. This is a song about courtship, related to the Jewish rituals that mark the events of the life cycle.
- Sweet Shalt Be My Chant From the album, "Kulmus Hanefesh," performed by Yair Harel on voice and tar, and Matti Kovler on voice and piano. A sacred hymn attributed to Rabbi Yehuda ha-Chasid, this is a Chabad tune with a near-Eastern arrangement.
- Lyr II From the album, "The Music of the Mountain Jews." Lyr is a genre found among all Turkish peoples, consisting of long, complex compositions usually comprised of three parts.
- Gilu ha-Galilim (Rejoice Galileans) From the album, "Nights in Canaan, Early Songs of the Land of Israel (1882-1946)." This is a Second Aliyah (1904-1914) song which became an integral part of the historical repertoire of Hebrew song. Both native-born and newly arrived pioneers sang this song in all circumstances.
- Saperi Tama From the album, "With Songs They Respond: The Diwan of the Jews from Central Yemen." This is a girdle poem by Se'adia ben Amram. Saperi Tama is sung to many melodies and is one of Yemenite Jewry's most common poems.