![]() Michael Isaacson’s V'ahavta was composed at Kutz camp in 1967. Unfortunately, I am not able to provide musical examples for these two pieces here – but they are worth looking up and taking some time to listen to them. The choral setting from his Evening Service for the Sabbath, also for baritone Cantor and choir, is a favorite of students from HUC’s School of Sacred Music. Israeli composer Yehezkiel Braun who served as professor of music at Tel Aviv University had a particular interest in liturgical chant and Jewish folk music. ![]() ” The use of three part women’s voices created a then contemporary and beautiful contrast to the Cantor’s part, a baritone solo. Listen There are many examples which help to musically define the text as well as the changes in modern Jewish music which have occurred in the 20th and 21st centuries.Įrnest Bloch spent a year studying the synagogue music and Hebrew texts used for Shabbat morning worship as part of his preparations for composing a glorious version of V’ahavta in 1933 for his choral work, “ Avodath HaKodesh,” “Sacred Service. Mishkan T’filah includes the cantillation marks so we may learn as a community while we chant as a community. 32a) Historically, thus, chanting the text became the way we were able to express its meaning and beauty, and it is inspirational for us to chant, as from the Torah, together as a community. The Talmud tells us that “the Torah should be read in public, and made understood to its hearers in musical and sweet tones.”(Babylonian Talmud Megillah. The first musical example of this text that you will hear, is chanting to Torah trop, or cantillation. With the development of contemporary Jewish music and participatory services has come a wider variety of settings for both the Hebrew and English texts. The English recitation of the first of the three paragraphs of the text of V’ahavta, became imprinted upon those of us who grew up in Reform congregations. ![]() In their articles of the last few weeks, Rabbi Richard Sarason and Iris Koller have taught us about the differences in liturgical emphasis of the three paragraphs of the Sh’ma in building a communal and individual relationship with God. Through musical interpretation of the text, we are easily able to put these words in our mouths “when we are at home and when we are on our way.” Music is the perfect means of expression for joyously fulfilling this obligation. The sacred text of Sh’ma- V’ahavta, repeated daily in our liturgy, inspires and guides us to teach and share – diligently – these words of Torah.
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