Like sapphire

This week's Torah portion, Mishpatim, contains one of my favorite verses: כְּמַעֲשֵׂה לִבְנַת הַסַּפִּיר וּכְעֶצֶם הַשָּׁמַיִם לָטֹהַר. I love the verse (it's the second half of Exodus 24:10) because it's one which Nava Tehila has set to music. Had they not written this melody, I might never have paid much attention to these words... but because of this melodic setting, the verse has become one of my favorites in Torah.

 

 If you don't see the embedded video, you can go directly to it at YouTube

This verse comes from the scene where Moshe and the 70 elders, having ascended with God, are preparing for a banquet in heaven. Torah describes the floor where they are sitting as being like sapphire, though not actually sapphire. I think of this as a metaphor for how difficult it is to describe deep connection with God: our words always fail us. "It was like sapphire," we say, and words fall short.

Sometimes melody can deeply evoke an experience which doesn't quite translate into language. I don't know how Moshe and the elders might have tried to describe their ineffable experience with God once they got home again. Maybe if they could hear this melody and these harmonies, they would be satisfied that their experience had been communicated, with feeling and with heart if not with words.


Aleph Bass

The folks behind Darshan just put out a new single, with a stunning psychdelic animated video:

 

(If you can't see the embedded video, you can go directly to it at YouTube.)

I wrote my undergraduate thesis on the Sefer Yetzirah and the Jewish mystical idea that because creation is ultimately made up of Hebrew letters, we can use meditative linguistic techniques to un-do language and ascend to union with God. This track draws on those kinds of teachings, so it was guaranteed to be up my alley -- even before the beautiful animation which moves from Middle Eastern cityscapes to the furthest reaches of outer space.

The English words are on the track's YouTube page, and I'll share them here also:

Letters are the building blocks of all of God's creation
Kabbalistic keys unlock the heart of human nature
Metaphysic molecules of mystic nomenclature
Torah is the Tree of Life in musical notation

Speaking into being, existential occupation
For servants of the Source of Light and Root of Revelation
Reading into meaning, covenantal calibration
For students on the path of learning language liberation

The Hebrew words (when they're not a recitation of the letters of the aleph-bet) come from an alphabetical acrostic of praise recited on weekdays as part of the Yotzer Or blessing, the blessing for God Who creates light. (If you can read Hebrew, you'll find the words at the top of this blog post.) It's a neat interweaving of classical text and contemporary form. 

Anyway, enjoy the song on YouTube. (And I believe it's available on iTunes, Spotify, Amazon, etc, for those who are so inclined.) Happy Chanukah!


I seek your face (for #blogElul 3: Search)

 

show me your face
in the face in front of me



show me your light
in familiar eyes

show me your heart
in the overflowing of mine



show me how to be hollow
so you can pour through me



show me your name
written in the wheeling stars

show me my name
written across lifetimes



in the face of my beloved
show me your face

 





Many years ago I heard Rabbi Jeff Roth offer the teaching that the mind is like tofu: it takes on the flavor of whatever one marinates it in. During the four weeks of Elul, I'm marianting in two melodic settings of parts of Psalm 27.

One is the Kirtan Rabbi's set of chants which use verses from that psalm, tracks 2-4 on his CD Achat Sha'alti (One Thing I Ask.) And the other is Nava Tehila's setting of verse 8, Lach Amar Libi:

This poem arose out of these two excerpts from the psalm. "One thing I ask of You --" and "You called to my heart, 'seek My face' -- Your face, Source of All, is what I seek!"

  BlogElul+5776

 

 

I'm participating again this year in #blogElul, an internet-wide carnival of themed posts aimed at waking the heart and soul before the Days of Awe. (Organized by Ima Bima.) Read #blogElul posts via the Elul tag; last year's posts are now available in print and e-book form as See Me: Elul poems.


It's Adar! Let's be happy!

Chodesh tov -- happy new month of Adar!

This is the month of which our sages said, "When Adar enters, joy increases." In light of that, here's a setting of the c. 11th century hymn "Adon Olam," which is part of traditional daily prayer and which we sing at my shul every single Shabbat, set to the melody of Pharrell Williams' 2014 hit "Happy." 

(Speaking of which -- if you missed Ethan's piece in The Atlantic last year, YouTube Parody as Politics: How The World Made Pharrell Cry, it's worth reading. And there are some amazing international "Happy" videos at We Are Happy From -- the one I remember from Madagascar seems to have been taken down, but there's a lovely one from Namibia...)

Here's to Adar and to being happy!

 


Four poems from 70 faces set to music

Several years ago, composer Michael Veloso set two of the poems from the manuscript which would become Waiting to Unfold to music. I had the extraordinary experience of being able to hear them in concert, performed by the Boston-based ensemble Cantilena, at a concert of music about mothers, on my first mother's day as a mother.

70FacesSmallI'm delighted to say that another composer has found inspiration in my words. Michael Scherperel set four poems from 70 faces for piano, violin, and voice in a series called "שבעים / Shiv'eem" ("Seventy"). The series was recently performed by Michael and vocalist Susan Boardman at two recent concerts, one at Penn State and one at Studio 37 Recital Hall in Fishers, Indiana. (He tells me the songs were very well received!)

You can read about the composition, and if you are so inclined order the score, at his website. You can also click on the Soundcloud link there and listen to a live recording of one of those performances -- or you can listen to it at Soundcloud. (I'd embed the audio here but that doesn't seem to be possible, so if you want to hear the songs, you'll have to click through.)

This kind of creative collaboration is part of why I make my poems available online for free, and why I'm such a big supporter of Creative Commons and of remix projects like the Poetry Storehouse. I'm honored that Michael Scherperel liked my poems enough to set them to music, and hearing them performed is an amazing experience. Thank you, Michael and Susan!


Chanukah and the obligation to sit still and notice

One of the customs of Chanukah is to sing a couple of hymns after we light Chanukah candles. One of them is Maoz Tzur, "Rock of Ages." (Here's an abbreviation of the traditional version. Here's Reb Zalman's version, which is singable to the same tune but celebrates the miracles of Chanukah in a different way.) And the other hymn is Hanerot Hallalu, "The lights which we light." Here's that second one:

  Hanerot-hallalu

"We light these lights for [commemoration of] the miracles and the wonders, for the redemption and the battles that you made for our ancestors, in those days at this season, through your holy priests. During all eight days of Chanukah these lights are sacred, and we are not permitted to make ordinary use of them except to look at them in order to express thanks and praise to Your great Name for Your miracles, Your wonders and Your salvations." (From Talmud, Sofrim 20:6)

This little song is often overlooked and is not well known. Which is a shame, because it's quite wonderful.

Hanerot Hallalu teaches us that we light the candles of the chanukiyyah in order to remember miracles and wonders, and that their light is holy -- so holy, in fact, that we're not supposed to use that light for ordinary things. Instead, our job is to just enjoy them. To look at them. To contemplate them, and their small beauty, and to cultivate an upwelling of thanks and praise. In this way, Chanukah invites us into contemplative practice.

The Shabbat candles which we kindle each week are also holy. But they don't come with this same obligation. It's perfectly permissible to eat one's Shabbat dinner by the light of the Shabbat candles. But the Chanukah candles aren't meant to be used in any mundane way. The shamash candle, the "helper" which lights the others, casts ordinary usable light. But the eight candles in the chanukiyyah proper are there not to give us light to do the dishes by -- they're there to give us a meditative focus, something to look at as we coax wonder and gratitude to arise within us.

At this hectic season -- Thanksgiving and "Black Friday" just past, Christmas and New Year's on the horizon, everywhere around us a tumult of coveting and shopping and spending, the academic semester racing to its finale -- the very idea of taking the duration of the Chanukah candles as a time for quiet and meditation seems like a miracle. May we all be blessed to find our moments of stillness and peace as the candles burn low.


Here's a choral setting of Hanerot Hallalu. And here's a solo setting of an unknown melody. If your tastes run more toward a cappella, here's Six13's version. And here's a simple sung version, accompanied beautifully on piano.


#BlogElul 3: Bless

Bless, O my soul, the transcendent and immanent One !
My Holy One, You are great beyond measure.
Splendor and beauty You put on;
You don light like a garment
Spreading the heavens like a curtain.
How precious is Your love, Holy One!
Humankind takes refuge in the shelter of Your wings.
They will be satisfied from the abundance of Your house
And from the stream of Your delights You give them to drink.
For with You is the source of life
And in Your light, we will see light.
Extend Your love to Your knowers,
And Your charity to those righteous of heart.

That's a setting of Barchi Nafshi performed by Hazzan Richard Kaplan, who is a hasid, a loving disciple, of Reb Zalman's. Some have the custom of reciting these verses when putting on a tallit for morning prayer.

I love the idea that God is robed in light as we robe ourselves in garments. And I love the idea that when we pray, we bless God.

It's easy to think in terms of asking God to bless us, or to bless our loved ones. But this prayer calls us to remember that we too are sources of blessing. That despite God's infinite greatness -- "my Holy One, You are great beyond measure" -- we bless God.

Maybe our ability to bless God, and to bless each other, arises out of the reality that we are made in God's image. Like God, we can create and destroy with our words. Like God, we can choose to speak curses or to speak blessings.

Today, on the third day of this journey into the month of Elul, may we find it in our hearts to bless God, and to bless everyone we meet.

Blogelul2013


At an unveiling, a moment of grace

First I was distracted because I didn't have a cemetery map.

There's a custom in Jewish tradition of having an unveiling of the matzevah, the grave marker / headstone, usually a year after burial. I was privileged to do an unveiling this weekend -- my first, actually, so I'd spent some time in recent weeks reading up on the ceremony and how it evolved. I felt certain that I had put together good materials (including R' Brant Rosen's beautiful interpretation of Psalm 23). But I realized, when I woke this morning, that I wasn't exactly certain where in our cemetery I would find this headstone. I should have thought of it sooner, but I was so focused on the ritual that I forgot to think about the physical place in which the ritual would unfold. Grumbling at myself, I went to shul early to look for a cemetery map.

I thought I knew where such a map would be. I was wrong. And I had just finished my search for the map when my cellphone rang. It was my husband, calling to ask where his carseat was. I clapped my hand to my mouth, realizing all in a flash: oh, no, it was in my car, with me. I had driven away with both carseats. I'd had the spare one in the back of the car in case it was needed for our son's most recent playdate, and I'd forgotten to remove it. And by the time he called, I needed to dash to the cemetery to stroll the aisles in search of the headstone which needed to be dedicated. There was nothing I could do; he and our son would be stuck at home until I was done. I grumbled at myself some more.

When I arrived at the cemetery my distraction took a partial backseat to beauty. We're having a spectacular May weekend. All the trees are bursting into unbelievable chartreuse leaf. The grass at our cemetery is carpeted with tiny violets. I could hear a rooster crowing nearby. The horses stabled across the street whinnied and snorted. And, thank God, I found the headstone right away, and was able to drape it with a white linen cloth before the family arrived. Once people started arriving, I was able to focus on them; the morning's distractions and my exasperation with myself receded into a dull buzz at the back of my consciousness.

But what really shook me out of my distraction and brought me square into the present moment was the music. The daughter of the deceased stood before his stone and sang L'dor vador. "From generation to generation we shall tell of Your greatness..." Her voice was pure and quavered slightly. Time slowed down, and I could feel that moment as a pause, a pearl, strung in a string of moments stretching back to time immemorial and forward forever. The whole world seemed hushed and still, listening. The words come from the daily amidah prayer, and the song evokes our generations -- what connects us to our ancestors, and to our children -- the melodies, the heritage, the love which bind us to each other and to our tradition. By the time she had finished singing, my day was transformed.

It's those little moments of grace which make everything worthwhile. They can't be planned or presumed-upon; they come when they come. I don't know if she knew she was giving me such a gift, but she did. I am endlessly grateful.


The daughter who sang so gloriously was Gloria Lenhoff. She's the subject of the PBS documentary Bravo Gloria; you can hear her on YouTube, though not singing "L'dor Vador." For more: For woman with Williams Syndrome, music was the key.


A melody before the seder's cups of wine

הִנְנִי מוּכָן וּמְזוּמָּן לְקַיֵּם מִצְוַת כּוֹס רִאשׁוֹנָה מֵאַרְבַּע כּוֹסוֹת לְשֵׁם יִחוּד קוּדְשָׁא בְּרִיךְ הוּא וּשְׁכִינְתֵּיהּ.

Hin'ni muchan u-m'zuman l'kayem mitzvat kos rishonah m'arbah cosot l'shem yichud kudsha brich hu u-schinteh.

May my consumption of this first of four cups of wine create healing, effecting a unification between the Holy Blessed One and Shekhinah, God far beyond & God deep within.

That text appears in both of the current editions of the Velveteen Rabbi's Haggadah for Pesach (the 48-page version and the 82-page version) -- with the obvious changes ("first of four cups" becomes "second," "third," then "fourth") -- before each of the seder's prescribed cups of wine.

The formula which invites one to perform a mitzvah for the sake of the unification of the Holy Blessed One and the Shekhinah (לשם יחוד קודשא בריך הוא ושכינתיה) appears in a variety of places in traditional Jewish practice. Some say those words before putting on tefillin, or before counting the Omer. The Baal Shem Tov urged his followers to say those words before doing any mitzvah. I like to say them before each of the seder's four cups of wine.

When we read this little pre-prayer intention before each cup of wine, we invest our consumption with the hope that as we bless and drink, we will be able to effect a unification between the Kadosh Baruch Hu and the Shekhinah. Between the transcendent aspect of God which is beyond our ken, and the immanent aspect of God which is embodied in creation. Between divinity we can scarcely begin to comprehend, and divinity we experience in our daily lives.

These words presume that mitzvot have meaning, and that when we do them mindfully and with a whole heart, we have the capacity to impact the very being of God.

In recent years I've been aware of wanting some way to really enter into this prayer before each of the seder's four glasses of wine. And aware, too, that while the kabbalistic language speaks to me, these concepts may be strange or unfamiliar for many seder-goers. I'm not sure that pausing the seder and offering further discursive explanations actually serves the purpose of helping people enter into this practice.

Enter melody.

HineniMuchanNiggun

 

I'm not a songwriter, so I was surprised when this chord progression and this simple melody came to me. But I was casting about for some way of making this small prayer more accessible, and the melody arose. So I said thank-you for it, and I recorded it in three ways: as a niggun (above), as a song (intended to be sung before the first time this kabbalistic formula is recited), and in a shortened version which leads right into the blessing over wine. Here's the song:

HineniMuchan

 

And here's the version which uses only the first few words (הִנְנִי מוּכָן וּמְזוּמָּן) and then moves into the blessing over wine.

HineniMuchan-BoreiPri


If this practice speaks to you, and if this melody speaks to you, feel free to make use of them in your seder(s). The first seder is four weeks from tonight! I want to be attentive to what quickens in me as this festival approaches. Behold: I am ready...

 


Twenty years of song

In January of 1993, a woman named Kate put out the word that she was looking for people who were interested in singing madrigals during Winter Study, Williams College's January term. My dear friend David told me in no uncertain terms that he was going, and he was dragging me with him. I was mourning the break-up of my first real relationship, and I was morose; he knew that singing would cheer me. I was as dubious about that proposition as only a self-centered and heartbroken seventeen-year-old could be, but I agreed to give it a try.

To my surprise, David turned out to be right. The singing was grand, and it lifted me out of myself. We had so much fun during Winter Study that, when the spring semester began, we decided to constitute ourselves as a "real" a cappella group, specializing in madrigals and early Renaissance music. David and Kate became the group's first pair of directors, and they opened auditions to the campus-at-large. To my great relief, I made it into the group. Once the group's line-up was settled, we spent an afternoon brainstorming names. And the name we chose for ourselves was the Elizabethans.

The women, and the men, of the Elizabethans. Spring 1994.

I sang with the 'bethans all four years of college, and the year afterwards, too, when I was working at the college bookstore. Infinite hours of rehearsals -- concerts on campus, music interspersed with skits and patter and silliness -- annual tours when we packed ourselves into a college van or two and drove all over the Northeast (and sometimes as far south as North Carolina) to perform at colleges and churches, doing guest stints with other madrigal groups, singing wherever we could line up a gig, and then cooking meals for ourselves at night in borrowed kitchens -- these make up some of my fondest college memories.

It turns out that the era of making memories with the Elizabethans isn't over. Not entirely, anyway.

Continue reading "Twenty years of song" »


Rabbis Without Borders, kirtan, wow

   RWB

I've done kirtan before. I've even done kirtan with the Kirtan Rabbi, Rabbi Andrew Hahn, before. So when I saw it on our agenda, this morning, I smiled, and I thought, wow, that's going to blow a few minds. I didn't realize one of them would be mine.

Today was the first day of the first meeting of the fourth cohort of the Rabbis Without Borders fellowship. This morning we introduced ourselves by way of pennies, broke into small groups to talk about objects which matter to us (Jewish objects, "non-Jewish objects," and objects which others might think are non-Jewish but which feel Jewish to us -- after meeting with my small group I tweeted that I'm not sure there are non-Jewish objects anymore), and listened to Lisa Miller, religion editor at Newsweek, talk about religious demographics in the United States today.

Rabbi Brad Hirschfield led a fantastic afternoon session exploring and recontextualizing the statistics Lisa had placed before us. I want to blog about that, at some point. I have a lot of thoughts and ideas bouncing around my head now. I'm thinking a lot about the notion that the rising number of "nones" -- those who aren't affiliated with any religious tradition; who check the "none" box on surveys -- is not an ending but a beginning. An opening for a new chapter which we may, if we are awake and aware, be blessed to help co-author.

But the thing I want to write about tonight was our evening program, which was Hebrew kirtan with the Kirtan Rabbi. Kirtan is devotional chanting. In its original context, it's a kind of bhakti yoga -- a devotional practice of chanting divine names in order to open up the heart. Reb Drew led us in an evening of chanting, interspersed with narrative. He told us, over the course of the evening, how he came to explore this form of sacred practice and to integrate it with Judaism.

One of the chants which moved me was a variation on the shema. It features a variety of names for God: not only Adonai and Yah but also hesed, gevurah, tiferet -- the classical kabbalistic sefirot. I smiled as those names unfolded. I thought, ah, I see what he's doing there, that's very lovely. I enjoyed the chanting, and then when the chant was done I enjoyed the experience of singing the full shema once as our chatimah.

But the chant which really got me was his chant which works with the kaddish. There are several parts to the melody, and we chanted each one in turn. L'eilah min kol birchata u-shirata -- beyond all blessings and songs. Y'hei shmei rabbah m'vorach -- may the Great Name be blessed. One of the melodic lines is borrowed from the way the kaddish is sung on Friday nights, so I grinned the first time we sang it -- a familiar melody and familiar words, shifted and changed by their new context. I was surprised by how much joy and energy we brought to singing that line.

This is hard to describe; I'm not doing it justice. We reached a place where we were singing his kaddish kirtan in harmony -- the women singing one melodic line and set of words, the men singing another -- and all of a sudden my heart cracked open and I burst into tears. Quietly, mind you; I don't think most of the room noticed. I covered my face with my hands and took a few deep breaths and then I was able to sing again, though softly. By the time we finished the kaddish my face was wet and all I could think was that this must be what it's like to be part of the choirs of angels singing holy holy holy back and forth all day.

I've been blessed to have this kind of peak experience many times over my years in Jewish Renewal, but I wasn't expecting to have it tonight. (I've heard Reb Zalman speak several times about the challenge of "domesticating" the peak experience -- taking the peak experiences we may be blessed to have on retreat, and bringing them home with us, bringing that energy home to enliven our daily prayer lives.) I didn't see it coming, and there it was: a surprise from God, a moment of intense connection where my heart opened wide and God poured in.

Maybe it was because I was chanting kirtan in such an intimate setting -- this RWB cohort is a scant 18 people, so it was an intimate room, all of us seated close together and close to the music. Maybe because everyone in the room knew what the words meant (while I think most kirtan afficionadoes would say that the experience of chanting is meaningful even if the words are opaque -- come to think of it, that's one of the arguments I've used for davening in Hebrew even when one isn't fluent, too -- I do think that something is added when one knows what one is praying.)

One way or another, it was wonderful experience. I'm grateful to Reb Drew and his wonderful ensemble (especially Shoshanna Jedwab, whose drumming -- when I encounter it -- always enlivens my prayer). To my RWB cohort for willingness to enter into this admittedly non-traditional experience (which we'll be processing and discussing tomorrow morning -- that should be fascinating in its own right!) To RWB/Clal for creating the container within which this could all take place.

Several of my colleagues and I took the subway back to our hotel together, still talking about the evening. As I write this post now I feel as though I'm still vibrating faintly from this intense and wonderful day of conversations and connections and song.


The beating heart of music in Israel / Palestine

Hearing this track, and learning about this nonprofit organization, brought a bit of light into my Chanukah. (Thanks, A Way In, for sharing this song as one of your Chanukah posts!) So I figured I'd share it with y'all too. The song is called "Bukra Fi Mishmish," Arabic for "when pigs fly" or "when the impossible happens." It's written, and performed, by Israeli and Palestinian youth aged 16-20. It's terrific.

(If you can't see the embedded YouTube video, you can go to Bukra Fi Mishmish at YouTube.)

The song comes out of Heartbeat. Here's how that org describes itself:

HEARTBEAT is an international community of musicians, educators, and students using music to build mutual understanding and transform conflict. Founded in 2007 under a grant from Fulbright and MTV, Heartbeat offers a variety of programs to enable Israeli and Palestinian youth musicians to build trust and actively participate in defining their futures, by developing and spreading their music.

Fear, violence, ignorance and a pervasive lack of trust define the political and cultural reality of the Israeli-Palestinian conflict. Most Israelis and Palestinians have only encountered the other side through televised reports of extremist violence, soldiers at checkpoints, or politicians. As violence intensifies in this small corner of the world, people retreat to their side, and are too often unable to trust in the humanity of the other. To break the status quo of separation and violence and to build a future of peace, security, justice, and freedom for all, people on both sides must know the other; they must communicate and understand each others needs, fears, hopes and shared humanity. People on both sides must be shown tools of change more effective than violence.

Music has an amazing ability to connect people, build trust and inspire hope in the darkest of places. Modern, popular music has long been the voice of change all around the world and a powerful means for youth expression and nonviolent action. By bringing together young Jewish and Arab musicians and strengthening their voices, we are working to build a global culture of trust, compassion, and respect.

I give tremendous credit to everyone involved in this project; I don't imagine that this kind of creative and spiritual work is easy, but I do believe that it matters.

If this sounds like something you might want to support, consider donating to Heartbeat. They're in the process of applying for 501(c)3 status, but for those who are in the United States, tax-deductible contributions to Heartbeat can be sent to their fiscal sponsor, Jewish Renewal congregation Am Kolel, by clicking on the PayPal link on that donate page.

Happy Chanukah to all! I'll be humming this song long after this festival is through.


Winter blessings to a medieval carol tune

Several years ago, Ethan and I saw Richard Thompson and his merry band (the acoustic version thereof) perform a 1000 Years of Popular Music show at the Iron Horse. One of my favorite tracks from that night was a medieval Scots carol called "Remember O Thou Man," often attributed to Thomas Ravenscroft, though Ravenscroft may only have collected or updated it -- some suggest it predates him, too.

Richard told us that night that this melody is often considered to be the source of what we now know as God Save the Queen, though this carol is in a minor key whereas that anthem is in a major one. (The footnotes to that Wikipedia entry on "God Save the Queen" confirm that this is a popular theory, though no one seems to be able to prove it one way or another.)

Anyway, the melody stuck with me. I love it. Here, watch Richard and two friends play "Remember O Thou Man" in the back of a English taxicab:

(If you can't see the embedded video, you can go directly to it at YouTube.)

I associate this melody with the darkening days of deep autumn turning toward winter. Maybe because I first heard it in early November. Maybe because the original lyrics have a kind of wintery darkness to them -- "Remember, o thou man, thy time is spent..."

It ocurred to me, one cold and rainy day earlier this fall, that I might see if this melody works for any of the blessings of my winter season. (This isn't my first experiment with setting Hebrew words to Richard Thompson's melodies -- see A Richard Thompson Modah Ani.) So I tried putting the Chanukah candle blessing to this tune. You have to slightly rush a few of the words, but it works reasonably well:

 

ChanukahBlessingMedieval

 

I tried, also, setting the Shehecheyanu -- the blessing sanctifying time, which is recited on the first night of Chanukah -- to this melody, and it worked perfectly. (No elision or rushing necessary.) So maybe this melody works better for the Shehecheyanu than it does for Chanukah candles. Here it is:

 

Shehecheyanu-Remember

 

I'm not sure how actually useful this is -- what are the odds that anyone reading this will want to sing either the Chanukah blessings, or the shehecheyanu, to a medieval Scots melody? -- but I figured I'd share, just for kicks. Chanukah is approaching (we light the first candle on the night of December 8), so the timing seemed appropriate. Enjoy!

 



Brich Rachamana (now: with sheet music!)

Some years ago I posted about Brich Rachamana -- a one-line grace after meals which derives from Talmud, and for which I have learned two different melodies over my years in Jewish Renewal circles. In that 2008 post I shared simple recordings of both melodies -- Hazzan Jack Kessler's round (I offered one recording of the melody by itself, and another recording which shows how it works as a round) and also the tune borrowed from the Shaker hymn "Sanctuary."

I always wanted to share sheet music, for those who learn better by reading music than by hearing a tune. It's only taken 4+ years, but I finally have the capability of creating very simple sheet music. So, with no further ado, here are the two melodies for Brich Rachamana! (For reasons I don't wholly understand, there's white space at the bottom of each image which I can't seem to crop; apologies for the empty space on the page.) Feel free to use/share/teach these melodies if they speak to you.

Continue reading "Brich Rachamana (now: with sheet music!)" »


Music for the Days of Awe at CBI

Two years ago, when I first served as cantorial soloist at my shul alongside my friend and colleague Rabbi Jeff Goldwasser ("Reb Jeff"), we put together a cd of some of the melodies we'd be using during the chagim and shared the cd with our membership.

People seemed to like it. So I did it again last year. And I'm doing it a third time this year -- this time in consultation with my friend David Curiel, an ALEPH rabbinic student who will serve as our cantorial soloist for this year's Days of Awe.

We haven't burned the cds yet, but this year I'm also trying something new: putting all sixteen tracks online so that they can be either streamed (using the embedded audio player) or downloaded (if you want them on your own computer or iPod or what-have-you.)

This year's cds features a few old favorites (among them recordings of me singing "Achat Sha'alti" and Barbra Streisand singing Max Janowski's setting for "Avinu Malkeinu") and a few things which are new (the "Modeh Ani" chant written by our hazzan David Curiel, and Shir Yaakov's beautiful new setting for Rabbi Rami Shapiro's "We Are Loved," recorded at Romemu -- among others.)

If you're interested, you can find our Days of Awe playlist for 5773 / 2012 online at my From the Rabbi blog: Music for the Days of Awe. Feel free to listen, download, share at will! The High Holidays are just short of six weeks away...


Morning prayers in the car

"How about a cd, mommy?" says Drew in the car. "How about the orange one! How about Shawn!"

"The orange one" and "Shawn" mean the same thing: Morning I Will Seek You, by my friend and teacher Shawn Zevit. I like to listen to it in the mornings on the way to daycare and then to work, and apparently so does Drew. (The physical cd itself has an orange face, if that weren't clear.)

I like beginning my day with prayer. Modah ani l'fanecha -- I am grateful before You, living and enduring God; You have restored my soul to me, great is Your faithfulness. (I've written about that prayer before.) Halleli nafshi et Adonai -- my soul sings out to God, I will sing to God with my very life... (That's the first two verses of psalm 146.)

That verse from psalms came up in spiritual direction recently. I was bemoaning the reality that I still don't manage daily liturgical prayer as reliably or wholly as I wish I did, as I feel I ought to. My mashpi'ah gently reminded me of this verse, and it was a revelation. Of course! I will sing to God b'chayyai, with my life. My life is the song I sing to God; that's what I should be aspiring to. It's okay if that song doesn't always take the classical full-text liturgical forms.

Drew is at a moment in his life where he doesn't often want me to sing to him, unless I'm singing the alphabet song or "twinkle twinkle little star" or "Old McDonald had a farm." The one exception is at bedtime; he lets me sing our bedtime songs every night, curled for one delicious moment into my arms. But otherwise, when I sing -- whether it's the morning prayer for gratitude, or the Shabbat blessings -- he shushes me and tells me firmly to stop.

But apparently he doesn't mind listening to Shawn sing. I'm grateful for that! And I trust that in time, I'll be able to teach Drew some of the melodies I love best for the prayers I try to weave into my every day.


Ana b'Koach / Untie our Tangles (a melody for the Omer count)

Ana
The words of "Ana B'Koach" in Hebrew and transliteration.

Back in 2010, I posted about a prayer called Ana B'Koach:

My friend Reb David Seidenberg calls Ana B'Koach  one of the 'masterpieces of mystical prayer.' (Here's the NeoHasid page on Ana B'Koach, which features some explanation, some history, and the words of the prayer in Hebrew, transliteration, and English.) I first encountered this prayer when I started hanging around in Jewish Renewal circles. It's a favorite prayer in that community because of Renewal's neo-Hasidic roots.

Nowhere in the prayer do any traditional names of God appear -- but the prayer itself is considered to be one long name of God, which is why it ends with the line "baruch shem k'vod malchuto l'olam va'ed," "Blessed is God's glorious kingdom forever and ever" (or, in Reb Zalman's translation, "Through time and space, Your glory shines, Majestic One.")

In his book All Breathing Life (which I posted about a while back) Reb Zalman writes that "[This prayer] is considered by many to be a very potent passkey that takes our prayers directly to God, even when other avenues are blocked," he writes. It's also traditional, as NeoHasid notes, to sing this prayer every day after counting the Omer.

Here's Reb Zalman's translation, which can be found in All Breathing Life. It's singable to the same melody as the Hebrew. Like Reb Zalman, I like to sing it using the melody which comes from the Rhiziner Rebbe (the great-grandson of Rabbi Dov Baer, the Maggid or 'storyteller' of Mezritch).

Source of Mercy,
With loving strength
Untie our tangles.

Your chanting folk
Raise high, make pure
Accept our song.

Like Your own eye,
Lord, keep us safe
Who union seek with You!

Cleanse and bless us
Infuse us ever
With loving care.

Gracious source
Of holy power!
Do guide Your folk.

Sublime and holy One,
Do turn to us
Of holy chant.

Receive our prayer
Do hear our cry
Who secrets knows.

Through time and space
Your glory shines,
Majestic One.

(There's a more traditional translation alongside the Hebrew text at NeoHasid's Ana B'Khoach liturgy page.) You can hear Reb Zalman singing this chant to the Rizhyner's melody here at this compilation of melodies from All Breathing Life. And if you're so inclined, you can listen to me singing it, too -- I sing the first and last verses in Hebrew, and the remainder in English.

AnaBKoach

I love the idea of praying these words during the Omer journey. Spending these seven weeks contemplating God's qualities (of lovingkindness, boundaries and strength, balance, endurance, humble splendor, foundation / rootedness, and sovereignty) inevitably means also contemplating the ways in which these qualities do or don't manifest in us. It's easy to come away feeling tangled. This prayer reminds us that God can help us unsnarl our internal emotional and spiritual knots.

 

(This is cross-posted to the CBI From the Rabbi blog, since this melody is going to be our Song for the Month next month. To anyone who reads both blogs, apologies for the repeat!)


Three melodies for the Order of the Seder

In honor of Pesach being just around the corner, I wanted to share a few Pesach melodies. Specifically, here are three different melodies one can use for singing the order of the seder. You probably know already that the word "seder" means order, from the Hebrew לסדר / l'sader, "to arrange." And there's a set order to the proceedings: fifteen steps from beginning to end.

Why fifteen? Fifteen were the steps up to the Temple, once upon a time, which were understood to correspond to 15 songs of ascent found in psalms. The Hebrew number fifteen can be spelled either as ט''ו / 9+6 or as י''ה / 10+5 -- and that latter spelling also spells "Yah," a name of God. The folks at Aish.com note that "The Sages say that Passover occurs on the 15th of Nissan (the Jewish month), to teach us that just as the moon waxes for 15 days, so too our growth must be in 15 gradual steps. Think of these as 15 pieces of the Passover puzzle." To me, the fifteen steps of the seder are like gates through which we pass on the evening's spiritual journey: from kadesh, kicking things off by reciting the kiddush and thereby sanctifying time, all the way to nirtzah, the seder's conclusion.

In recent years I've borrowed a custom I learned from Hazzan Jack Kessler and Rabbi Marcia Prager at the seder they led at Elat Chayyim some years ago. In my seder, as we reach each of these gates, we sing through the 15 steps (start to finish), and then sing the melody again, as far as whererever we are on the journey. So the first time we do it, we sing all fifteen steps, and then just sing the first one. The second time, it's all fifteen and then the first two. Then all fifteen and the first three. And so on. It can be hard to remember to stop singing, especially as the evening's four glasses of wine are consumed, so hilarity sometimes ensues!

Anyway, the melody I use for that practice is this one. I don't know its origin, but here you go:

Order of the seder


The second melody I want to offer is the one I learned as a child. This is the one I used to sing at seder with my family when I was a kid. Alas, I don't know its provenance either, but I like it:

Order of the seder - from my childhood

 

And the third melody I have to offer is the melody for the hymn "Sanctuary." (I've shared it here before -- for a post on Brich Rachamana.) Here's how the order of the seder can be sung to that tune:

Order of the seder - to Sanctuary

 

If any of these melodies speak to you, please feel free to take them and use them in your seder this year. (And if you use a different melody for this part of the seder, feel free to record it and leave a link here, or point to it on YouTube if you can find it there -- I'm always interested in different ways of singing familiar words...)

 


Interview with Linda Hirschhorn now in Zeek

Two years-and-a-bit ago, at the ALEPH Kallah in Ohio, I had the opportunity to sing with Linda Hirschhorn. While I was there, I interviewed her for Zeek. (I mentioned that in one of my blog posts from the conference that year: Kallah, another day in the life.) For reasons which don't bear exploration at this juncture, the interview has just now been published! Hopefully it's timeless enough to still make good reading.

Here's a taste:

(From my introduction) A lover of Talmud and a college philosophy major, Hirschhorn sees polyvocal harmonies as emblematic of the same kind of diversity-within-unity found in the pages of Jewish sacred texts. She believes that different voices blending together in harmony is not only a metaphor for, but an example of, the kind of coexistence the world needs. And after a few hours singing under her enthusiastic tutelage, I’m inclined to think that she’s right...

LH: Harmony is like drash. Singing a song simply is like pshat; harmonies give you the chance to interpret text. If you hear a lyric, especially sung in counterpoint, the words coming at a different time, you’ll get a different experience of what the words might mean, what’s important. Major or minor, syncopated or lullaby: those communicate so much. It’s important to understand the text, to try to find how my song matches my understanding of the text.

...

LH: Everybody has some kernel that’s uniquely their own that they can offer. The best of my songs are something which cuts deeper, which looks at a universal experience in a particular way.

Read the whole thing at Zeek: In Song Together.


Chanukah remixed

Last year around this time, Tablet magazine put out Anander Mol, Anander Veig / Another Time, Another Way, an online album (free for download) of remixes in celebration of Chanukah. Marc Weidenbaum writes:

They are a people, albeit a diverse and dispersed one, spread throughout the world, separated by geography and language, yet still connected through a rich and shared cultural lineage.

I'm speaking, of course, about remixers.

Remixers are electronic musicians who take a pre-existing piece of recorded music and turn it into something else, sometimes something else entirely. They delight in finding choice moments in the original and rearranging what was there until it resembles the source material yet feels wholly new, wholly its own.

As Hanukkah approached this year, I sent a note to various remixers, asking if they’d be interested in selecting a holiday staple, or a song from another festive Jewish event, and taking a stab at remixing it. The response was swift, strong, and positive—as was the supportive response from the musicians and bands who had recorded the originals from which the remixers would subsequently work.

I'm a big fan of remix (it's a form of transformative work which often works well for me), so I thought this was pretty neat. You can listen to the entire album track by track, or download individual tracks or the whole album in one go, at Tablet magazine. Chag sameach / happy holiday to you!