Take Two

[Sam Weiss <SamWeiss...>]

Sorry about the HTML; I think I fixed it and am resending the 3 messages I 
sent earlier today.
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There is no "tradition" of Moses receiving MiSinai Tunes, other than 
tongue-in-cheek.  The appelation is equivalent to the expression "as old as 
the hills" (Sinai is an old hill, after all).  Also, MiSinai Tunes are 
complete Festival tunes and/or developed chants in the Ashkenazic 
synagogue, they are not motives.  Examples are the High Holdiay Ma'ariv 
theme, the various Kaddish chants, Ochilo Lo'Eyl, etc.  The youngest of 
these -- and the most developed and widespread -- are the various 
Ashkenazic versions of the Kol Nidre chant.  But even the oldest MiSinai 
Tunes are much younger than scriptural cantillation (Trope).
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I won't give a clear definition of medieval Jewish music, but I can offer a 
clear example of widely performed medieval Jewish music: The MiSinai Tunes 
heard in Ashkenazic synagogues all over the world.  (See accompanying 
post.)   They originated in 12th-15th century Rhineland.  For a complete 
discussion of their origin and function (including some secular medieval 
melodic counterparts) see Eric Werner's "A Voice Still Heard" pp. 26-45.
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I just had the opportunity to listen to a French recording I got from 
Hatikvah Music, "Musiques de la Synagogue de Bordeaux: Rite Portugais." 
which features several Sephardic cantors and a wonderful male choir with a 
sound not unlike the presentation by Mr. Mehler's choir.  From the musical 
content as well as the liner notes it is clear that there was much 
conscious synagogue composition in the prevailing operatic idiom.  (Judith 
Cohen had referred to this as well.)  And it is quite likely that such 
pieces travelled between the various Portuguese Sephardic communities in 
Europe.  But my main purpose in writing this is to recommend the CD.  It is 
a live recording of a concert on the occasion of the 120th anniversary of 
the Bordeaux Synagogue.   The singing is wonderful, and there is a great 
stylistic and linguistic variety that includes ancient cantillation and 
prayer chants,  Old Spanish tunes, Turkish melodies as well as the 
cosmopolitan arioso styles mentioned earlier.  The interesting thing is 
that it all hangs together beautifully and gives a convincing picture of 
the liturgy that moved those congregations at the end of the 19th 
century.  The recording is a moving document to a nearly destroyed 
tradition and very enjoyable to listen to.

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Cantor Sam Weiss === Jewish Community Center of Paramus, NJ 

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