Re: different tunes

[richard_wolpoe <richard_wolpoe...>]

Dear Amy,
        this is HARDLY a naive question at all.  It's a great question.

Here's my personal experience:

I became a cantor in a synagogue with a fairly set repertoire of German 
melodies of which I new maybe 10-20% going in.

1)  I did my best to learn the pieces from former cantors, the choir 
leader, etc.

2)  During the first year or so, I used mostly my own repertoire an 
gradually merged it with the congregations.

3)  When I introduced melodies, I did my best to keep them in the same mode 
as their existing repertoire.  EG I added another Lewandowski or a 
Chassidic march that fit in with their existing repertoire.

4)  during the first several high Holidays, I took the back seat to the  
cantor hired for the holidays who new the repertoire better than I did.  In 
effect, I understudied.

5) I did not know the German Tropp when I started.  Since my congregations 
wasn't overly fussy on this point, I didn't change my Torah reading tropp 
until very recently.

In a neighboring congregation where they are much fussier than in ours, they 
hired a cantor who essentially understudied for a full year using tapes and 
lessons to learn the melodies.

Most American congregations are NOT fussy regarding which style of trop is used 
by a given ball koreh.  However, some congregations ARE fussy. Others are fussy 
ONLY with regard to new bar/bat mitzvo students, but "old-timers" sort of get 
grandfathered in with their old style.

Bottom line, each congregation is different.  If a choir has a repertoire, it's 
going to be really difficult to change them instantly.  On the other hand, a 
talented choir can be a vehicle to introduce congregational singing, whereas 
it's very difficult to do as a soloist. 

I'm sure there are dozens of stories that others.  IMHO the interview process 
should cover this in detail.

Also, IMHO it's not a good idea to take a position in a congregation with the 
intention of overthrowing the existing "regimen".  I.e. one should respect the 
local customs.  On the other hand, it's sort of unreasonable for a congregation 
to shackle the cantor completely.  Ideally, there should be a mutual respect 
between both the congregation's favorites and the cantor's selections, too.

I hope this was helpful.

Rich Wolpoe

______________________________ Reply Separator _________________________________
Subject: different tunes 
Author:  <jewish-music (at) shamash(dot)org > at Tcpgate
Date:    3/16/98 12:21 PM


Here is a naive question:

Let's say a synagogue aquires a new cantor. The new cantor comes in with, 
presumably, an already established repertoire of liturgical melodies. 
However, the congregation probably already has an established tradition of 
customary melodies which may coincide with the cantor's to some degreee, 
but probably not 100%.

How do they work this out? Is this a question that is dealt with in 
interviewing potential cantors?

Also, what about Torah trop? I know that my rabbi (who learned trop in 
Reconstructionist rabbinical school) taught me a Torah trop that agrees 
about 80% with other Torah trops I've heard in Conservative shuls in 
Seattle. I'm not sure how they compare with East Coast or MidWest Torah 
trop. 

What if a person goes, as one of several layeners (Torah readers),  to a 
shul that has slightly different trop? For example, the person is asked to 
prepare to layn (read Torah) at a  relative's Bar/Bat Mitzvah. Is s/he 
expected to use the trop system I learned or the one used there?

 How about if a knowledgable lay person is hired to lead one Shabbat
service for a congregation? SHould s/he learn to layn like a native?

How about if a new cantor is hired for a congregation? SHould s/he be 
expected to layn like a native? Even if the local trop minhag (custom) is 
different than the cantor's formal training? Which way should s/he teach 
B'nei Mitzvah students?

Thanks!



Amy Loewenthal
Math Tutor Coordinator
Student Support Services