The Western Sephardi Liturgical Tradition
Spanish-Portuguese Synagogue Music in Nineteenth-Century Reform Sources from Hamburg: Ancient Tradition in the Dawn of Modernity
Musical Life and Traditions of the Portuguese Jewish Community of Amsterdam in the XVIIIth Century
Ha-Mesiah Illemim
Two Spanish-Portuguese ‘Cantorial Fantasias’ from Hamburg (1838)
The Ancient Modernity of the Liturgical Music of the Portuguese Synagogue in Amsterdam
Traditional High Holy Day Melodies of the Portuguese Synagogue of Amsterdam
Author
Begins with a brief history of Jewish life in Amsterdam from the earliest evidence of the 16th c., through the 17th and 18th c., including the construction and later history of the famous Esnoga (synagogue) building and the associated Ets Haim library. Musical life in the Amsterdam Jewish community in the 17th and 18th c.
Material Type:
Articles in Journals
Year:
1981
High Holy Day Hymn Melodies in the Portuguese Synagogue of Amsterdam
Author
History of the Spanish-Portuguese community in Amsterdam and a comparison between the present day service and past service as described in 1788 by Joseph Pinto.
Material Type:
Articles in Journals
Year:
1980
Persistence and Transformation of a Sephardi Penitential Hymn under Changing Enviromental Conditions
Author
Co-editor
Editor
Co-editor
Co-editor
Material Type:
Articles in Books
Year:
1986
[On] Edwin Seroussi, "Spanish-Portuguese Synagogue Music in Nineteenth-Century Reform Sources from Hamburg : Ancient Tradition in the Dawn of Modernity" (1996)
- 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.