Re: Kol Nidre

[Robert Cohen <rlcm17...>]

First, on a very small matter:  My sources indicate more of a 
15th-16th-century origin for the traditional Ashkenazic "Kol Nidre" melody 
than a 17th-century one; but Cantor Weiss's sources, obviously, may be more 
accurate or, anyway, different.

More importantly--and here I speak only as a humble pray-er/davener/member 
of the congregation (and, in the past, sometime ba'al tefilah, but that's 
not of great moment) and not as (like Sam Weiss) a cantor--I'm rather 
discomfited by Sam's admonition to "learn the score," and let the emotions 
speak for themselves.  Cantor Weiss is, of course, correct that "Kol Nidre" 
is not really a prayer at all, and its particular words (which are, as Sam 
insinuates, in Aramaic and not Hebrew) may not be worth the intense 
concentration or focus that was suggested.  But the hopes and emotion and 
tears and awe--and whatever else--that a good chanting of Kol Nidre inspires 
in a congregation:  These are *well* worth the focus and kavanah 
(intentionality) of the ba'alat tefilah just as they typically receive that 
of congregants.  To demean those invested responses as "trivially mundane" 
seems highly inappropriate to me, and not a mind-set--or, rather, a 
heart-set--with which to approach davening for the congregation at all; 
indeed, it's virtually a disqualifying one.  Even more so at a time like 
ours when Jews feel in such peril--but, really, at any time.

Although obviously one will have to chant Kol Nidre with something very 
close to the traditional melody and with exactitude of enunciation for it to 
be acceptable and accepted, Cantor Weiss's admonition brought to mind one in 
the almost opposite direction attributed to the S'fas Emes:  "He who sings 
from notes--his music is not truthful."

This, of course, reflects the Hassidic outlook; there is a famous 
story--called, I believe, "The Rebbe Who Wouldn't Dance"-- about a melody 
for "Lecha Dodi" being rejected because it was presented to the rebbe as a 
performance from sheet music.  And many or most musicians would not 
subscribe to it in its most literal sense (which may and probably was, of 
course, the intended meaning).  But I suspect *every* musician can benefit 
from internalizing the spirit, as it were, of the S'fas Emes's words:  viz., 
that whether or not there's a music stand or sheet music in front of you, 
your real singing or playing should come from a deep heart-place if it's 
going to be ultimately "truthful."  (And in Judaism, music can be true--or 
false.)  For a service leader (even one chanting just one prayer), I would 
think that this outlook--and, since one is serving as a messenger of the 
congregation, an identification with the heart-place of everyone 
listening--is absolutely essential.

--Robert Cohen



>Joe Kurland <ganeydn (at) crocker(dot)com> wrote:
>
>     >...be able to know what you are singing throughout.
>     >When you practice, concentrate on the meaning of
>     >every word and every phrase and the historical
>     >context in which this prayer was written so that you
>     >can interpret it emotionally in your singing.
>     >Remember that you are representing the congregation
>     >as you sing. All their hopes and sorrows must be
>     >expressed by your voice...
>
>Nice idealism, Joe, but are you trying help Lenka or scare her away?
>Without intending any sarcasm, I would not advise Lenka in ths context
>to overly dwell on the hopes and sorrows of the congregation -- which
>may be trivially mundane -- but to "learn the score," as it were, as
>best as she can, and the concomitant emotions will speak for themselves.

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