Samuel Alman

1877 - 1947

Although Samuel Alman is considered by many as the greatest ‘English’ composer of synagogue music, he was not born in this country. He hailed from Sobolevka, Podolia, in Russia and studied music at the Odessa and Kishnev conservatories. After conscription, he served as a musician in the Russian army for four years and after completing his service, the terrible pogrom that he witnessed at Kishnev (1903) encouraged him to come to London. In England, he continued his musical studies at the Royal College of Music.

It was not long before Alman was drawn into the Jewish life of London and he was soon appointed as Choirmaster at the Dalston Synagogue.

In the course of time he also became Choir leader of the Great Synagogue, in Duke’s Place, as well as at Hampstead.

Although he composed a great deal of liturgical music, there are only a few of his pieces that are known now. They were certainly utilised in the Synagogues where he worked and a number of his compositions he dedicated to various well-known Chazanim of his time, such as Halter, Shechter and Boyars.

Alman was the leader of the Halevi Choral Society and the London Hazzanim Choir. He was a prolific composer of many diverse works; a string quartet, pieces for piano and organ, Hebrew Art songs, and arrangements of Yiddish songs. In 1912, his opera Melech Ahaz (King Ahaz) was performed for the first time, though it now seems to have lapsed into oblivion.

In 1925 and 1938 Alman published Shirei Beit ha-Knesset, 2 vols, which is his collection of Synagogue music for cantor and choir. Volume one contains the pieces that are still most well-known amongst his compositions, Yehi Ratson - the prayer for Blessing the New Moon, and the sublime Hinenei and Ribono Shel Olam for Sefirat HaOmer, the Counting of the Omer. Although many Ba’alei Tefilla sing the Yehi Ratson unaccompanied, it really does require the responses of a Choir to achieve what the composer actually intended.

In 1933, Alman was called upon to update the so-called ‘Blue Book’ - The Voice of Prayer and Praise, that had first been published in 1899, and is subtitled, A Handbook of Synagogue Music. This was an expanded version of Shirei Kenesset Yisrael - A Handbook of Synagogue Music for Congregational Singing, that had been published in 1889. It was intended that members of the congregation would have one each and use it to follow the singing during the course of the service. One wonders how many people there were, even in those days, who were able to sight-read a piece of music!

When Alman updated it, he added a supplement of 58 extra items, 15 of which were his own compositions. These include Birkat Cohanim and Havu laShem (Psalm 29), both of which have become very well-known..

Although Samuel Alman undoubtedly had a great influence on the music used in the main London Synagogues during his lifetime, with the demise of interest in the style of service that requires a Chazan and choir, which forms the bulk of Alman’s compositions for the Synagogue, it’s sadly inevitable that most of his music is destined to become ‘lost’.

Leib Glantz

1898 - 1964

You either thrill to Leibele Glantz's unique style of Chazanut, or you dislike it intensely! One thing though you can say about it for certain, and that is that it's absolutely inimitable.

Glantz was born in Kiev. His father, Kalman, was a well-known Chazan of his time who served for more than 30 years in the Talner Shul.

Leibele was already singing in public from a young age. He was a child-Chazan, a Chazandel, from the age of 8, and toured Europe conducting services and giving concerts. Therefore, with his family background, it was readily accepted that he would study music and voice. His first post as a Chazan was in Kishnev.

He arrived in America in 1926 and soon became well-known, travelling and giving concerts of Chazanut, Chassidic songs and folk melodies. His first position in the States was at the Congregation Ohav Shalom in New York from where he eventually went to Los Angeles.

Although many Chazanim try to sing Glantz's compositions, his music is amongst the most difficult to emulate of all. He had the ability to enter into the very soul of every word he sang and, whereas Glantz could 'get away' with some of the extraordinary vocal gymnastics that he performed - indeed it was expected of him - it doesn't really ring true when people try to copy him.

Sometimes he would suddenly shout out a word, and on other occasions, words would be recited, almost without any melody at all.

There were always mixed reactions to his style. Leibele wasn’t troubled by this and once said, ‘I don’t perform for the audience, I perform for myself.’

In 1961 Glantz moved to Israel and established a Cantorial Forum. After his death the Leib Glantz Memorial Foundation was established to preserve and publish his music.

Glantz was a great expert in prayer modes (Nusach Hatephilla) and wrote and lectured on the subject. He was absolutely insistent that the right one be employed for each prayer and he bemoaned the fact that so much Synagogue music is in the minor key.

In one of his lectures on Hallel and Tal he said: 'When we enter an Orthodox Synagogue...the ear is immediately struck by sad, almost tearful tones, and one gets the impression that Jewish liturgy is based on sad, plaintive keys and modes, even when the verbal content expresses joy and thanksgiving.'

Glantz did not try to teach his students to copy him. Perhaps he knew it was impossible. Rather, he tried to give them the foundations and building materials with which to develop their art, ie the musical structure of the Nusach. In this way he hoped that they would cultivate their own individual styles, which would be built on solid traditions.

There are many recordings of Leibele Glantz available, one of which is a complete live Selichot service. There is little I can think of that is a better preparation for the High Holydays services, than to listen to it, and absorb the art of this extraordinary Chazan.

Johnny Gluck

1948 - 1984

When I was a student of the late Rev Leo Bryll, in the Chazanut Class at Jews’ College at the end of the ‘60's, a very young man of about 17 came to join the class.

I can remember, as if it was yesterday, that on the first day that he came, he sang Sheyibaneh Bet Hamikdash for the class ( there were about 12 of us in those days - all full-time students!) and we were absolutely bowled over by the maturity of his voice and the professionalism of his presentation.

This young man was Johnny Gluck.

Johnny was born in Hungary and whilst still a child, his family went to Dublin where his father, Israel, had been appointed Chazan. In Dublin Johnny sang in his father’s choir, as he continued to do when the family moved to Sydney, Australia, where Israel had been appointed Chazan at the Great Synagogue.

Since it was quite obvious what he was going to do for a career, Johnny was sent to London to study with Rev Leo Bryll, and it wasn’t long before he was appointed Chazan at the Western Synagogue. He was only 17.

The combination of Leo Bryll, as his formal teacher, and Emmanuel Fisher, the celebrated leader of the London Jewish Male Voice Choir, as his choirmaster at the Western, ensured that Johnny had the finest tuition that it could have been possible to obtain.

At the age of 20 he went for a short while to the Great and New Synagogue in Manchester and, while he was there, he was invited to be one of the guest artistes at the annual Radcliffe Arts Festival, the first Chazan ever to participate in this event.

From 1970 - 1975, whilst he pursued his musical education at the Royal College of Music, he returned to London to become Chazan at the Marble Arch congregation.

In 1975, Johnny moved to Israel and was Chazan at the Great Synagogue in Raanana and, during his years in Israel he gave many concerts and appeared many times on Television and Radio.

In 1979 he was appointed Chazan at the prestigious Great Synagogue in Johannesburg, South Africa.

Right up to the very end of his life, Johnny Gluck was still making recordings. The last one that was issued by his wife Judy, after his death, is devoted to the compositions of Leibush Miller.

If it was possible that anybody ever doubted Johnny’s ability as a Chazan, I believe that this cassette demonstrates only too clearly, what a phenomenal talent he had.

Johnny Gluck was quite simply, a natural Chazan. He had an intuitive feel for the interpretation of a piece and a most beautiful voice.

Had Johnny Gluck been alive today, he was only 36 when he died, he would have unquestionably been one of the most celebrated Chazanim of the modern age.

Marcus Hast

1840 - 1911

Marcus Hast was born in Praga, near Warsaw in 1840 and served as Chazan in Warsaw, Torun and Breslau.He became Chazan (or Reader, as he would have been called then) in Duke's Place, London, in 1871.

This is all that I've been able to discover about his life but I was keen to include him here for two special reasons.

First, there have been very few Chazan/composers in this country, most being happy to rely on the compositions of others. Hast wasn't and he composed and published music for the entire Jewish year.

The second reason is that in the introduction to his major work, he outlined a philosophy of Synagogue music that, in this day of 'sing-anything-that-comes-into- your-head-first', I believe, is well-worth bringing to a wider public.

In 1910 Marcus Hast published 'Avodat HaKodesh - a complete edition of traditional and original compositions of Synagogue music, in four volumes.'

It was dedicated (by kind permission!) to the Right Honourable Lord Rothschild and the Lady Rothschild and was published by the Bibliophile Press, England.

In the introduction, Hast says that he had published another volume already in 1873, which he considered to be the first fruit of his own youthful activity. Perhaps he felt it was now time to improve on those compositions! Interestingly, he also says that it was the first of its kind to appear in England.

In his Avodat Hakodesh he states that there were three principles that aided him in his compositions.

1. that Synagogue music must be sui generis.

2. it must faithfully interpret the meanings of the prayers.

3. it must not lack dignity.

1. Quoting Hast: '...it must be neither concert music, nor Operatic music, nor even Church music, but Synagogue music.'

2. Synagogue music is more tied to the words than any other kind of music. Hast points out that in other spheres music has frequently to make up for the poverty of words, '...as witness the liberetti of most operas.' However important the music in the Synagogue is, utmost care has to be taken to interpret the meaning of the prayer or poem, faithfully and reverentially.

3. While Shul music certainly doesn't have to be dull or depressing, it must never lack dignity and the understanding that it is being used as an aid to communicate with the Almighty.

Some of Marcus Hast's compositions are still sung today, though not many, and this is probably because they are virtually all written for Chazan and choir. Lecha Hashem Hagedulah, and one of the popular versions of Adon Olam (da, da, dee, da, do, dam) are probably the best known.

Mordecai Hershman

1888 - 1940

Like so many of the great Chazanim of the Golden Age of Chazanut, Mordecai Hershman was a Russian.

He was born in Cherinov in 1888, and his father, who was a glass-merchant, had no interest in singing whatsoever. Sadly, Mordecai was orphaned at the age of six and it turned out that his foster parents were equally disinterested in music.

However, it may well have been their discouragement that turned the young Hershman towards the Synagogue in order to satisfy his thirst for singing, and it was through the pleadings of the local cantor with his foster parents that Mordecai was allowed to take lessons.

At the age of twelve, he was adopted by his grandfather who took him to Solovio, where he continued his studies under Chazan Dorfman.

By 1905 Chazan Dorfman considered his protege to be ready and he applied for, and was appointed, Chazan Sheni (Assistant Cantor) to the Vilna Synagogue, earning 12 roubles a month!

When the incumbent Chazan Rishon (Chief Cantor) died, Hershman applied for the position, and against some extremely fine opposition, he was appointed Chazan Rishon himself. Since Vilna was one of the most flourishing centres of Jewish life, at this time, this post Rishon at the main Synagogue was indeed a coveted one.

In 1914 Hershman was drafted into the army and it's related that his commanding officer was so impressed with his singing, that he was released from army service and returned to his Synagogue. (This, and similar apocryphal stories, are related about many Chazanim. It is of course very difficult to verify, but is a charming notion nevertheless!)

After 1918 Hershman sang extensively throughout Russia and the rest of Europe. He became so famous that his own Synagogue released him to officiate only twice per month and he conducted services in many communities on the other Shabbatot. In concert he often sang operatic arias and appeared as solosist, twice, with the Warsaw Philharmonic.

The famous Choir Director Leo Lowe heard him and invited him to go to America, which he did in 1920, where he was appointed Chazan at the Temple Beth-El in Boro Park, Brooklyn.

Hershman toured and concertised all over the States, as well as conduct services in all the major Synagogues.

He died at the very early age of 53 in 1940, deeply mourned by countless admiring fans.

We are fortunate to have many recording of Mordecai Hershman in which we can still thrill to his high, lyrical, tenor voice. Some of his recordings have become classics and are frequently performed by modern Chazanim. Eilu Devarim, Shma Koleinu and Aneinu are amongst the most well-known and many Chazanim use his rendering of the Beracha for Hallel as standard. You are also very likely to hear his Sheva Berachot being sung, though not, perhaps as Mordecai would have sung them himself!

Ben-Zion Kapov-Kagan

1886 - 1954

How Ben-Zion Kapov-Kagan got his name, is a story all in its own right!

The Kagan family, as can be told from their name, were Cohanim. The prefixed Kapov also arose from their priestly status, since the word Kapov in Hebrew means ‘his hands’ and is reminiscent of the fact that, when the Cohanim are standing in front of the Ark, blessing the people, they must raise their hands aloft.

As for ‘Ben-Zion’, he was really ‘Yisrael Noach.’ But we’ll come to that in a moment!

Yisrael Noach Kapov-Kagan was born in Romania. His father, Shlomo, was a merchant who died at a young age leaving behind eleven children, eight of whom also died within a short time of one another whilst they were still children.

As a youngster, Yisrael Noach sang in various synagogue choirs and at the age of 26 he obtained his first position in Rostov Am Don. He was then engaged by the Brodie Schul in Odessa, where he contested against 42 Chazanim for the post.

(As an aside, I shouldn’t think that there’s a Chazan alive today who had to put himself up against so many other contenders for a position. I wonder, is this a reflection on the lack of pulpits, or the lack of Chazanim? Perhaps it’s simply an indication of the sadly diminishing interest in Chazanut.)

In those days the top Chazanim were treated as ‘stars’ and some of them were paid extraordinarily well. Kapov-Kagan was amongst this number and he became very wealthy.

In 1930, the Bolsheviks came to his house to demand money. When he refused, they broke his arm and cut off his thumb!

Eventually, using his brother Ben-Zion’s passport, he was able to flee Russia, leaving his wife and child behind. He was now known as ‘Ben-Zion,’ and he retained his brother’s name for the rest of his life.

When he went to the United States, he became Chazan, first to the Jewish Centre in Ocean Parkway and then to the Concords Jewish centre in the Bronx.

Kapov-Kagan gave concerts all around the States. He also went to Canada and South America, and frequently performed with the choir of the very famous choir-leader, Oscar Julius.

Until the end of his life, he tried to get permission for his wife and son to join him in America. He enlisted the assistance of President Roosevelt, but even he was unable to help.

Ben Zion Kapov-Kagan died on the second day of Rosh Hashana 1954, deeply missed, and greatly mourned.

Moshe Kussevitsky

1899 - 1966

There's a famous Hebrew saying, Al Ta'am Varei'ach Ein Lehivakei'ach - You can't argue over taste or smell. This is a very fortunate epithet in regards to taste in Chazanut and Chazanim. Everyone's an expert and every Shul-going Jew knows what a good Chazan is.

Whilst not everyone will agree that Moshe Kussevitsky was the finest Chazan who ever lived (see above!), it's inconceivable that anyone would say that he wasn't at least, one of the finest.

Moshe is regarded generally as the Chazan's Chazan. He was possessed of an outstanding, well-trained, tenor voice of extraordinary range and flexibility and an innate understanding of the art of Chazanut.

Moshe Kussevitsky was born on June 9th 1899 at Smargon in Vilna, Lithuania and came from a background of Chazanut. He was the oldest of the four brothers, with Jacob, Simcha and David and, as is well-known, they all went on to become famous Chazanim in their own right.

Moshe began his singing career at the age of eight as an alto in the choir of Chazan Shlepak. Like many artistic people, he could not only sing, but he was also gifted with his hands and as he grew up he toyed with the idea of becoming an artist or a sculptor.

Fortunately, however, he accepted a position as Chazan at the Vilna 'Savel's Shul' and in 1927 he auditioned for the plum position in Poland at the 'Tlomazke Shul' in Warsaw where, against the finest opposition, he was awarded the post. He took the opportunity to study voice and music, and throughout his life he always learned Torah.

Being in such an illustrious post, his fame spread around Europe very rapidly and soon he was travelling to Brussels, Antwerp, Vienna and London to give concerts.

During the second world war Moshe took his family to Russia and adopted the name Mikhail Kussevitsky. While he was there he sang in Boris Goudenov, in Tosca and Rigoletto.

When he returned to Poland he gave a concert at which the ambassadors of the United Kingdom and the United States were in the audience. As a result of this concert he obtained visas for both countries and came to England until 1947, when he travelled to settle in America.

Moshe continued to travel and concertise all over the world and there will probably be people reading this who will recall his appearance at the Albert Hall on 13th March 1955.

Fortunately he also made numerous recordings and, even though many of them were produced on comparatively primitive equipment, it is still possible to appreciate the exceptional quality of his voice and his singing on those that have been re-recorded today.

The last post he held was at the famous Temple Beth El in Boro Park, Brooklyn. He died on August 23rd 1966 and is buried in Jerusalem.

Zevulun (Zavel) Kwartin

1874 - 1952

Most famous Chazanim have tenor voices. One who was endowed with a glorious high baritone, was the great Zavel Kwartin.

Kwartin was born on 25th March 1874 in Chonorod, Elisabetgrad, Russia, to a wealthy Chassidic textile merchant. From a very early age he exhibited a beautiful voice and his father took him to the famous Chazan, Yerucham Hakatan (also known as Yerucham Blindman), to hear his son sing and get a professional opinion of his abilities.

According to Zavel's own account, the ageing Chazan was deeply impressed by him and wanted to take the boy as his pupil. His father however was not too keen on the idea though, believing that a career in textiles might be rather more secure than one in Chazanut.

On his marriage he went to Shul with his in-laws in Yelisvatgrad and was invited to say the Haftara. The congregation was very impressed with his rendering of the Berachot and he was prevailed upon to conduct Musaf. It was on this occasion that the seeds of his golden career were sown.

Kwartin took music and singing lessons with the finest teachers of his time and on June 1st 1896 he gave his first public concert. He states that he was a great success. The following year he gave a concert in Lodz for which he was paid more than 400 roubles and he continued to travel in Europe, concertise and conduct services to great acclaim.

In 1903 he was appointed Obercantor of the Queen Elizabet Temple of Vienna where his salary was 2,500 krone per annum, an extraordinary salary by any standards.

In 1914 Kwatrin was invited to come to America for a fee of $30,000 for a series of 30 concerts. Because of the war this was postponed and it wasn't until April 1920 that he eventually got there.

His first concert, which was not a success, was at the Metropolitan Opera House. Fortunately though he redeemed himself at the 'Hippodrome' and went on from there to tour America, with great success.

He decided to remain in the States and was appointed Chazan at the Temple Emanuel where his salary was $12,000. He also continued to give concerts and was possibly the highest-paid Chazan of all time.

Kwartin published two volumes of his three-volume work, 'Z'mirot Zevulon' in 1928, (the third was published in 1937). They contain the music to most of his famous pieces, 'Tiheir Rabbi Yishmoel, Ve'al Yedei Avodecho, etc', and is still widely used.

Zavel was deeply moved by his first visit to the Holy Land and eventually built a home for himself on Mount Carmel. The last fifteen years of his life were spent in the USA, and when he died on 3rd October 1952, he was brought to Israel for burial.

Zavel Kwartin made numerous recordings, many of which have been electronically enhanced and re-released. Through them, his phenomenal voice still lives on.

Louis Lewandowski

1821 - 1894

Louis Lewandowski was destined for a life in Jewish music from a very young age. As a child, he and his four brothers used to accompany their father when he conducted services in Wreschen, in the province of Poznan.

Owing to the extreme poverty of his family, and the early demise of his mother, Louis went to Berlin at the age of twelve, where he became a singerel in the choir of Cantor Ascher Lion.

By making some very fortunate contacts, he was able to obtain the patronage of Alexander Mendelssohn, a cousin of the famed Felix Mendelssohn, and he was fortunate to be the first Jewish student to be accepted into the Berlin Academy of Arts, where he distinguished himself in his musical studies, learning with the foremost teachers of his time.

He began to write, and have performed. to not inconsiderable acclaim, some serious music, when he was incapacitated by a serious nervous condition.. This prevented him from working for four years.

During his illness, he was fortunate to hear the celebrated Chazan Hirsch Weintraub, and was so impressed with Weintraub’s rendition of the service, that he determined to devote his attentions more to Synagogue music.

In 1844 the Jewish community of Berlin invited him to organise and lead a choir, and so Louis Lewandowski became the first synagogue choirmaster, (as far as we know).

Lewandowski was very fortunate when Cantor Abraham J Lichtenstein succeeded Cantor Lion. Between them an unusual understanding and agreement evolved about the development of Synagogue music, and with Cantor Lichtenstein's encouragement, Lewandowski started to compose prayers with four-part harmony. He also wrote down cantorial recitatives in a manner, simple enough, for people who did not have the advantage of a professional training, to be able to sing.

In 1864 he was invited to become choir leader of the New Synagogue in Berlin, and it was during his time there that he published his most famous and enduring books, Kol Rinah, for solo and two-part voice, and Todah Vezimrah for full choir and Cantor. These are still in the library of every professional Chazan and choir-master, and, indeed, are still in regular use.

As well as Synagogue music, Lewadowski also composed Psalms, symphonies, cantatas, and songs.

He taught at the Jewish Free School, the Jewish Teachers Seminary and he also founded the Institute for Aged and Indigent Musicians. He was honoured by the wider community also, and in 1866 the German government bestowed upon him the title of Royal Musical Director.

Amongst the popular Synagogue compositions that Lewandowski wrote and that are still widely sung are, Uvenucha Yomar, Zacharti Lach for Rosh Hashana, and Ve'al Chataim for Yom Kippur.

‘Traditional’ Nusach

At this time of the year, when many congregations have to employ extra Ba’alei Tefillah to lead parallel services, the question of ‘traditional’ melodies becomes of serious concern, not only for people with a specific interest in Synagogue music, but also for the regular Shul-goer who recognises and relies on his familiarity with these melodies, and uses them to aid him in his concentration.

That musical traditions vary from one community to another is readily discernable to every visitor, but many people don’t realise that there’s a clear distinction between what’s traditional, and what’s patently incorrect.

A Baal Tefillah who begins the repetition of the Amidah on Rosh Hashana in the same way that he would on Shabbat, is not just following the tradition of his community, even if it’s been done there for fifty years. He’s simply wrong!

Many congregations have melodies that have been used in their services for many years, and such tunes are obviously ‘traditional’ in that particular community. Very often, you won’t even hear them in another Shul. There are also tunes that are well-established in London congregations that you might not hear in a provincial community, and vice-versa.

In terms of ‘traditional melodies’, we must distinguish between individual compositions and ‘modes’. The prayer modes are called ‘Nusach Hatefillah’, and the same ones will be heard, with minor variations, throughout the world. (Those used by the Sephardim are totally different from the ones employed by Ashkenazim.)

A thorough explanation of what Nusach Hatephilla is, is outside the scope of this brief article, but it may best be described by drawing your attention to the theme used for the repetition of the Amidah.

You will notice that, whereas Ba’alei Tephillah will sing a variety of melodies for Unetaneh Tokef, they will all use the same basic modes for the paragraphs beginning with Uvechein Tein. They will sing different tunes to Ya’aleh, on Kol Nidrei night, but will use the same basic modes for the Penitential prayers - the Selichot.

A very significant, and instantly recognisable element of these modes is the way that the Beracha and its Amen are sung. In the unlikely event that one had lost track of time, a regular-Shul goer would be able to identify the day of the Jewish calendar by hearing just one Beracha in the Amidah.

These modes are exceedingly important since they help to create the atmosphere of the day, and if the wrong one is used, it can be very disorientating and totally spoil one’s concentration.

Among the fascinating aspects of the Nusach for the Yamim Noraim are the threads which connect it with other occasions of the Jewish year.

In some communities extra prayers are added in the Shacharit service on the Shalosh Regalim. These are called Yotzerot and Kerovot. The modes used for them are very similar to some of those used in the Shacharit service on the Yamim Noraim.

We utilise the Succot themes in the Kedusha, as well as the flavour of Tal and Geshem, the prayers for dew and rain, in the Kaddish of Neilah.

There’s also an association between the Shavuot hymn, Az Sheish Meiot and Kol Nidrei, and Lewandowski, at least, makes an arrangement of Ya’aleh to his themes for Tal.

Although it is difficult to establish why these specific associations were made, it’s not out of chance, or ignorance.

It’s as if the Nusach itself is reaching out to us from beyond the Yamim Noraim and saying, ‘Come back and hear me on other occasions too.’

A rather surprising aspect of the melodies for the High Holydays is the preponderance of happy tunes. It’s only because most of us don’t understand what we’re singing, and don’t even take the trouble to glance across at the translation, that we don’t recognise the apparent incongruity of the lustiness with which we sing, ‘Ashamnu, Bagadnu...’ or ‘Veal Chataim.’

There is a variety of reasons for the utilisation of these tunes on the most solemn days of the year, the days on which we are literally begging for our lives.

Firstly, singing them joyfully demonstrates our confidence that the Almighty has indeed forgiven our sins. The trial through which we go on these awesome days is unlike a trial by a human court. We know that, if we have prayed with devotion, if we have made a sincere commitment to try to improve our ways, then with absolute certainty, we shall be forgiven.

Also, I believe the rabbis did not object to them because they inspire communal participation much more readily than sombre tunes would. And the notion that, being very attractive, they may encourage people to return next year, should not be too readily dismissed.

The importance of utilising the ‘traditional’ Nusach cannot be overstated. The Chachamim were insistent on the correct melodies being used, and it’s incumbent on a congregation to do everything in its power to employ as Baalei Tefillah, only those who can demonstrate their total familiarity with it, before allowing them to officiate!

Moishe Oysher

1907-1958

Some of the most ‘entertaining’ Chazanut every recorded, must surely be that executed by the late Moishe Oysher. His Ki Hinei Kachomer from Kol Nidrei, or Dayeinu from the Seder service, for example, with their orchestra and large choir accompaniment, have a popular appeal that belie their artistry.

And it’s hardly surprising that Oysher attempted unashamedly to appeal to the masses, when you realise that he became as famous on the stage and in the movies, as he ever was at the Amud!

Moishe Oysher (and that was indeed his real name), was born in Lipkon, Bessarabia in 1907. Even though there were Chazanim in his family, reputedly going back for six generations, he seems to have been drawn more to the stage than following in his predecessor’s footsteps, and whenever travelling players visited his village, much to the disapproval of his father, he would try to get a part in their production as a child player.

In 1921, he was taken to Canada and joined a travelling Yiddish theatrical company, with whom he appeared on the Yiddish stage in New York. In 1932 he led his own company in South America.

In 1934, after he returned from a trip to Buenos Aires, he was unable to get a part in the New York shows since they had all been cast. Needing work, and with the encouragement of his friends, since it was coming up to the High Holyday season he applied to conduct services at the Rumanian Synagogue. He obtained the position and was a sensation!

Moishe now had two careers running. He starred in Yiddish films, The Cantor's Son, Yankel the Blacksmith, and Der Vilna Balebesel, and it was not long before he became something of a ‘Kosher heart throb.’ He also made numerous recordings, and continued to sing at the Amud. Although he received many offers to appear on Broadway, Moishe always refused, since he would not desecrate Shabbat.

His extensive acting experience clearly gave him a great advantage at the Amud. Listening to his recordings, one can hear the great artistry in his superb, rich voice. He was a Chazan who knew how to manipulate the emotions of his congregation (or audience) and was clearly a great showman.

Moishe Oysher’s style of Chazanut truly reflects the ‘old time’ Chazan. He was a ‘zogger’, praying every word with great emotion and fervency, and his Chassidic background is clearly discernable in many of his renderings.

His style would probably not be acceptable in Shul today, but it is wonderful to listen to his recordings and hear ‘pure’ Chazanut as our grandparents would have done.

Amongst his recordings are a complete Kol Nidrei service service, and Seder with choir (!), both with introduction and explanations. For sheer bubbling enthusiasm and showmanship, the version of Chad Gadya which he sings as the final item on his Seder recording, would be hard to beat.

Jan Peerce

1904 - 1984

There can be few people who have an interest in Chazanut who don’t know that Jan Peerce was also a famous opera singer. However, what many of them won’t know is that Peerce was also a genuinely committed Jew.

It is reported that he was exceedingly particular about putting on Tephillin every day and that he would not, in any circumstances, eat anything other than Kosher food.

In his book about Chazanim and Chazanut, ‘B’ron Yachad’, Akivah Zimmerman relates how Rockerfeller once asked Jan Peerce to sing at a special performance for him, and in Peerce’s honour, Rockerfeller indicated that he wanted to prepare a festive banquet.

Since he didn’t eat Treif, Peerce explained that he wouldn’t be able to participate in the meal, as he made it his practice never to eat before a performance.

"That’s fine," said Rockerfeller, "we’ll all eat afterwards."

In order to extricate himself from the corner into which he’d got himself, Peerce said that after a performance he only drank tea, and always waited a long time before having a proper meal!

Jan Peerce was born Jacob Pincus Perlemuth and as a youngster he trained as a violinist. In the early part of his career, he played and sang in a danceband.

At the start of his performing career, Peerce used to play the violin. In order to ‘pad it out’ he started to sing popular songs and it was almost by accident that it was found that he had an unusually good voice.

He was engaged to sing with the Radio City Music Hall company and, since they frequently appeared on the radio, he soon became a well-known performer of light classical songs and operatic arias.

The famous conductor Arturo Toscanini heard him and decided to engage him to sing the lead in his recordings of opera and choral pieces. Jan Peerce made his formal debut in Philadelphia in 1938, and then with the Metropolitan Opera Company in New York, in 1941.

Although he made countless appearances as guest Chazan in various Synagogues, he never held a regular post.

Jan Peerce was widely regarded as a very fine operatic performer, but was certainly not snobbish when it came to music. In 1971 he made his Broadway debut as Tevye in Fiddler On The Roof!

As far as his Cantorial work was concerned, Peerce had a close working relationship with Abraham Ellstein, who was a very well-known composer and arranger of liturgical pieces and Yiddish music, particularly for the Yiddish operetta theatre.

He made numerous visits to Israel. In Chazzanic circles Jan Peerce was welcomed as a Chazan, and in the world of opera, as one of the finest tenors of modern times.

Pierre Pinchik

1900 - 1971

Everyone has their favourite Chazan, the one with whom they would most like to spend (or have spent) Yom Kippur. For me this is Pierre Pinchik.

Born in Zhivitov, in Kiev in the Ukraine, as Pinchas Segal, he attended Yeshiva there, and then went on to the conservatory where he studied piano and voice. In his early days he was a folk singer and, sponsored by the anti-religious Soviet government, and adopting the name Pierre Pinchik, he travelled around the country giving concerts. From 1923 to 1926 he served as Chazan to the Leningrad Shul, but without fanfare.

In 1927 he went to America and, attracted by the freedom that was denied his fellow-countrymen under the Bolsheviks, he decided to remain there.

It was not long before he was celebrated as both a Chazan and an outstanding performer of folk-songs, many of which he recorded.

Pinchik was endowed with a very sweet and distinctive voice. It was not a 'great' voice in the traditional sense, but he had the unusual ability of singing everything with his heart. There is also an originality about his compositions that makes them immediately recognisable as his work. Unusually, Pinchik accompanied himself o the organ on some of his early recordings.

Pinchik's most famous compositions are as fresh today as they were when he first introduced them to the public.

His Ribono Shel Olom for Sefiras ho'Omer (with its recurring theme of Dee, da-da-da, Dee, da-da-da, Dee, da-da-da, Daa) and his Rozo DeShabbos are perhaps, the most famous, and they are, without doubt, classic pieces. But there are others that are just as appealing. Areshes Sefoseinu, for Rosh Hashanah and Hashem Hashem from Neilah illustrate supremely well how he could interpolate the style of a folk-melody into Tefillah or, with the most uncomplicated Chazanut, rend your heart in two.

I've heard it said that he was a very temperamental performer, even on the Bimah, and would refuse to conduct a service if there was the slightest sound coming from the congregation. He would wait until there was total silence before starting and would stop immediately if there was an interruption. Perhaps today's Chazanim could take a lesson from him!

Although there are still fine Chazanim today, Pierre Pinchik represented one of the last of the Golden Age of Chazanim, the last true composer/performer who could pull in the crowds, whether to hear him lead a service or concertise.

We are fortunate that a number of his recordings were made at a time when the technical ability to reproduce the voice accurately had improved enormously. Thanks to this, countless generations will still be able to thrill to this unique talent.

David Roitman

1884 - 1943

In the late 1920's, a most extraordinary court case was held in the United States. Two of the world’s most famous Chazanim were engaged in a battle to claim the rights to two musical compositions - Ashamnu Mikol Am, from Selichot, and Rachel Mevaka al Baneha, a concert item, based on words from the prophet Jeremiah. Both Yossele Rosenblatt and David Roitman claimed to have composed them and, at the end of the day, the court ruled in Roitman’s favour. I don’t know if the transcript of the case was ever published, but it would surely make for fascinating reading!

David Roitman was born in Derezhinke, Podolia. As a lad he sang in various Synagogue choirs with some very famous Chazanim, including Moshe Gruberman and Zeidel Rovner and, like most Chazanim in those days, he graduated from being a chorister to become a Chazan in his own right.

At 18 he was appointed in Elisavetgrad and at 25 he became Chazan in Vilna. The Great Synagogue in St. Petersburg was his next post and in this prestigious position, with a salary commensurate with its importance, he remained until 1917. Roitman was very content in this post, composing and recording many pieces. Unfortunately his peace of mind was not allowed to remain for very long.

Being forced to move on by the Bolshevik Revolution, he went, first to Odessa, where he founded the Hebrew Music School in 1919 and then to Kishinyev. He remained in Kishinyev for a time and was even able to embark on some concert tours from there, and it was on one of these tours, while he was in Bucharest, that he was fortunate to be heard by the American consul, who was greatly impressed by his singing and arranged for him to emigrate to the US with his family.

When he first arrived in the States, Roitman occupied the Bimah at the Ohev Shalom Congregation in Brooklyn, where the renowned Leo Liow was choirmaster, and from 1924 until his death, he officiated at Congregation Shaare Zedek in New York, making many concert tours in Europe and South America.

When Roitman came to England, he was guest Chazan at the Nelson Street Synagogue.

Roitman had a most beautiful, lyric tenor voice. It was very flexible, and he was able to sing the most complicated coloratura ( ie the long, flowery, twiddly bits). He was renowned for having the unusual facility of being able to pass from a very high falsetto into full voice with absolutely no discernable break . This is technically very difficult to execute and few, of even the world’s greatest male singers, have ever been able to achieve it as faultlessly as Roitman.

Although David Roitman died at the comparatively young age of 59, it is fortunate that he left us with quite a number of his recordings, some of which were made whilst he was still in Russia. Thanks to modern technology, we can continue to thrill at his wonderful artistry.

In an artcle about Roitman’s life written by the late Chazan Pinchas Faigenblum, and published in the, now demised, Cantors’ review, he describes Roitman as the ‘Poet of the Amud,’ - a truly fitting epitaph for one of the world’s finest exponents of the Cantorial art.

Cantor Josef (Yossele) Rosenblatt

1882 - 1933

Yossele Rosenblatt was born on May 2nd 1882 in Biela Tserkov, in the Ukraine. He came from a long line of Chazanim and his father was a cantor in Kiev.

Yossele sang from a very early age. He became a member of his father's choir and was soon declared to be a 'wunderkind,' travelling throughout the Austro-Hungarian Empire, performing at countless synagogues.

At the age of 12 he met Taubele Kauffman and at the age of 18 Yossele married her and soon after accepted the position of Cantor at Muncaz in Hungary. This position he obtained against the competition of 40 other Chazanim.

From there he went to Pressburg, where he officiated for five years and during this period, he began to publish his numerous synagogal compositions.

He then stayed for six years in Hamburg and, according to his account, tried to run away to America. However he was 'overtaken on the steamer and brought back like a criminal.'(!)

When he eventually did arrive in the States in 1912, he was immediately engaged by the Congregation Ohab Zedek in New York and his fame soon grew. He recorded for various phonograph companies and this undoubtedly was influential in ensuring that his name spread all over the country.

After appearing in a particularly successful concert in Chicago, Yossele was offered $1000 per night to sing in opera. However, so great was his love for Yiddishkeit, that he turned it down.

In 1922 he was persuaded to enter into a business deal that left him bankrupt. This forced him to give up the pulpit and concentrate on concertising, in which there was the opportunity for him to make much larger sums of money, and so he made extensive tours, including coming to Europe.

In 1927 Warner Brothers offered Rosenblatt $100,000 to co-star with Al Jolson in 'The Jazz Singer,' but they could not persuade him to sing Kol Nidrei. He felt that it was much too sacred to be used as entertainment.

In 1928 he was engaged by the Anshei Sfard Congregation in Brooklyn and was paid $12,000 a year, the highest salary paid at that time to any Cantor.

Rosenblatt was delighted to be offered the chance to film in the Holy Land by the Palestine-American Fox Film Co. Although he was earning a good salary, he was still paying off the debts of his bankruptcy and, when he arrived in Palestine, in 1933 , he was virtually penniless.

Sadly, on June 19th 1933 he was stricken by a heart-attack at the age of only 51. His funeral service was conducted by Chief Rabbi Kook and attended by more than 20,000 people.

Rosenblatt recorded about 180 compositions, most of which were his own.

Joseph Schmidt

1904 - 1942

It's impossible to assess how many great artistes were amongst the casualties of the last war. One thing is certain, and that is that Joseph Schmidt, who died at the very young age of 38, was amongst them.

Schmidt was born in Davideny, Buchavina, Rumania, to a farming family. From a very young age he sang in his Shul choir and, very early on, he evinced a natural talent for singing. He was keen to pursue a musical career, but sympathetic as his mother was to his ideas, so was his father against it.

Because of the First World War he moved with his parents to Czernowitz where, at a very young age, he was appointed Chazan. It was also there, at the age of 20, that Joseph gave his first public performance as a concert singer.

When he was 24, his uncle, Leo Engel, who was a well-known manager, arranged for Joseph to appear in Berlin. He remained there for a while, for his great talent brought him a position as Cantor at the Adas Yisroel Synagogue.

As he established himself, so his concerts gradually took shape. They usually consisted of one half of Chazanut and the second of Neapolitan songs and operatic arias. He was an accomplished pianist and frequently accompanied himself.

It was unfortunate however, that a tenor voice of such brilliance and quality emanated from a frame that was under five feet tall. When the conductor Leo Blech first heard him sing, he was deeply moved: "Pity you aren't small," he said; "But I am small," Schmidt said. "No, you aren't small, you're too small," replied Blech.

Although his stature effectively barred him from opera, there were other outlets for his outstanding talents. He appeared in a number of films, he made records and he made countless appearances on the radio. In 1934 he managed to go to Palestine, where he gave a number of Chazanut concerts.

Many people saw Schmidt as a rival to Richard Tauber and he had great success in a number of films.

When the war broke out he managed to make his way to France where he settled in the unoccupied zone. When France was defeated he made his way to Switzerland, where he arrived virtually penniless. Although he was in possession of an American visa and was very well known, he was interned as an illegal immigrant.

He was never a very strong man and, sadly his health deteriorated whilst in the camp, and owing to a lack of proper medical attention he died on November 16th 1942 in Gierenbad Camp, near Hindwhill. He was buried in the Friezenberg Cemetery, near Zurich and it's reported that all the 350 inmates of the camp attended his funeral, in defiance of authority.

Although his operatic recordings are available, regrettably Schmidt did not make any professional recordings of Chazanut. However, there are some private ones that were published including Brich Shmei and Ki Lekach Tov.

Israel Schorr

1886 - 1935

One of the most well-known concert items in the Cantors’ repertoire is Sheyibaneh Bet Hamikdash, that was popularised by Chazan Moshe Kussevitsky. However, it’s only aficionados who will be aware that the composer, Chazan Israel Schorr, also recorded it himself.

The association of Kussevitsky with this piece demonstrates how composers often get forgotten, while the performers of their works can become famous. People who don’t know too much about the background to Chazanut will often speak of ‘Sirota’s Retsei’ or Hershman’s Tikanta Shabbat, being totally unaware that these Chazanim did not compose all the pieces that they sang, they just performed them. Indeed, just as Opera singers don’t write the operas, so there were, and still are, very few Chazanim who write the pieces that they sing.

There are many very fine composers, who do not have the ability to perform their compositions, just as there is a large number of performers who don’t have the creative talent to write.

As far as Sheyibaneh Bet Hamikdash, and this composer are concerned, it is a shame that it became so closely associated with another Chazan, since Israel Schorr was in fact, a very fine Chazan in his own right, and his own recording of it is very beautiful.

Schorr was born in Chyrov, Austria into a well-known Chassidic family. As a child he had a beautiful soprano voice and frequently sang in the presence of the Rymanover Rebbe.

At the age of 18 he went to Lemberg to become Chazan and he stayed there until the outbreak of WW1. He served in the Austrian Army, but was excused combat duty because of his religious principles.

After the war, he served as Chazan in Brunn, Czechoslovakia - Cracow, Poland - and Piestyan in Hungary.

Schorr wanted to go to the USA but encountered some difficulties in obtaining a visa. In the meantime, he was invited to conduct services in Zurich and, so successful was he there, that he came back for seven successive Shabbatot.

He eventually obtained the necessary papers and arrived in America in 1924.

Israel Schorr served as Cantor in Brooklyn and then in the Bronx and often appeared in concerts with Rosenblatt.

Unfortunately he had a heart condition and officiated for the last time at the congregation Chovevei Torah, Brooklyn in 1934.

Sadly, he died at the very early age of 49 on April 9th 1935.

Although, as already noted, Israel Schorr’s composition Sheyibaneh Bet Hamikdash was made famous by Moshe Kussevitsky, this was not the only one of his pieces to find favour with other performers.

He composed Hateh Elokai, from Selichot - also made famous by Kussevitsky, as well as Lefichach Ananachnu, a concert item, with which Leibele Waldman is associated.

Joseph Shlisky

1894 - 1955

Kidnapped as a young child, ‘discovered’ while working in a factory, feted as one of America’s top line Cantors, and stricken down at the age of 40. Truly the stuff of a great novel, and if the recorded history is to be believed, Joseph Shlisky had one of the most theatrical lives of all the Chazanim recorded here so far.

Born in Ostrowce, Poland, like so many young Jewish boys who could sing, Joseph Shlisky joined the local Shul choir as a small child. At the age of seven he was virtually kidnapped by the Chazan, who told his parents that he was taking him on a tour to London, but actually went to Toronto instead.

After escaping from the clutches of this unscrupulous Chazan, he eventually found a home with one of his uncles, who had emigrated to Toronto.

Shlisky never thought about a musical career until, one day, whilst working in one of the factories of T.Eaton. Co, he was heard singing by Lady Eaton. She was so impressed by his voice that she sponsored his training at the Royal Conservatory in Toronto.

When he gave his first public performance in New York City in 1919, the critics were very enthusiastic about him.

In 1920 Joseph heard that the Slonimer Synagogue was looking for a Chazan for the Yamim Noraim and he went to the President’s leather factory to audition! Needless to say, he got the position and remained at that Shul for a further two years.

For the rest of his singing career, he held posts at various leading new York Synagogues, giving numerous concerts, appearing on radio and making recordings.

He brought his parents over to live with him in the USA.

Shlisky was signed up to appear with the San Carlo Opera Company but, like so many other outstanding Chazanim, eventually declined because it would have entailed him breaking Shabbat and Yom Tov.

It is said that, owing to his own experiences as a child, he was always very helpful towards Chazanim who were recently arrived in the country, and would often appear at charity and benefit concerts for them.

Sadly, when he was at the very peak of his career, after Pesach 1934, he suffered a paralytic stroke, and never sang again.

Shlisky did not record a great number of pieces but fortunately, we do have a fair representation of his art.

He had a very high tenor voice, with a most extraordinary flexibility. He was able to change from the highest, most beautiful falsetto, into full voice, with consummate ease and he used this facility most effectively in many of his pieces.

Shlisky’s style, and the timbre of his voice, were very distinctive. He truly was one of the ‘greats’ of the Golden Age of Chazanim.

Gershon Sirota

1877 - 1943

Not without good reason was Gershon Sirota spoken of as the 'Jewish Caruso'. Even with the poor quality recordings that we have of him today, it's quite clear that he had a most extraordinary voice and since he was a contemporary of Caruso (1873 - 1938), the comparison was bound to be made. An apocryphal story has it that Caruso would come to hear Sirota sing or conduct a service whenever, they were in the same town at the same time.

Although at the head of this article it says that he was born in 1877, this is by no means certain, as details of his early life are not well documented.

It would appear that Sirota started his career in Chazanut in Odessa, after which he was Cantor for eight years at the Shtotshul in Vilna. The choirmaster there was the renowned Leo Lowe with whom Sirota built up a fine working relationship.

In 1902 he performed in a concert accompanied by an enlarged choir under Lowe's direction and the following year he sang at an historic reception that was held in honour of a visit by Dr Theodor Herzl.

Five years later, Sirota was invited to occupy the position of Obercantor in the most prestigious position in the cantorial world at the Tlomazke Street Synagogue in Warsaw and it was not long after that Leo Lowe joined him there.

In 1912, Sirota and Lowe visited America to give concerts, and it's said, that at his first appearance at Carnegie Hall, on February 14th, every single seat was taken.

He travelled on concert tours all around America and Europe, and was a great 'hit' wherever he went, whether he gave a concert, or conducted a service at the Amud.

Although Sirota undoubtedly improvised whilst conducting services, as is common with most Chazanim, he did not compose his own original pieces. 'Sirota's Retsei' is, of course, not Sirtoa's at all. Although he undoubtedly contributed towards making it famous, it was actually composed by Schlossberg.

It's said that when he Davened at the Amud, he would get so carried away in his 'conversations' with the Almighty, that for him, it was as if the congregation wasn't present. Chazan Joshua Weider described Sirota's appearance after he'd sung 'Ata Nigleita' one Neila as 'a burning thorn.'

Sirota was reputed to have had a generous disposition, and it was not uncommon for him to officiate at the wedding of a poor family for no remuneration. Even so, he did not allow people to take advantage of him and after a dispute with his congregation over his appearances outside the Synagogue, he parted company with them.

It was unfortunate for Sirota that he happened to be in Warsaw at the outbreak of the war. Although he could easily have left, he remained there to be with his family.

Living in the Warsaw Ghetto at 6, Volinski Street, they all died together in the uprising in 1943.

Salomon Sulzer

1804 - 1890

Everybody knows how to sing 'Ein Kamocha.' In this country there's hardly a Shul that doesn't sing it more-or-less the same way and yet, there are very few people who know that it was composed by one of the most influential of all composers of Synagogue music - Salomon Sulzer.

Although we don't sing very many of Sulzer's pieces any more, there's no doubt that his highly innovative approach to the music of the Synagogue was significantly instrumental in creating the stylised and formal structure that still exists in most congregations.

Salomon was born in Hohenems, Austria, and, although his family name was Loewy, they changed it and called themselves after the small town called Sulz, where they had settled after having been exiled from their hometown.

It’s said that, as a small boy, Sulzer fell into a torrential Alpine river. Having been was miraculously saved from drowning, his mother vowed to devote him to the service of the Almighty and thereafter dressed him only in pure white.

As a young man, Sulzer studied, first in Switzerland and then in Karlsruhe. He then travelled as an itinerant cantor in Germany, Switzerland and France. He had some eminent teachers of music including Ignaz von Seyfried, who had himself been a pupil of Haydn and was a friend of Mozart and Beethoven.

In 1826 Sulzer received a call to be cantor at the Viennese Seitenstettengasse Temple, where he remained for forty-five years.

In 1848 he got himself involved in the revolution and found himself in prison. Fortunately he was kept there for only a short time, and was pardoned and set free.

He was the first cantor to apply the rules of classical harmony to traditional synagogue melodies and through the publication of his major work, Shir Zion, his fame spread. The first volume was published in 1840 and the second came out about 1866. Included in this work were also compositions by his teacher von Seyfried, and Franz Schubert.

His efforts did not go unrewarded and in 1874 he became a knight of the Order of Franz Josef and was also made an 'honourable citizen' of Vienna.

Since most of Sulzer's compositions are for Cantor and choir, you are more likely to hear them in a Shul where there is a Chazan and choir. These include Mi Adir at a wedding and one of his arrangements for Adon Olam or Eitz Chayim He. However there are numerous responses and incidentals in our services that owe their origins to Sulzer. The way we begin Ashrei after Kriat Hatorah, Yimloch of the Kedusha and so on, and many similar asides on the Yamim Noraim, can be traced back to his writings.

Not without good reason is Sulzer often spoken of as the father of modern Chazanut.

David Kussevitsky

1912 - 1985

It would be a very brave person who would unequivocally state that any one of the four Kussevitsky brothers, Moshe, David, Jacob and Simcha, was the best. They were all known for individual qualities and, in truth, each was an outstanding Chazan in his own right.

David certainly had a most unusual voice, and was able to maintain long phrases on very high notes. Others have tried to copy him, but few have succeeded in coming anywhere near the excitement that he could generate by his extraordinary singing - which I once heard him attribute to the particular bone-structure of his face.

I often felt that listening to David sing, was akin to watching a tight-rope walker high above the Victoria Falls. The excitement is generated by the possibility that he might actually fall off. The attraction of listening to David Kussevitsky was the possibility that his voice might crack. To the best of my knowledge it never did, of course, even in his advancing years - but nevertheless, the possibility was still there that he might!

As a child David Kussevitsky sang in the choir in the Vilna Great Synagogue and was intent on following a musical career from the start. He studied at the Vilna Academy of Music and became a choir master at the age of eighteen. After serving in the Polish army, he continued his voice studies in Warsaw, officiating at various Synagogues before becoming the Chief Chazan in Rovna.

In his middle twenties, he accepted a call to the Hendon Synagogue, London, where he stayed for twelve years.

Kussevitsky was not enamoured with the life of a Chazan in the United Synagogue in London, in those days. In his book, ‘Chosen Voices, Mark Slobin quotes from a verbatim interview with David in which David says:

"[Working for the United Synagogue] was like a government. Each shul sends their representative, like to the House of Commons...it’s like the Church of England...They all had their traditional music. They had a blue book that they give you, and they tell you, "use it as much as possible..." You had to be there every shabbes...and [I] taught in Jews’ College. I used to share the weekday services with the rabbi. I did Sunday morning. No layman was allowed to officiate...."

He relates how he did not want to leyn (read the Torah), and eventually got an agreement with the ‘chief warden’ that he wouldn’t be expected to do so.

A business man, who used to travel frequently between England and the USA, persuaded David to set his sights further afield and in 1948, after helping him to obtain a visa, he went to America and was appointed to the highly prized position at Temple Emanu-El in Boro Park, Brooklyn.

Throughout his long career, David Kussevitsky travelled the world, singing in the most prestigious venues. He was an outstanding showman who could hold an audience in the palm of his hand. His top notes could rattle the chandeliers and make your hair stand on end, and his soft notes - his piano, could bring tears to your eyes.

Amongst his numerous recordings are many of his own compositions.

Samuel Vigoda

b.1893

Samuel Vigoda is generally considered to be one of the last of the star Chazanim of the ‘Golden Age’.

He was born in Dobrzin, near Warsaw where his father was the Chazan/Shochet but, as Vigoda said himself, ‘..he wore two hats, and with the two hats he didn’t make a living.’ The young Samuel was very unimpressed with the hard life that his father led and never intended to become a Chazan himself.

To try to improve his lot, Vigoda senior took his family to Hungary. One day, Yossele Rosenblatt came to their town to officiate at a wedding. At the reception Vigoda senior sang, assisted by Samuel and his brother and, being very impressed, Rosenblatt asked that the boys be allowed to come to Pressburg to sing with him regularly.

Being assured that Rosenblatt would take good care of them, Samuel and his brother went to live in Rosenblatt’s home, where they remained for two and a half years.

When Rosenblatt left for Hamburg, Samuel returned home and began to study medicine, but his studies were interrupted by the First World War when he was conscripted into the Hungarian Army. At the end of the war, he was discharged with the rank of first lieutenant.

Since the University of Cluj, where he had begun his medical studies, was now part of Rumania, and as the University of Budapest, because of their quota system, wouldn’t accept him, Vigoda, (somewhat fortunately for the world of Chazanut) found himself unable to return to medicine, and turned to Chazanut as a way of making a living.

Vigoda held some very fine positions in Budapest and was soon making a very good name for himself. When word got out about him, people flocked to hear the new, young wonder-Chazan.

The opportunity came for Vigoda to travel and he decided to go to Zurich. Overhearing, after an audition, that his potential appointment was in jeopardy was he wasn’t married, Vigoda got his sister to write him letters, so that he could say that they came from his wife!

After Zurich, Vigoda went to Germany and then Amsterdam, where he did very well, officiating in various synagogues. A wealthy diamond-dealer who befriended him, arranged for him to obtain a visa to America, on the strength of his singing of an aria from ‘La Juive.’

Before going to the States, he went to Paris where he also officiated in many congregations, and was offered a position in the largest Orthodox one on the Rue Pave, which he didn’t accept.

On arriving in the States, Vigoda contacted Rosenblatt, who arranged for him to officiate that very Shabbat in Rosenblatt’s own Shul, Congregation Oheb Zedek, in New York. Indeed, this was a position that he was to be appointed to, when Rosenblatt left.

Samuel Vigoda lived well into his nineties, and was feted by Chazanim until the very end of his life. He travelled extensively, giving concerts in practically every large city in the United States and Canada. He was a composer, as well as a performer, and left behind some treasured recordings of his remarkable singing.

Richard Tucker

1913 - 1975

Richard Tucker was born Rubin Ticker, in New York City, on August 28th 1913. He was brought up in a religious family and sang as an alto in the choir of the famous Chazan, Samuel Weisser. As he grew up, he took Chazanut lessons with Weisser, and later with the celebrated composer Zavel Zilberts.

Tucker met Sara Perelmuth, the sister of the equally famous Opera Singer/Chazan Jan Peerce (although the two never became close), and when he married her in 1936, he was a part-time Chazan at the weekends, in New Jersey and a fur salesman during the week.

Although he seems to have used the name Tucker from a very early age, it wasn’t until 1937 that he changed his first name to Richard. But even so, his family continued to call him Ruby throughout his life.

He managed to get some engagements singing secular songs on a radio programme in Manhattan and, even though, in 1938 he took a full-time post as Chazan in New York City, he started to set his sights on singing in opera.

In 1942 he auditioned for the Metropolitan Opera House, but was not taken on, so in 1943 he accepted an exceedingly prestigious post as Chazan at the Brooklyn Jewish Centre, working closely with its famous music director, Sholom Secunda. Secunda wrote a number of compositions for Tucker, some of which have become very well-known.

Tucker continued singing on the radio, as a result of which he was finally ‘discovered’ by the Met. and was engaged to sing in La Gioconda in 1945.

As keen as Tucker was to sing on the stage, he was also deeply attached to the Bimah, and he must have been very disappointed when pressure was put on him to give up his position at the Brooklyn Jewish Centre. Even so, throughout the rest of his career he frequently conducted services in many synagogues around the world.

Its is said that one of his greatest experiences was when he conducted a Shabbat morning service in the old Synagogue in Vienna, where Salomon Sulzer had been Cantor. This was only a few years after the end of the war and Tucker was deeply moved by the environment, and the occasion.

Richard Tucker saw singing opera and cantorial music as very similar arts. He once said ‘They both demand blood and guts.’

He made many Cantorial recordings, and it’s reported that Elvis Presley used to like listening to them. (Perhaps there are some Presley afficianods who can detect some influences of Tucker in Presley’s singing!)

His wife accompanied him to every operatic performance he gave and would always wait in the wings, and accompany him back to his dressing room.

When he died, a funeral service was held for him on the stage of the Metropolitan Opera House. The service ended with the stage bare, except for Tucker’s coffin, as the curtain came down on him for the final time.

Emanuel Feldinger

1913-1979

Menachem Mendel Feldinger was born in Munkatch (Mukachevo), Hungary. Situated near three borders, Munkatch was a large market town, and the young Emanuel, who spoke several languages, made his pocket-money by standing in the market and translating for the merchants from the various countries.

Strikingly handsome, with a black pencil-line moustache, he was blessed with a beautiful baritone voice which came to the attention of the Munkatcher Rebbe (the Minchat Elazar) who agreed to his appointment as Chazan of the main shul in Munkatch at the age of 21!

The leaders of the community insisted that, since the previous Chazan had been a shochet, Menachem Mendel should also learn Shechita. On his arrival in the Shechita house, he promptly fainted and had to be carried outside! Declaring that he would never learn Shechita, he mastered the art so well that when Dayan Weiss, the Av Bet Din of Manchester needed to demonstrate Shechita to the local MPs, he sent for Rev. Feldinger to show how humane the procedure really is.

Feldinger’s parents were asked for permission for him to study music and voice production, but his mother wept in front of whoever it was who had approached her and said that her son was a jewel in her eyes, and would he remove one of her eyes?

In 1939, with his wife Bertha (Bracha) and sister, he fled Hungary by train in an attempt to get first, to the South of France. Travelling illegally through Western Europe, the Nazis boarded the train and the three saved their lives by jumping through a window and rolling down an embankment. They eventually arrived in London, destitute and hungry, just in the clothes they stood in, and sat on the steps of the London Beth Din, and waited for someone to arrive.

Dayan Abramsky recommended Feldinger to the Notting Hill Synagogue, and soon after he accepted a call to the St. Annes-on-Sea Hebrew Congregation, which he served as Chazan, shochet and teacher for over forty years.

Although not formally trained, Chazan Feldinger had an incredibly "fast ear' and could pick up a piece of music virtually on first hearing.

Unfortunately childless, he taught many students in the Cheder, trained a boys’ choir and was instrumental in sending at least three students to his friend Rev. Bryll at Jews' College.

Chazan Feldinger’s davening was a unique blend of ‘Munkatch meets the United Synagogue’ and although it’s believed he made a number of recordings, none were issued. After losing his wife, he retired to Bnai Brak in 1978. He married for a second time, but sadly succumbed to a heart attack, aged 66, on 25 Nisan 5739 (1979). His friends and students dedicated a room in his memory in the Ponevezh Yeshiva, and continue to cherish the memory of this kindly teacher and sweet singer of Israel.

(Material for this article was supplied by Rabbi Martin Wise and Chazan Steve Robins)

Pinchas Faigenblum

1909 - 1984

There must be very many people who can still recall with tremendous pleasure, the exquisite singing of Chazan Pinchas Faigenblum, who graced the London Cantorial scene for more than thirty years.

Faigenblum was born in Warsaw, where his father, Avraham, was well-known as a fine Baal-Tephillah. However, the main encouragement to become a Chazan came from his mother Esther, who believed that in the Synagogue, there would be little opportunity for him to ‘become a Goy.’(!)

In order to avoid conscription, Avraham took his family to Antwerp, and Pinchas soon joined the choirs of first, Chazan Sobolsky and then Chazan Raphael Melamedoff. Owing to the outbreak of the First World War, the Faigenblum family came to London in 1914, and they settled at Highbury.

Returning to Antwerp after he war, Pinchas worked in the fur and diamond trades. He also returned to singing in Shul choirs and concentrated seriously on his vocal and musical studies at the Conservatoire de Music d’Anvers. With three friends, he formed a quartet which performed extensively, including a series of concerts on Brussels Radio. In these concerts they sang in Hebrew, Yiddish, Spanish, German and Italian.

It was in Brussels in 1936 that he obtained his first position as Chazan, at the Rue de Langlangtiere Synagogue and, in 1937 he married Fanny Zakon.

Since war was once again in the air, Pinchas made efforts to obtain a position in London and was appointed at the Nelson Street Sephardishe Shul, where he remained for five very happy years. From there he went to Wintown Street, Leeds for two years and Leases Park, Newcastle, for the following two years.

In 1948 he came to Willesden, where he remained until 1959, after which he moved to the Cricklewood Synagogue, in Walm Lane.

Pinchas was very fortunate to have as his choirmaster in Willesden, Martin White, who was also the Director of the London Jewish Male Voice Choir. The services at Willesden, especially during the Yamim Noraim, were reputed to have been outstanding, and undoubtedly there are some people reading this who will recall those occasions.

Chazan Faigenblum was very active in the Male Voice choir, writing out the various parts (this was in the days before photo-copiers!), and frequently appearing as Chazan-soloist. In 1975 he put out a record containing nine items that he had performed with the choir, both with Martin White and his successor, Emmanuel Fisher.

Faigenblum was very modest about his exceptional abilities, and it was only after a great deal of pestering from his closest friends and admirers that he was persuaded to issue this record.

Although the quality of most of the pieces is not up to modern standards, it still captures the excellence of the choir and the qualities that made Pinchas Faigenblum one of the finest Chazanim ever to hold a regular pulpit in London.

Aaron Fuchsman

1892 - 1969

Aaron Fuchsman was born in Zytomirs, in the province of the Ukraine. He received his musical training in the Petrograd Conservatoire and obtained his first pulpit in Warsaw. He then went to be Chazan of the principal Synagogue in Antwerp from where he travelled and concertised extensively in Europe, as well as in America.

While he was in Antwerp he was heard by two Glaswegians who approached him to become Chazan of the Langside Synagogue, Cromwell Road, in Glasgow. He accepted their offer and became the first Chazan to be appointed by that Shul. He remained there for five years.

On 3^rd April 1929 Chazan Fuchsman was a participant in a contest held by Columbia to find new recording artistes. At this event he was greatly acclaimed, becoming one of the finalists, and from available cuttings of that time it would appear that he was actually chosen to record for the company.

A local newspaper reported as follows:

As well as his success in this competition, he was also broadcasting for the BBC, when he usually sang liturgical or Yiddish numbers. In 1927 he was paid a fee of two guineas for singing ‘A Dudele’ and ‘Ki Lekach Toiv’

Amongst his cuttings from Glasgow, appears the following interesting snippet:

Rev Fuchsman was at his best at the first Selichot at Cromwell Road Synagogue. He indeed exceeded the expectations of the congregant. The choir, which assisted Rev Fuchsman, has much improved this year. (!)

With the exposure he was receiving, it is not surprising that he was encouraged to come to London, and in 1933 Chazan Fuchsman was appointed to East London Synagogue, Stepney Green, a position he held with great distinction for 22 years.

Rev Fuchsman soon made a name for himself as an outstanding Chazan among many fine Chazanim that London was blessed with in the years between the wars, and people would flock in vast numbers to participate in the exquisite services that he conducted.

To this day there are many who can still recall those services. They were days in which, if you didn’t arrive early, you probably wouldn’t get a seat, and when Rosh Hashana mornings rarely concluded before 3.00pm!

After he retired, Chazan Fuchsman returned to live in Glasgow with his family, where he continued to conduct services from time to time. Indeed, when his granddaughter Sylvia got married, he sang Sheva Berachot, and received a standing ovation for it!

After he died in 1969, a most fitting memorial service was held for him at the East London Synagogue.

(From material supplied by ChazaFuchsman’s granddaughter,

Sylvia Fink)

Aryeh Garbacz

1899 - 1986

In the earlier part of this century, when provincial communities flourished, some of the finest Chazanim in Britain were to be found engaged by large congregations in various parts of the country. Amongst them was Chazan Aryeh Garbacz who served the Southend and Westcliff Hebrew Congregation from 1930 for nearly 53 years!

Chazan Garbacz was born in Rovno, Lithuania, and was already singing in public by the age of eight. He received his education at the Yeshivot in Novograd, Volinsk and Rovno and was taught Chazanut and voice production by several Chazanim who were well-known at the time, including the great Zeidel Rovno.

As a youngster he officiated at many different Shuls, and was invariably accompanied by a choir, which he took with him. At the age of 20 he was appointed to his first post as Chazan Rishon at the Great Rovno Synagogue.

During his army service he learned to play the trombone and, through the intervention of the Rav of his community, while he did his army service, he continued to serve as Chazan in Rovno.

He was next appointed Chazan at the Beth Medrash Hagadol in Brest-Litvosk, where the Rav was the famous R. Velvele Soloveichik - the Brisker Rav.

In 1928 Chazan Garbacz came to England. One of his first tasks was to conduct services on the Yamim Noraim at ‘The Pavilion,’ with a choir of forty men, for which he was paid £100! which was no mean sum of money for those days. He was then appointed Chazan at the New Road Synagogue in the East End of London.

On a visit to Westcliff-on-Sea in 1930, he Davened an ordinary weekday Mincha, as a result of which he was called upon to become the Chazan of the Shul. Accepting the invitation, he moved there with his wife, and stayed for the rest of his career.

Like every professional, he rehearsed regularly and it’s said that many times there would be a gathering of people, Jews and Gentiles, outside his house who would be able to enjoy a free concert!

During those years he became a Mechutan of his own colleague, Rabbi Pinchas Shebson. They enjoyed a very close relationship and made an agreement that, irrespective of anything the congregation would say, at the end of each service the Chazan would tell the Rabbi that he’d never spoken better than ‘today’ and the Rabbi would assure the Chazan that no Chazan had ever Davened better than he did ‘today’! If ever there was a recipe for providing Shalom between Chazan and Rabbi, this must surely be it!

Chazan Garbacz was a proficient pianist. He also composed many Cantorial pieces, some of which are still sung by various Chazanim.

He retired for the first time (!) in 1975, at the age of 76, but after six months he was prevailed upon to continue to conduct services, as the Shul couldn’t find anyone as good as he was to replace him.

As well as being a very fine Cantor, Chazan Garbacz was a warm and friendly man who was much loved by his congregation. He typified the finest of the Anglo-Jewish ministry in combining the best of Chazanut with the most caring in pastoral care of his members.

Jacob Kussevitsky

1903-1959

Of the four Kussevitsky brothers, it was said that Jacob was the best ‘Baal Tephillah.’ It’s very difficult to explain exactly what this means, but the implication is that he made a greater impact with the way he interpreted the words, and his usage of the traditional melodic lines (Nusach) than he did with his voice.

This doesn’t mean that he didn’t have a fine voice - he certainly did, (he was actually a lyric tenor), but Jacob had a way of penetrating to the heart of a prayer that makes a far greater impression on the listener, than a voice does on its own.

Jacob was the second of the Kussevitsky boys and was born to Alta and Avigdor Kussevitsky in Smorgon, in Russian Poland.

From a very early age he took lessons in singing and Chazanut and studied with various tutors, including the famous Chazan Ravitch in Kharkov. As a youngster he was chorister in Vilna in the choirs of Chazanim Avraham Moshe Bernstein and Bernstein’s successor Eliyahu Zaludkowsky, who were both famous cantors in their time.

When his brother Moshe was Chazan in the Vilna State Synagogue, shortly after the end of the first world war, Jacob was the tenor soloist in his choir, and it wasn’t long after that he was appointed Chazan himself in Kremenetze, where his younger brother David served as his choirmaster. Some years later they went to Lemberg, where they continued to work together.

David went off to start his own career as a Cantor and in 1936 Jacob came to London , where he was appointed to one of the leading Synagogues in the capital at that time, the Dalston Synagogue in Poet’s Road.

It’s been reported that on his first appearance there he sang Kaddish to the tune of ‘John Brown’s Body!’ This apparently took the formal Anglo-Jews of Dalston completely by surprise. But their reaction took Jacob by surprise too. It would seem that Jacob had never heard of ‘John Brown’s Body.’ This was a melody that he had heard and used for Kaddish in Lemberg, and as far as he was concerned, this was where it came from!

From Poet’s Road, Jacob went to the Western Synagogue and in 1951 he decided to go to the Americas. For two years he was Chazan of the Congregation Rosh Pinah in Winnipeg, Canada and in 1953 he became Chazan at the Jewish centre of Kew Gardens Hills in New York. Sadly he was only there for six years before he died.

That Jacob did not become as famous as Moshe and David, is probably due to the fact that, although he did give concerts, his true milieu was on the Bimah. He was more of a ‘Davener’ than he was a performer and this comes through very clearly in the lovely recordings he has left us.

Thanks to Mr Herman Greenbourne for some of the information in this article.

Morris (Moishe) Katanka

1926 - 1981

Morris Katanka, was an English-born Chazan who graced the pulpits of this country for many years.

He came from a musical family in Mile End, London, the youngest of five children, and regularly attended the Mile End and Bow Synagogue, Harley Grove, where he sang as a soloist in the choir of Chazan Yehudah Rosenfeld.

During the war, Morris Katanka served in the Royal Air Force in Europe and the Middle East, and assisted in organising services for the Forces.

In 1947 he went to study in the Chazanut department at Jews’ College, first with the Rev Shlomo Pinkasovitch and then later with the Rev Leo Bryll. These were the days when practically every Synagogue had its own Chazan so, when the Chazan was on holiday Jews’ College would be called upon to supply a student to fill in. This meant that students got lots of experience officiating at many different synagogues, so the young Katanka’s big, baritonal voice was frequently heard around London.

For a short while he served as a temporary Chazan at Dukes Place and in 1950 he was appointed to the first of the only two positions that he held throughout his career, at Shepherds Bush.

In 1955 Chazan Katanka received a call to be the First Reader of the prestigious Princes Road Synagogue, Liverpool, where he remained for the rest of his life. This was a community which was always well-known for its fine Chazan and Choir, and Chazan Katanka enhanced the status that it had gained, not only within the Synagogue, but also by the loving pastoral care that he gave to his congregants.

Princes Road also has always had the reputation of being one of the most beautiful Synagogue buildings in this country, so it was indeed a tragedy when, just as the Chazan was about to celebrate 25 years of service to the congregation, it was badly damaged by fire. One can only imagine the difficulties, both physical and emotional, of having to officiate for many months in the Shul while it was being rebuilt.

It was re-consecrated on the eighth night of Chanukah, December 1980, and this was to be Chazan Katanka‘s final major service, for, after having officiated at the Kabbalat Shabbat service of Parashat Yitro in January of the following year, he passed away during the night, having served the congregation with great devotion for 27 years.

During its long history, until Chazan Katanka’s demise the Princes Road Synagogue was served by five Chazanim; Jacob Prag, Harris Burman, Abraham Coleman, Herman Bornstein and Morris Katanka. It’s noteworthy that four out of these five, including Morris Katanka, served the community for exactly 27 years!

Unfortunately Chazan Katanka didn’t make any professional recordings, but there are, undoubtedly, many private ones in existence, as well as Uvenucho Yomar and Eli Eli that the family have.

Thanks to Rabbi David Katanka for some of the information supplied in this article.

The Origins of Chazanut

This is a deliberately unstructured glance at a subject that has been treated to considerable scholarly research. It is by no means comprehensive, but owing to the limitations of space, it is intended to be merely introductory in character.

At the outset it needs to be said that what one person considers Chazanut won't coincide with someone else's view. We all have our perceived notions of what a 'good' Chazan should be able to do and certainly, for the afficiondo, these views are usually based on comparisons with the 'great' Chazanim of the Golden Age of Chazanut (about which, more later).

If we take as our definition of a Chazan, 'a man who leads the service with the traditional melodies and who has a better-than-average voice,' then there are indeed some fine Chazanim in this country.

The fact is that, since its beginnings Chazanut has constantly changed in character, and indeed it has needed to if it was to fulfil its function of being the means by which to inspire congregants. Times change, circumstances alter and the environment in which Jews live has varied over the ages. When people had much time to spare, they would gladly stay in the Synagogue throughout a four hour service, to be 'entertained' by a Chazan and choir.

In the modern world of the soundbite, an attractive melody or two and a business-like approach to the remainder of the service, is more to the requirements of the times. But most people still like the service to be conducted in the traditional way by someone who is competent and knowledgeable.

What are the elements of Chazanut that are still popular and of importance today?

Undoubtedly a Chazan has to have a 'good' voice, and the world of Chazanut is indeed blessed with men of outstanding ability; David Bagley, Moshe Stern, BenZion Miller and Chaim Adler, to name but a few. (I've deliberately refrained from naming British Chazanim for the sake of Shalom Bayit! But there are certainly some who might be included).

It's imperative, indeed a requirement of Halacha, that the traditional melodies are absolutely adhered to, and every Chazan worthy of the title will ensure that he keeps strictly to the ancient prayer modes that have become hallowed by time and usage.

A Chazan should also have good diction and a full understanding of the prayers he utters.

Since there are numerous Chazanim who measure up to all these requirements, what is it that makes Chazanut today different from what it was 'before?'

The period between the wars is generally regarded as the 'Golden Age of Chazanut.' This is the time when legendary Chazanim such as Kwartin, Sirota, Hershman, and Rosenblatt flourished. Simply put, these men had the ability to make people cry. Their singing and pleading with the Almighty would send shivers up and down the spines of their congregants and they were able to raise them to high levels of communion with G-d.

(It is, perhaps, beyond the scope of this article to rationalise this, but I'm certain that it was the environment in which people lived that enabled them to achieve it. People living in poverty, who could not afford to see a doctor when they were ill and were frequently out of work, were more easily moved than we can be today in our more affluent society. When the Chazan pleaded with the Lord to grant people who were unemployed and living through a war 'a life of peace, a life of sustenance, and life in which there's no shame and reproach..', it was not difficult to make them cry).

The 'professional' Chazan was indeed an entertainer, and his role developed out of the need for culture that was felt by a people who couldn't afford, or were often denied the right, to attend local places of entertainment. Although he would probably have been horrified to think that this was the role he filled, the great attraction of the earliest Chazan was indeed his voice and his 'star' quality.

A Shaliach Tsibbur - (lit. messenger of the congregation), someone to lead the service, was required from earliest times. The Mishna (c.200 C.E.) talks about the one who was called upon 'Leireid Lifnei Hateiva' - which literally means 'to go in front of the Ark'. This was the person who was asked to repeat the Amidah. He could be any member of the congregation who was competent and he most certainly did not have to be a Rabbi. Indeed there's a Midrash which tells how the renowned Rabbi Elazar was visiting a Shul where, because of his fame, he was invited to lead the Davening. Unfortunately, to his deep embarrassment and indeed to the astonishment of the congregation, he had to decline the invitation because he didn't know how to say the Amidah aloud! (He did however, go immediately to his teacher Rabbi Akiva to correct this gap in his education and, the Midrash relates, when he paid a return visit to that congregation, he was able to be Shaliach Tsibbur for them).

In these earliest times, a knowledge of the prayers was all that was required to qualify a man for the role. However, when people were being offered the Mitzvah of leading the service, obviously, the man with the good voice would be more likely to be asked, than the one who couldn't sing in tune.

The 'art' of Chazanut was developed by these men who could sing and who were encouraged to do so by congregations who were often thirsty for culture.

One of the most important elements of Chazanut is called 'Nusach Hatefillah'. This expression has two meanings: one is the form and order of prayers, and the other refers to the traditional melodies that must be used to chant them. It is this second one that is specific to Chazanut.

If you think of the repetition of the Amidah for Shabbat, for Yom Tov and for the Yamim Noraim, you will realise that they are all done differently. These 'chants' or Steiger (from the German steigen - ascending, hence 'scale'), are very important and a Chazan who deviates from them must not be allowed to conduct the service. Their purpose is to set the mood for the day.

There are also many melodies, rather than modes, which are very ancient. In the Ashkenazi rites they are referred to as 'Scarbove Niggunim, (the word Scarbove is probably a corruption of the Latin word sacra meaning 'sacred'), or Misinai-melodies, ie, melodies transmitted from Sinai (!). These titles undoubtedly came about as a means by which to invest them with sanctity and so discourage Chazanim from altering them.

Most of these Scarbove tunes came from Southwestern Germany, from the old communities of Worms, Mayence and the Rhinelands. Examples of them are Alenu for the Yamim Noraim and Adir Hu for Pesach.

The function of the Chazan today is twofold. Firstly he is to keep the congregation together and secondly he is to try to inspire them towards a higher level of spirituality during prayer. Although the 'performance' Chazan is not so much in demand anymore, it's still absolutely imperative that whoever does conduct the service, must be completely familiar with all the traditional steiger and niggunim that have been handed down from one generation to another.

The days are long past when every little Shul had a Chazan of real talent. We must cherish the culture that's preserved on recordings and encourage all those who show aptitude to study and pass on our heritage, so that it never becomes forgotten.

*******************

The association of Ministers Chazanim of Great Britain was once a very lively and active organisation. When there were sufficient Chazanim in this country, they used to issue an excellent magazine called the 'Cantors' Review.'

The September 1972 edition contained the following:

HAVE YOU HEARD?

The famous Chazan A.M. Bernstein related the story of an uneducated young woman who attended the service for the first time after her marriage, as it happened on Shabbos Mevorchim. As she was unable to understand the Tefillot, all that she caught was the Chazan's intonation of 'Chayim, Chayim' over and over again. On her return home she asked her husband: 'Chayim,...why is the Chazan mentioning your name so often in the prayers?'

***

Professor Samuel Alman told of a so-called 'President' whose congregation was seeking a new Chazan. The official was heard to announce; 'We require a Chazan who should be fifty per cent Chazan, and fifty per cent 'Mentch. But a few per cent more or less would not matter!'

***

A Chazan boasted that he had recently sung in the Philharmonic Choir, and that as a result of his magnificent voice, the walls shook. His friend, and rival, went further: 'I gave a concert to deaf-mutes, and in their great admiration they were unable to utter a single word.'

***

A Chazan once Davened on a Friday evening service. After the service the Gabbai said to him: 'You Davened quite nicely but your Veshomru was not quite so good.

The incensed Chazan replied: 'Mind you, the Bnai Yisroel are a great deal worse!'

***

What is a Synagogue? It's a 'living' for the Rabbi, an 'honour' for the Gabbai, an opera stage for the Chazan and a chatting place for the congregation...

***

An elderly Chazan once came to the world-famous Chazan Rosovsky and asked for alms on the grounds that he had lost his voice. Rosovsky gave him a generous donation, but the mendicant was unsatisfied. He asked. 'What can I do with such a small donation?' Rosovsky replied: 'My dear friend, don't forget that the unfortunate person who has found your voice, will also require a donation, for he is more to be pitied than you!'

***

A small Jewish community engaged a Chazan of little merit for the excellent sum of 50 roubles, for the Yamim Noraim. He asked for a rise, pleading the high cost of living, etc. Being refused, he went to another town and later, on returning to his home town, was asked how much money he had obtained there.

'Two hundred and fifty roubles,' was his reply.

His neighbours refused to believe him, so explained: 'I got fifty roubles for my davening, and two hundred roubles for the beating-up I got afterwards.'

***

A letter addressed to the Rabbi of a Synagogue stated on its envelope; 'To the MINISTAR of the Synagogue.' The witty secretary conveyed the letter to the Chazan.

***

A Gabbai who disliked the Chazan of his Shul once mentioned in his anger, 'Every Chazan deserves the voice which he gets.' So the Chazan replied to him; 'And every Shul deserves the Chazan which it takes.'

***

A Chazan once had much Tzoros from his Gabbai. As he sat miserably at home, another Chazan visited him and asked him how he felt. 'Well,' he said, 'Yossele is no longer alive, Sirota also no longer lives, Kwartin is already dead. Today, which of the Gedolim remain? And what's more, I myself don't feel so good either!'

***

A Chazan used to travel from town to town, Davening anywhere he was asked. Somebody asked him: 'Why do you travel so much - stay in one place.' To which he replied: 'A Chazan could be compared to a good nail. If a nail is banged into a wall and it has a good head, it can be easily removed and put into another wall. But if it has no head, it will remain for good in one place!'