B i o g r a p h y
B i o g r a p h y
B i o g r a p h y
Joshua R. Jacobson holds a Bachelors degree in Music from Harvard College, a Masters in Choral Conducting from the New England Conservatory, a Doctor of Musical Arts from the University of Cincinnati, and a Doctor of Humane Letters honoris causa from Hebrew College. Before retiring in 2018, Dr. Jacobson served 45 years as Professor of Music and Director of Choral Activities at Northeastern University, including nine years as Music Department Chairman and six years as the Bernard Stotsky Professor of Jewish Cultural Studies. He is also Visiting Professor and Senior Consultant in the School of Jewish Music at Hebrew College. He is also the founder and director of the Zamir Chorale of Boston, a world-renowned ensemble, specializing in Hebrew music. He has conducted workshops on choral music for various groups, including the American Choral Directors Association, and has guest conducted a number of ensembles, including the Boston Pops Orchestra, the Bulgarian National Symphony and Chorus, the New England Conservatory Orchestra and the Boston Lyric Opera Company. He has also written articles on various aspects of choral music, and over one hundred published compositions and arrangements. In 1989 he spent four weeks in Yugoslavia as a Distinguished Professor under the auspices of the Fulbright program. In 1994 Hebrew College awarded him the Benjamin Shevach Award for Distinguished Achievement in Jewish Educational Leadership, in 2004 the Cantors Assembly presented him with its prestigious “Kavod Award,” in 2016 Choral Arts New England presented him the Alfred Nash Patterson Lifetime Achievement Award, and in 2018 Chorus America selected him for its Distinguished Service Award. Prof. Jacobson is past President of the Massachusetts chapter of the American Choral Directors Association. He is the conductor and host of the PBS film, Zamir: Jewish Voices Return to Poland. His book, Chanting the Hebrew Bible: The Art of Cantillation, published by the Jewish Publication Society in 2002, was a finalist for the National Jewish Book Award. He is co-author of Translations and Annotations of Choral Repertoire—Volume IV: Hebrew Texts, published by earthsongs in 2009.
​
Prof. Jacobson’s articles have appeared in The Choral Journal, the American Choral Review, The Journal of Synagogue Music, Encyclopedia of Genocide and Crimes Against Humanity, Encyclopedia Judaica, Studies in Jewish Civilization, Yale University Institute of Sacred Music Colloquium, The Musical Quarterly, and others. His compositions, arrangements and editions have been performed by ACDA honors choirs, by the Boston Pops and Tanglewood Festival Chorus, and by the St. Olaf College Choirs, among others. His music is published by Transcontinental, ECS, Broude Brothers and Earthsongs. He has guest lectured at Harvard, Brandeis, Yale, and many other schools. In addition to his specialization in Jewish music, he has conducted many of the standard choral-orchestral masterworks, including Bach’s Johannespassion, Beethoven’s Mass in C, Handel’s Messiah, Haydn’s Die Schöpfung, Mendelssohn’s Elijah, Mozart’s Requiem, Orff’s Carmina Burana, Poulenc’s Gloria, Schubert’s Mass in E-flat, Thompson’s A Peaceable Kingdom. He has also prepared Beethoven’s Ninth Symphony for Daniel Barenboim and the Israel Philharmonic Orchestra, Mahler's Second Symphony for Zubin Mehta and the I. P. O., Stravinsky’s Symphony of Psalms for Gary Bertini and the Jerusalem Symphony, Schoenberg’s A Survivor from Warsaw for Piero Bellugi and the New England Conservatory Orchestra. In 2011 Jacobson launched "Middle Eastern Harmonies," a program bringing together on stage Jewish and Arab music and musicians. He has performed the program for diverse audiences throughout New England.
Here are excerpts from some press reviews. Richard Dyer wrote in the Boston Globe (June11, 2002) “Jacobson has a gift for programming that is instructive and entertaining, and more often than not, the Zamir Chorale performs works that music lovers would be unlikely to hear anyplace else.” Philip Greenfield in the American Record Guide (March/April, 2002), “The Zamir Chorale of Boston has become America’s foremost Jewish choral ensemble.” Kevin Gabriel in The Worcester Telegram and Gazette (March 25, 1996), “Jacobson led polished performances that emphasized clarity and balance. And the chorale’s professionalism was everywhere evident, particlularly in its unflagging attention to detail.”
Joshua R. Jacobson holds a Bachelors degree in Music from Harvard College, a Masters in Choral Conducting from the New England Conservatory, a Doctor of Musical Arts from the University of Cincinnati, and a Doctor of Humane Letters honoris causa from Hebrew College. Before retiring in 2018, Dr. Jacobson served 45 years as Professor of Music and Director of Choral Activities at Northeastern University, including nine years as Music Department Chairman and six years as the Bernard Stotsky Professor of Jewish Cultural Studies. He is also Visiting Professor and Senior Consultant in the School of Jewish Music at Hebrew College. He is also the founder and director of the Zamir Chorale of Boston, a world-renowned ensemble, specializing in Hebrew music. He has conducted workshops on choral music for various groups, including the American Choral Directors Association, and has guest conducted a number of ensembles, including the Boston Pops Orchestra, the Bulgarian National Symphony and Chorus, the New England Conservatory Orchestra and the Boston Lyric Opera Company. He has also written articles on various aspects of choral music, and over one hundred published compositions and arrangements. In 1989 he spent four weeks in Yugoslavia as a Distinguished Professor under the auspices of the Fulbright program. In 1994 Hebrew College awarded him the Benjamin Shevach Award for Distinguished Achievement in Jewish Educational Leadership, in 2004 the Cantors Assembly presented him with its prestigious “Kavod Award,” in 2016 Choral Arts New England presented him the Alfred Nash Patterson Lifetime Achievement Award, and in 2018 Chorus America selected him for its Distinguished Service Award. Prof. Jacobson is past President of the Massachusetts chapter of the American Choral Directors Association. He is the conductor and host of the PBS film, Zamir: Jewish Voices Return to Poland. His book, Chanting the Hebrew Bible: The Art of Cantillation, published by the Jewish Publication Society in 2002, was a finalist for the National Jewish Book Award. He is co-author of Translations and Annotations of Choral Repertoire—Volume IV: Hebrew Texts, published by earthsongs in 2009.
​
Prof. Jacobson’s articles have appeared in The Choral Journal, the American Choral Review, The Journal of Synagogue Music, Encyclopedia of Genocide and Crimes Against Humanity, Encyclopedia Judaica, Studies in Jewish Civilization, Yale University Institute of Sacred Music Colloquium, The Musical Quarterly, and others. His compositions, arrangements and editions have been performed by ACDA honors choirs, by the Boston Pops and Tanglewood Festival Chorus, and by the St. Olaf College Choirs, among others. His music is published by Transcontinental, ECS, Broude Brothers and Earthsongs. He has guest lectured at Harvard, Brandeis, Yale, and many other schools. In addition to his specialization in Jewish music, he has conducted many of the standard choral-orchestral masterworks, including Bach’s Johannespassion, Beethoven’s Mass in C, Handel’s Messiah, Haydn’s Die Schöpfung, Mendelssohn’s Elijah, Mozart’s Requiem, Orff’s Carmina Burana, Poulenc’s Gloria, Schubert’s Mass in E-flat, Thompson’s A Peaceable Kingdom. He has also prepared Beethoven’s Ninth Symphony for Daniel Barenboim and the Israel Philharmonic Orchestra, Mahler's Second Symphony for Zubin Mehta and the I. P. O., Stravinsky’s Symphony of Psalms for Gary Bertini and the Jerusalem Symphony, Schoenberg’s A Survivor from Warsaw for Piero Bellugi and the New England Conservatory Orchestra. In 2011 Jacobson launched "Middle Eastern Harmonies," a program bringing together on stage Jewish and Arab music and musicians. He has performed the program for diverse audiences throughout New England.
Here are excerpts from some press reviews. Richard Dyer wrote in the Boston Globe (June11, 2002) “Jacobson has a gift for programming that is instructive and entertaining, and more often than not, the Zamir Chorale performs works that music lovers would be unlikely to hear anyplace else.” Philip Greenfield in the American Record Guide (March/April, 2002), “The Zamir Chorale of Boston has become America’s foremost Jewish choral ensemble.” Kevin Gabriel in The Worcester Telegram and Gazette (March 25, 1996), “Jacobson led polished performances that emphasized clarity and balance. And the chorale’s professionalism was everywhere evident, particlularly in its unflagging attention to detail.”
Joshua R. Jacobson holds a Bachelors degree in Music from Harvard College, a Masters in Choral Conducting from the New England Conservatory, a Doctor of Musical Arts from the University of Cincinnati, and a Doctor of Humane Letters honoris causa from Hebrew College. Before retiring in 2018, Dr. Jacobson served 45 years as Professor of Music and Director of Choral Activities at Northeastern University, including nine years as Music Department Chairman and six years as the Bernard Stotsky Professor of Jewish Cultural Studies. He is also Visiting Professor and Senior Consultant in the School of Jewish Music at Hebrew College. He is also the founder and director of the Zamir Chorale of Boston, a world-renowned ensemble, specializing in Hebrew music. He has conducted workshops on choral music for various groups, including the American Choral Directors Association, and has guest conducted a number of ensembles, including the Boston Pops Orchestra, the Bulgarian National Symphony and Chorus, the New England Conservatory Orchestra and the Boston Lyric Opera Company. He has also written articles on various aspects of choral music, and over one hundred published compositions and arrangements. In 1989 he spent four weeks in Yugoslavia as a Distinguished Professor under the auspices of the Fulbright program. In 1994 Hebrew College awarded him the Benjamin Shevach Award for Distinguished Achievement in Jewish Educational Leadership, in 2004 the Cantors Assembly presented him with its prestigious “Kavod Award,” in 2016 Choral Arts New England presented him the Alfred Nash Patterson Lifetime Achievement Award, and in 2018 Chorus America selected him for its Distinguished Service Award. Prof. Jacobson is past President of the Massachusetts chapter of the American Choral Directors Association. He is the conductor and host of the PBS film, Zamir: Jewish Voices Return to Poland. His book, Chanting the Hebrew Bible: The Art of Cantillation, published by the Jewish Publication Society in 2002, was a finalist for the National Jewish Book Award. He is co-author of Translations and Annotations of Choral Repertoire—Volume IV: Hebrew Texts, published by earthsongs in 2009.
​
Prof. Jacobson’s articles have appeared in The Choral Journal, the American Choral Review, The Journal of Synagogue Music, Encyclopedia of Genocide and Crimes Against Humanity, Encyclopedia Judaica, Studies in Jewish Civilization, Yale University Institute of Sacred Music Colloquium, The Musical Quarterly, and others. His compositions, arrangements and editions have been performed by ACDA honors choirs, by the Boston Pops and Tanglewood Festival Chorus, and by the St. Olaf College Choirs, among others. His music is published by Transcontinental, ECS, Broude Brothers and Earthsongs. He has guest lectured at Harvard, Brandeis, Yale, and many other schools. In addition to his specialization in Jewish music, he has conducted many of the standard choral-orchestral masterworks, including Bach’s Johannespassion, Beethoven’s Mass in C, Handel’s Messiah, Haydn’s Die Schöpfung, Mendelssohn’s Elijah, Mozart’s Requiem, Orff’s Carmina Burana, Poulenc’s Gloria, Schubert’s Mass in E-flat, Thompson’s A Peaceable Kingdom. He has also prepared Beethoven’s Ninth Symphony for Daniel Barenboim and the Israel Philharmonic Orchestra, Mahler's Second Symphony for Zubin Mehta and the I. P. O., Stravinsky’s Symphony of Psalms for Gary Bertini and the Jerusalem Symphony, Schoenberg’s A Survivor from Warsaw for Piero Bellugi and the New England Conservatory Orchestra. In 2011 Jacobson launched "Middle Eastern Harmonies," a program bringing together on stage Jewish and Arab music and musicians. He has performed the program for diverse audiences throughout New England.
Here are excerpts from some press reviews. Richard Dyer wrote in the Boston Globe (June11, 2002) “Jacobson has a gift for programming that is instructive and entertaining, and more often than not, the Zamir Chorale performs works that music lovers would be unlikely to hear anyplace else.” Philip Greenfield in the American Record Guide (March/April, 2002), “The Zamir Chorale of Boston has become America’s foremost Jewish choral ensemble.” Kevin Gabriel in The Worcester Telegram and Gazette (March 25, 1996), “Jacobson led polished performances that emphasized clarity and balance. And the chorale’s professionalism was everywhere evident, particlularly in its unflagging attention to detail.”
JOSHUA JACOBSON
Titles A-C Recommended Jewish Choral Music
title: Adijo Kerida (Farewell, My Beloved)
composer: folk (arranger Joshua Jacobson)
publisher: World Music Press
catalogue number: WMP 016
voicing: SATB (div.)
accompaniment: piano
timing: 3:45
language: Ladino
text: traditional
year of arrangement: 1991
recordings: Sepharad 92 (HZ-903)
level of difficulty: moderate
description: It is unclear whether the origin of this song is from ancient Spain or Violetta’s aria “Addio del passato” from Verdi’s La Traviata (1853). Whatever its history, this sad ballad of unrequited love is well known among the Sephardim (Jews who trace their ancestry to medieval Spain) living in the Balkan countries. The Ladino dialect is related to the language spoken by the Jews of Spain before their expulsion by the Inquisition in 1492. In this setting, the piano imitates the sound of a Spanish guitar. The voice parts can be handled easily by most choirs.
title: Adon Olam (Master of the Universe)
composer: Kenneth Lampl
publisher: Santa Barbara
catalogue number: SBMP 1194
voicing: SATB , divisi
accompaniment: a cappella
language: Hebrew
text: Synagogue liturgy
year of composition:
timing: 5:10
recordings: Zamir – From Boston to Berlin
level of difficulty: moderate
description: A touching setting of the text, evoking the cosmic sense of the lyrics. Lampl composes in a contemporary style, largely homophonic, with lush chords and lots of divisi (a la Whitaker)..
title: Adon Olam (Master of the Universe)
composer: Salamone Rossi
publisher: Transcontinental
catalogue number: 982045
voicing: SATB SATB
accompaniment: a cappella
language: Hebrew
text: Solomon Ibn Gabirol
year of composition: 1622 (published)
timing: 2:10
recordings: Rossi
level of difficulty: moderate (8 parts)
description: Salamone Rossi, a Jewish composer working in the Gonzaga court in Mantua at the beginning of the seventeenth century, composed the only substantial collection of polyphonic music for the synagogue to appear before the nineteenth century. “Adon Olam” is a majestic motet in eight parts, utilizing cori spezzati.
title: Adon Olam (Master of the Universe)
composer: Robert Stern
publisher: Transcontinental
catalogue number: 991297
voicing: SA
accompaniment: piano (optional handbells)
language: Hebrew
text: synagogue liturgy
year of composition: c. 1990
timing: 3:15
recordings: Naxos 8.559406
level of difficulty: challenging
description: An effervescent setting for women’s chorus of Ibn Gabirol’s liturgical hymn.
title: Adonai Ro’i (The Lord Is My Shepherd)
composer: Gerald Cohen
publisher: Transcontinental
catalogue number: 993121 (unison version is 991440)
voicing: SATB (S solo) (or unison)
accompaniment: piano
language: Hebrew
text: Psalm 23
year of composition: SATB version in 2001
timing: 3:45
recordings:
level of difficulty: moderate
description: Originally composed for a friend’s funeral, Cohen’s composition has a sweet and tender quality. It should be sung with lyrical phrasing and delicacy of expression.
title: Al HaNissim (For the Miracles)
composer: Dov Frimer (arranged by Joshua Jacobson and Hankus Netsky)
publisher: Transcontinental
catalogue number: 991306
voicing: SATB, div
accompaniment: piano (and optional clarinet or full klezmer band)
language: Hebrew
text: liturgy for Chanukah
year of composition: 1989 (arrangement)
timing: 2:10
recordings: Lights
level of difficulty: moderate
description: This joyous setting of a few words from a Chanukah prayer is in a lively “klezmer” idiom. The lyrics thank God for His miracles. The music is not difficult, but does require sustained energy, especially from the basses who are required to sing forte marcato in the top of their register.
title: Al Kol Eileh (For All These Things)
composer: Naomi Shemer (arranged by Joshua Jacobson)
publisher: Transcontinental
catalogue number: 991450
voicing: SATB
accompaniment: piano (optional French horn)
language: Hebrew
text: Naomi Shemer
year of composition: 1980, arranged in 1993
timing: 2:57
recordings: The Songs of Israel
level of difficulty: moderate
description: Shemer’s bittersweet song, expresses her acceptance and gratitude for life in all its complexity, even as we accept that the bee gives us both its honey and its sting. Bundled here in a medley with “Shir Lashalom.”
title: Al Naharot Bavel (By the Rivers of Babylon)
composer: Salamone Rossi
publisher: Broude Brothers
catalogue number: CR 24
voicing: SATB or TTBB
accompaniment: a cappella
language: Hebrew (alternate English)
text: Psalm 137
year of composition: 1622 (published)
timing: 3:15
recordings: Rossi, The Songs Live On
level of difficulty: moderate
description: Salamone Rossi, a Jewish composer working in the Gonzaga court in Mantua at the beginning of the seventeenth century, composed the only substantial collection of polyphonic music for the synagogue to appear before the nineteenth century. “Al Naharot Bavel” is a very expressive lamentation, composed for low voices.
title: Ale Brider (All Are Brothers)
composer: folk (arranged by Joshua Jacobson)
publisher: World Music Press
catalogue number: 30 (31 is a version for SA chorus)
voicing: SATB, solo any voice
accompaniment: piano (drums and bass may be added ad lib)
language: Yiddish (or English)
text: folk
year of composition: c. 1920
timing: 3:00
recordings: An Hour in the Garden of Eden
level of difficulty: easy
description: This is an Eastern European song of solidarity: originally workers’ solidarity, but it can also be understood in the larger sense of the brotherhood (and sisterhood) of all people. It has a catchy wordless refrain that easily lends itself to audience sing-along.
title: Aley Neyri (Rise Up, My Flame)
composer: Chaim Parchi (arranged by Joshua Jacobson)
publisher: Transcontinental
catalogue number: 992015
voicing: SATB (div), baritone solo
accompaniment: a cappella
language: Hebrew
text: S. Shalom
year of composition: 1988
timing: 3:10
recordings: Lights
level of difficulty: moderate, somewhat challenging
description: Parchi has created a folk-like modal setting of a children’s poem for Chanukah. the choral version uses pointillist techniques requiring rhythmic precision.
title: Amen Shem Nora/ Halleluyah (God's Awesome Name)
composer: folk and Gabai (arranged by Matthew Lazar)
publisher: Transcontinental
catalogue number: 982007
voicing: unison choir and tenor solo
accompaniment: piano and tof
language: Hebrew
text: liturgy for Simhat Torah and Psalm 150
year of composition: c. 1980 (arranged)
timing: 3:50
recordings: Seasons of Our Joy
level of difficulty: easy
description: This medley of two lively Sephardic hymns is quite easy for the chorus to learn, but requires an extremely competent tenor soloist and tof (Middle Eastern hand drum) player.
title: American Kedushah, An
composer: Alice Parker
publisher: Transcontinental
catalogue number: 993125
voicing: SATB (S and T soli)
accompaniment: a cappella
language: Hebrew and English
text: Sabbath morning service
year of composition: 1999
timing: 10:30
recordings: Jewish Composers in America
level of difficulty: challenging
description: Parker composed this setting on commission from the American Guild of Organists. Other than one traditional Ashkenazic melody (ve’enenu tir’ena), the work is completely original, a lyrical and dramatic setting of the Jewish sanctification of God’s name.
title: And the Angels Sing
composer: Ziggy Elman (arranged by Joshua Jacobson and Art Bailey)
publisher: Transcontinental
catalogue number:
voicing: SATB
accompaniment: piano and clarinet (or swing band)
language: English
text: Johnny Mercer
year of composition: 1938
timing: 3:10
recordings: Jewish Composers in America
level of difficulty: moderate
description: Ziggy Elman, trumpeter for Benny Goodman’s famous band, created this song out of an old klezmer wedding dance, “Der Shtiler Bulgar.” This arrangement follows Benny Goodman’s recording, starting with the swing setting, then moving back in time to the original klezmer tune.
title: Arba Mishnayot (Four Mishnayoth)
composer: Andre Hajdu
publisher: IMI
catalogue number: 6031
voicing: SATB (divisi)
accompaniment: a cappella
language: Hebrew
text: Mishnah (Avot 5:10, Shevi’it 1:1, Bava Metsia 5:1, Sanhedrin 10:1)
year of composition: 1987
timing: 5:30
recordings:
level of difficulty: challenging
description: Hajdu is a Jewish Israeli composer who enjoys destroying stereotypes of Jewish Music. This four-movement work is a little gem, at times humorous, at times touching, but always faithful to the chosen texts.
title: Arba’a Shirey Mo’ed (Four Festive Songs)
composer: Mordecai Seter
publisher: Modan (originally Mercaz Letarbut)
catalogue number: 129
voicing: SSAATTBB
accompaniment: a cappella
language: Hebrew
text: liturgy
year of composition: 1946
timing: 13:30
recordings: MII-CD-25, The Soul of the Sabbath (HZ-915)
level of difficulty: challenging
description: Seter bases his compositions on traditional Jewish melodies, and treats them in a style reminiscent of Bartok. (First movement: Ana Bekor’eynu, based on a hymn for Yom Kippur, 4:25. Second movement: Ayuma, a hymn for the birth of a daughter, 1:20. Third Movement: Eshet Khayil, based on a Bratslav Hassidic melody for the Friday evening recitation of the hymn (Proverbs 31) in praise of one’s wife, 3:28. Fourth movement: Adir Kevodo, based on a hymn for Simhat Torah, 3:54)
title: Ariel: Visions of Isaiah
composer: Robert Starer
publisher: Hal Leonard
catalogue number: (originally MCA 00128-049)
voicing: SATB, div (solo soprano and baritone)
accompaniment: orchestra
language: English
text: Isaiah
year of composition: 1959
timing: 28:40
recordings: Composers Recordings 612
level of difficulty: challenging
description: A dramatic oratorio based on the prophecies of Isaiah regarding Jerusalem. The work begins with an ominous warning, progresses to condemnation, then comfort and finally rejoicing. Choral parts are challenging but not overly difficult.
title: Around the Campfire (medley: Ha-Finjan, Rad Ha-Layla, Zemer Lakh)
composer: folk (arranged by Joshua Jacobson)
publisher: World Music Press
catalogue number: 22
voicing: SATB
accompaniment: piano, 2 clarinets, tof
language: Hebrew (alternative English)
text: (Chaim Hefer, Jacob Orland, A. Ben-Ze’ev)
year of composition: 1993 (arrangement)
timing: 3:02 (1:22+0:49+0:51)
recordings: The Songs of Israel
level of difficulty: easy to moderate
description: A medley of three songs using dance rhythms (one waltz and two horahs), sung around the campfire by the early pioneers of the Land of Israel. Quite easy to perform.
title: Avinu Malkeynu (Our Father, Our King)
composer: Max Janowski
publisher: Transcontinental
catalogue number: 986203
voicing: SATB, T solo
accompaniment: piano (or organ)
timing: 3:20
language: Hebrew
text: synagogue liturgy
year of composition: 1967
recordings: RCA 77388, Sony 66181
level of difficulty: moderate
description: Janowski’s affinity for the Eastern European styles of synagogue music is apparent in this setting of the penitential prayer, “Avinu Malkeynu” (“Our Father, Our King”). The soloist’s line, in the Aeolian mode, is replete with melismatic ornaments. In the traditional manner, the choir alternatively gives the cantor harmonic support or repeats the main melodic ideas. The keyboard part (piano or organ) is not technically demanding, but is of great interest in its exploration of various colorful modal harmonies.
title: Az Ikh Vel Zogen Lekho Dodi (When I Sing, "Come, Sabbath Bride")
composer: folk
publisher: Transcontinental
catalogue number: 982079 (982080 is a version for SA chorus)
voicing: SATB div, solo (any voice) or SA
accompaniment: piano
language: Yiddish
text: folk
year of composition:
timing: 2:00
recordings: Zamir: Jewish Voices Return to Poland (VHS)
level of difficulty: moderate
description: This song portrays a rehearsal with a cantor and his choir in Eastern Europe a century ago. The slow “call and response” is followed by a lively Hassidic-style up-tempo “tchiri-bim-bam” niggun.
title: Azamer Bishvakhin (I Shall Sing God's Praises)
composer: Joshua Jacobson (based on a Hassidic hymn)
publisher: ECS
catalogue number:
voicing: SATB (div)
accompaniment: piano
language: Aramaic
text: Rabbi Isaac Luria
year of composition: 2000
timing: 8:10
recordings: The Soul of the Sabbath
level of difficulty: challenging
description: This composition is based on a paraliturgical domestic Sabbath hymn, the melody of which is attributed to the Hassidic Rabbi Nahman of Bratslav (1772-1811), and the lyrics of which are attributed to the 16th century Kabbalistic rabbi, Isaac Luria. The goal of this hymn was to bring the human soul into intimate contact with the Divine.
title: Ba Mir Bistu Sheyn (I Think You're Pretty)
composer: Sholom Secunda (arranged by Joshua Jacobson and Art Bailey)
publisher: Transcontinental
catalogue number:
voicing: SATB (saa soli)
accompaniment: piano, clarinet and drum set (or swing band)
language: Yiddish and English
text: Jacob Jacobs and Sammy Cahn
year of composition: 1932
timing: 5:30
recordings: Jewish Composers in America
level of difficulty: moderate
description: This song was originally heard in Secunda’s Yiddish musical, Men Ken Lebn Nor Men Lost Nisht. In 1937 the Andrews Sisters’ version with English lyrics became the number-one song in America. This arrangement incorporates both versions.
title: Bat Yiftach (Jephthah’s Daughter)
composer: Charlap, Aharon
publisher: Transcontinental
catalogue number: 992012
voicing: satb (solo S and bar)
accompaniment: obbligato horn
language: Hebrew
text: Judges 11
year of composition: 1980
timing: 8:00
recordings: The Dale Warland Singers (American Choral 123)
level of difficulty: challenging
description: This challenging work is a setting of the Biblical tragedy of Jephthah. The story of the warrior’s victory in battle, his triumphal return, the anguish over the realization of his vow, and his daughter’s lament are beautifully portrayed by this master composer.
title: Boruch Atoh (Blessed Art Thou)
composer: Solomon Golub (arranged by Joshua Jacobson)
publisher: Transcontinental
catalogue number: 991339
voicing: SATB (div)
accompaniment: piano
language: Yiddish (alternate English)
text: Avrom Raizn
year of composition: 1991 arr
timing: 2:39
recordings: Seasons of Our Joy
level of difficulty: easy to moderate
description: A nostalgic look at the festival of Chanukah through the eyes of an aging grandfather. The poignant music is not difficult, but does call for divisi voice parts.
title: Boruch Habo (Blessed Who Comes In the Name of God)
composer: Mario Castelnuovo-Tedesco
publisher: Transcontinental
catalogue number: 600670
voicing: SATB
accompaniment: piano or organ
language: Hebrew
text: Psalm 118
year of composition: 1950
timing: 2:39
recordings: Italia!
level of difficulty: moderate
description: An elegant wedding processional by the Florence-born Jewish composer.
title: Cantata Ebraica
composer: Carlo Grossi
publisher: Transcontinental
catalogue number: 982077
voicing: SATB, T solo
accompaniment: harpsichord (or piano)
language: Hebrew
text: anonymous
year of composition: 1681
timing: 5:30
recordings: Italia!
level of difficulty: easy to moderate
description: This charming “dialogue cantata” was commissioned by the Venetian Jewish confraternity, Shomerim la-Boker, for their annual Hoshana Rabba celebrations. A rare example of Jewish choral music (albeit by a Christian composer) from the Baroque era.
title: Canticum Hebraicum
composer: Ludovico Saladin
publisher: Transcontinental
catalogue number: 982067
voicing: SATB (solo t, b, and countertenor)
accompaniment: small orchestra
language: Hebrew
text: liturgy
year of composition: c. 1670
timing: 10:00
recordings:
level of difficulty: moderate
description: This anomalous cantata, written to celebrate a circumcision ceremony, was commissioned by a wealthy Jewish family from southern France in the late seventeenth century. It is full of joyous choruses, arias, and dances.
title: Chanukah Madrigal (Mi Yemalel) (from "Six Madrigals")
composer: Herbert Fromm
publisher: Transcontinental
catalogue number: 990239
voicing: SATB, soprano solo
accompaniment: a cappella
language: Hebrew (alternate English)
text: folk
year of composition: 1951
timing: 1:20
recordings: Lights
level of difficulty: moderate
description: Fromm, the German-American neo-classicist, applies his prodigious skills to this simple Chanukah folksong, transforming it into a charming polyphonic madrigal. The other madrigals in this collection are equally fine!
title: Chanukah Variations
composer: Joshua Jacobson
publisher: Transcontinental
catalogue number: 982003
voicing: SATB, div (solo S and T)
accompaniment: a cappella (with optional flute)
language: Hebrew
text: Kipnis, L.
year of composition: 1989
timing: 7:00
recordings: Lights
level of difficulty: moderate
description: This humorous romp parodies a traditional children’s Chanukah song, taking it through numerous variations, ranging in style from Beethoven to aleatoric to jazz to barbershop. Moderate difficulty.
title: Chichester Psalms
composer: Bernstein, Leonard
publisher: Boosey and Hawkes
catalogue number: LCB 214
voicing: SATB div, SATB soli, boy alto solo
accompaniment: orchestra
language: Hebrew
text: Psalms 108, 100, 23, 2, 131, 133
year of composition: 1965
timing: 18 minutes
recordings: Sony 60595
level of difficulty: challenging
description: By now, Bernstein’s Chichester Psalms is probably the best known and most frequently performed Hebrew choral music. Published separately for chorus and piano, the first movement makes an effective stand-alone concert piece, and an excellent program opener. It can be performed with full orchestra (without woodwinds) or in a reduced version for organ, harp and percussion (one player).