Explanatory notes for Shabbat Chanukah
by Cantor Moshe Haschel
Al Hanissim - Moshe Stern
page 398
Cantor Moshe Stern is considered by many to be the greatest cantor of our generation. Born in
Budapest in 1935 to a family of cantors, he served in synagogues in Israel and South Africa. Stern
achieved worldwide fame when he came to serve congregation Beth E-l in Borough Park, New
York in 1968, where he succeeded an illustrious line of names such as Jacob Rappaport, Mordechai
Hershman, Berele Chagi and Moshe Kousevitzki. Since 1977 he resides in Israel where he
continues to teach the art of chazzanut. I was privileged to be his student and later on to sing with
him in concert on a number of occasions. As a prolific composer, Cantor Stern is well known for his
ability to set unusual texts to cantorial music thus bringing out the deeper meaning of the prayers.
Such a piece is Al Hanissim which is added to the Amidah prayer and Bircat Hamazon during
Chanukah. It begins with a recitative at the end of the ‘Modim’ blessing. It then develops into a
beautiful and original tune, sung by the chazzan and repeated by the choir, all in the ‘Ahava
Rabbah’ Mode which is the traditional ‘nusach’ for the Shabbat morning repetition. It then
continues relating the plight of the Hasmoneans against their Greek oppressors and G-d’s salvation,
in a beautiful cantorial recitative in the style of Cantor Israel Schorr. The choir then returns to the
tune after which the chazzan goes into the major mode describing the victorious Hasmoneans
entering the Temple, cleansing it from its defilement and lighting candles there, thus bringing the
piece to its climactic conclusion with a hint of the traditional Maoz Tzur melody.
M'kimi/Moshivi– Skolnik/Rosenblatt
page 618
The Skolnik melody for Moshivi – the last verse in Psalm113 (the 1st paragraph of the Hallel) is
well known and is sung widely by chazzanim. Cantor Joseph Rosenblatt (1882 - 1933) while he
served as chazzan in Hamburg composed a beautiful cantorial introduction. In Mekimi, The
Psalmist praises G-d who raises the poor and destitute to the highest ranks of nobility a theme
Rosenblatt expresses with delightful lyricism. Rosenblatt recorded this piece and in recent years it
had a revival through Raymond Goldstein’s arrangement. Interestingly, another introduction to
Skolnik’s Moshivi was composed and recorded by Cantor Samuel Malavski which is worth
listening to.
B'tset Israel– Rabbi Shaul Yedidia Taub of Modzitz
page 618
Rabbi Shaul Yedidia (1886 - 1946) known as the ‘Imrei Shaul’ (after the name of the book of his
Torah and Chasidut teachings), the second Rebbe of the Modzitz Chassidic dynasty, was known as
a great Torah scholar and composer of Chassidic nigunim. The Chassidim of Modzitz (originally in
Poland, now based in Israel) are known for the great emphasis they place on music as an integral
part of Avodat Hashem (the service of G-d). The story is told by Chassidim that the ‘Divrei Israel’ –
Rabbi Shaul Yedidia’s father gathered his sons before his passing and wanted to check their
knowledge of the melodies of the prayers throughout the entire Jewish calendar. When they came
upon a particular place in the prayers of the Yamim Noraim, none of the sons could produce the
tune except Rabbi Shaul Yedidia. The ‘Divrei Israel’ decided then to appoint him as his successor
even though he wasn’t his eldest son. Being true to their philosophy, past and present Modzitzer
Rebbis engaged extensively in composing beautiful niggunim to be sung during prayers, the
Shabbat and Yom Tov tables and other religious occasions. Their melodies became popular
throughout the Jewish world for their liveliness and musical flow. B’tset Israel is one of several
compositions by Rabbi Shaul Yedidia to this text.
Pitchu Li – Shlomo Carlebach
page 626
Shlomo Carlebach, one of the most popular composer/singers of Jewish music of our time, was
born in Berlin in1925. He moved with his family to New York in 1939 where is father became a
synagogue rabbi. He studied there in Yeshiva Torah Vodaas and later in the Lakewood yeshiva. In a
career spanning over forty years he composed thousands of melodies. He developed his own style
of simplicity, flow and charm in his tunes. He gave many concerts in many parts of the world
accompanying himself on the guitar. He was also a moving story teller influenced by Chassidic
teachings. This combination enabled him to engage in outreach, inspiring people who otherwise
would have no connection with Judaism. Carlebach later became the rabbi of the west 79th street
Synagogue in Manhattan which became known as the ‘Carlebach Shul’ where his following grew.
Shlomo Carlebah passed away in 1994 during a flight to Canada and was flown to Israel to be
buried there. His popularity grew further after his death even beyond the Jewish world. His music is
performed in Carlebach minianim as well as by Gospel churches choirs. There are imitators to his
style. However it must be said that it wasn’t only the melodies that attracted his admirers. It was his
charismatic and warm personality invested in his performances together with his music that created
the Carlebach ‘effect’. To enhance your appreciation of Carlebach you may be interested to watch
his Hoshana Rabba Service in his shul on You Tube.
Ki Lekach Tov
Zavel Zilberts
page 432
Zilberts (1881-1949) was a prominent choral conductor and composer. He was the son of cantor
Baruch Hirsch of Karlin, Russia. He started his musical career in Poland and in 1920 emigrated to
the United States where he was conductor of various synagogue choirs and other choral groups.
Some of his numerous liturgical compositions like "Havdala" and "Al Naharot Bavel" (on the rivers
of Babylon) have become classics of the Cantorial repertoire. This collection of verses is recited
when the Torah scroll is placed back in the Ark after the reading of the Torah - one of the highest
points in the service. Zilberts creates an atmosphere of yearning to G-d and adherence to his law,
culminating in the last verse: "Turn us back O L-rd, to You, and we shall return; renew our days as
of old".
Mizmor Shir – Oscar Julius
page 36
Oscar Julius was a choir conductor in New York who worked with many famous chazzanim. The
cantorial council of Canada published his book ‘Azamer Bishvachin’ which contains many cantorial
works composed or arranged by him. It is the custom to recite Mizmor Shir - Psalm 30, after the
services during Chanukah. This piece in a form of a lively march changes the mood when it goes
into a pleading recitative on the words ‘Mah betza’ – ‘What gain would there be if I die’...then it
goes back into a triumphant contrast on the words ‘Hafachta mispedi’ – You have turned my sorrow
into dancing’. Although Mizmor Shir is a favourite in the cantorial concert repertoire we feel it is
very apt to sing it in the Shabat Chanukah service.
Adon Olam, Hodu, Anna etc - Maoz Tzur tune
Many lovely tunes in various styles had been composed for The Piyut Maoz Tzur. But the most
popular is the traditional tune that practically the whole Jewish world associates with it. As the
word ‘traditional’ suggests, no one knows who composed it. Musicologists believe the melody is
reminiscent of other melodies of the 16th century, particularly in the style and structure of
(lehavdil!) protestant hymns from that period. The way we sing it in England is unique. Whereas the
whole worlds sings the second part of the tune exactly the same as the first, here we modulate into
the dominant which makes more musical sense! Anyway, the tune has been so popularised and it is
so adaptable that we don’t sing it Just for Maoz Tzur but to everything else, well, almost! When you
hear this tune in the service today, this special Chanukah flavour, please don’t hesitate and join in
with gusto!