Chad Gadya! What's the story behind the lyrics?

Does the singing of "Chad Gadyo" feature among your earliest and most powerful childhood Pesach memories? That beloved 

Here's Max Stern's arrangement of Chad Gadya for unaccompanied female voices. It's a real treat -- and it sounds much like the tune this blogger learned when he was a small child.  If you want to know more about this song, read on. The information below is taken from Wikipedia.

Chad Gadya (Aramaic: חַד גַדְיָא, "one little goat", or "one kid"; Hebrew: "גדי אחד,  gedi echad") is a playful cumulative song in Aramaic and Hebrew. It brings to an end the Passover Seder. Curiously this song first appeared in print in a Haggadah compiled in Prague in 1590, which makes it the most recent inclusion in the traditional Passover seder liturgy.

As with any work of verse, Chad Gadya is open to interpretation. According to some modern Jewish commentators, what appears to be a light-hearted song is deeply symbolic. One interpretation is that Chad Gadya refers to the different nations that have conquered the Land of Israel:

·       The kid symbolizes the Jewish people;

·       the cat, Assyria;

·       he dog, Babylon;

·       the stick, Persia;

·       the fire, Macedonia;

·       the water, Roman Empire;

·       the ox, the Saracens;

·       the slaughterer, the Crusaders;

·       the angel of death, the Ottomans.

At the end, God returns to send the Jews back to Israel. The recurring refrain of 'two zuzim' is a reference to the two stone tablets given to Moses on Mount Sinai (or to Moses and Aaron themselves). This interpretation, first widely disseminated in a pamphlet published in 1731 in Leipzig by Philip Nicodemus Lebrecht, has become quite popular, with many variations of which oppressor is represented by which character in the song.

Though commonly interpreted as an historical allegory of the Jewish people, the song may also represent the journey to self-development. The price of two zuzim, mentioned in every stanza, is (according to Targum Yonatan to I Shmuel 9:8) equal to the machtzit hashekel tax upon every adult Israelite male (in Shemot 30:13); making the price of two zuzim the price of a Jewish soul. 

Also, we have these explanations:

Rabbi Yaakov Emden: a list of the pitfalls and perils facing the soul during one's life.

Rabbi Yonatan Eybeschuetz: a highly abbreviated history of Israel from the Covenant of the Two Pieces recorded in Bereshit 15 (the two zuzim), to slavery in Egypt (the cat), the staff of Moses (the stick) and ending with the Roman conqueror Titus (the Angel of Death).

Rabbi Moshe Sofer (the Chatam Sofer): a description of the Passover ritual in the Temple of Jerusalem. There the goat is purchased for the Paschal sacrifice. The cat is an allusion to the Talmudic notion that dreaming of a cat is a premonition of singing such as occurs in the seder. Likewise, dogs bark after midnight which is the time limit for the seder. The Kohen who led the cleaning of the altar on Passover morning would use water to wash his hands; many people at the Temple that day would bring oxen as sacrifices, and the Angel of Death is the Roman Empire that destroyed the Second Temple.

The Vilna Gaon: the kid is the birthright that passed from Avraham to Yitzchak; the father is Yaakov; the two zumin is the meal Yaakov paid Eisav for his birthright; the cat is the envy of Yaakov’s sons toward Yosef; the dog is Egypt where Yosef and his clan were enslaved; the stick is the staff of Moshe; the fire the thirst for idolatry; the water the sages who eradicated idolatry; the ox is Rome; the shochet is the Messiah; the Angel of Death represents the death of Moshiach; the Holy One is God, who arrives with Moshiach.

Hava narishah - rash, rash, rash!

How many times have we heard our children gleefully singing “Chag Purim”? But where does this song come from. It seems that it was composed by Levin Kipnis, employing a traditional melody. Kipnis (1894 to 1990) was an Israeli children's author and poet who wrote mainly in Hebrew and Yiddish. He won the Israel prize in 1978. Max Stern has set this song for unaccompanied female voices (the Antifona Women's Choir, conducted by Constantin Ripa) here. For the lyrics in Hebrew, transliterated Hebrew and English click here.

Max has also arranged “Shoshanat Ya’akov” for a group of instrumentalists from the Israel Philharmonic Orchestra. We all sing this song with great gusto when we conclude the recitation of Megillat Esther, but where does it come from? It is actually the concluding section of a poem, Asher Heni, an anonymous acrostic dating to early medieval times (the closing lines are not part of the acrostic scheme). You can enjoy Max’s orchestration here. For the lyrics in Hebrew, transliterated Hebrew and English click here.

As Tu b'Shevat draws near ...

 As Tu b'Shevat draws near, it's time to contemplate the wonders of the natural world -- not least of which is the tree. Over a century ago, the American poet Joyce Kilmer summarized his feelings in lines which many Hanassi members will know from their schooldays:

Trees

I think that I shall never see

A poem lovely as a tree.

A tree whose hungry mouth is prest

Against the earth’s sweet flowing breast;

A tree that looks at God all day,

And lifts her leafy arms to pray;

A tree that may in Summer wear

A nest of robins in her hair;

Upon whose bosom snow has lain;

Who intimately lives with rain.

Poems are made by fools like me,

But only God can make a tree.

Two of our more creative members, Heshy Engelsberg and Max Stern, have developed other ways of expressing their relationship to the natural world, as epitomised by the plant kingdom. 

Heshy has produced a splendid video, Tu b'Shevat Jerusalem 2025, with nearly six minutes of brilliantly coloured foliage plus trees in close-up and at a distance. You can enjoy it by clicking here.

Max's forte is music, and here you can listen to his unforgettably rhythmic arrangement of the folksong Atzei Shittim Omdim. for a four-part choir and wooden sticks. The lyrics? "And thou shalt make the boards for the tabernacle of acacia wood, standing up" (Exodus 26:15). Max adds:

When the shittim (acacia trees) were selected for the construction of the Tabernacle in the desert they intoned a song of praise to God. It was their expression of appreciation and thus they sang.

Midrash informs us that the shittim-wood for the Tabernacle came from paradise, whence Adam took it with him when he was driven out. Subsequently, it came into the possession of Abraham, who bequeathed it to Isaac, who bequeathed it to Jacob. When he reached Egypt, Jacob planted a grove of acacia trees and admonished his sons to do the same: 

“Plant shittim trees, then when God will bid you build Him a sanctuary, you shall have in your possession the wood required for its construction.” 

The boards that were made for the Tabernacle out of shittim wood never decayed but endure to all eternity.

Have you registered yet for this year's Tu b'Shevat Seder? Time is running out, so be sure to do so very soon!  For details, click here. To register, call Jeremy on 053 455 8367.

Oh, dreidl, dreidl, dreidl, I made it out of clay

Love it or loathe it, few of us will have missed The Dreidl Song.  If our children never sang it, our grandkids almost certainly did. What's more, it might even have been sung by our grandparents. Published in 1927, it was performed both in English and Yiddish: you can read all about its history here on Wikipedia.

Popularised by Chabad, parodied by South Park and promulgated by thousands of gananot from one end of this country to the other, it has drummed itself into the Chanukah-consciousness of our generation. 

Not to be outdone, our musically-minded member Max Stern has provided his own arrangement of this seasonal earworm. For 77 seconds of undiluted fun, just click here: https://www.youtube.com/watch?v=KJVfJWTMzeg

When the lion roars, we question our values

 Here, thanks to our member Max Stern, is a cantata which he composed for his students at Ariel University and which is based on the haftarah that accompanies this week's parashah, Vayeshev. 

This haftarah, explains Max, features extracts from a prophecy by Amos that condemns the value system that led to our exile -- the same scale of values that led to Joseph's brothers selling him to the Ishamelites for "a pair of shoes". 

Below you will find a link to a performance of this cantata by Max and his students. The first four minutes make for tough listening, before it transitions to a more lyrical theme with a subtly hypnotic effect. 

The text is based on Amos 3:1-2 and 3:6-8.

For the link to the cantata click here.

For an explanation of this haftarah on My Jewish Learning click here.

"I will not let thee go, except thou bless me"

The Torah is written in Hebrew because it was given to us, the Jewish people, in Hebrew, and some of us have achieved so great a level of proficiency in Hebrew—lashon hakodesh—that we never need to turn the pages of an English translation in order to gain a better understanding.

For many of us, however, an English version is an indispensable support. We may sometimes also use it as an interpretational aid or a commentary, for what translation cannot claim to be a commentary when so many Hebrew words have no exact counterpart in another tongue?

If you follow the link to the YouTube video and sound recording of Jacob and the Angel, for piano and orchestra, you will find that composer and Hanassi member Max Stern introduces a classical Torah narrative with the following English text:

And Jacob was left alone; and there wrestled a man with him until the breaking of the day. And when the man saw that he prevailed not against Jacob, he touched the hollow of his thigh; …and he said: 'Let me go, for the day breaketh.' And Jacob answered: 'I will not let thee go, except thou bless me.' And the angel said: 'What is thy name?' And he said: 'Jacob.' And the angel said: 'Thy name shall be called no more Jacob, but Israel; for thou hast striven with God and with men, and hast prevailed' (Bereishit 32:24-30).

Over the centuries there have been many English language translations of the Torah. Some aim at simplicity, others at modernity or clarity. Others again reflect political or religious bias.  The King James version, published in 1611, probably aspired to all these things. Now, however, more than four centuries later, the text—archaic in the eyes of young readers—is replete with a degree of dignity that is absent in modern prose.

Does Max Stern’s music, performed by the Israel Sinfonietta with Bart Berman at the piano, reflect the solemnity of the King James prose, and the unfolding drama encapsulated in its weighty words? Click here to listen and you can decide for yourself: https://www.youtube.com/watch?v=p6lbQOiXRmU&ab_channel=MaxStern

The Rainbow: an adventure in sight and sound

It's only a little more than seven minutes in length, but our musical member Max Stern's Rainbow for Seven Saxophones has quite an appeal to it. Starting with the occasional raindrop, this piece leads to a full-blown flood as the storm-tossed ark is ravaged by the element. Eventually the torrent ceases, the flood begins to subside and out comes the rainbow, God's sign for all mankind.

You can check this delightful little piece out on Max's YouTube channel here. 

The Creation: Bereishit set to music

Here's another topical music clip from Beit Knesset Hanassi's very own Max Stern: it's "Creation of the World (Bereshith) for soprano, flute, strings and percussion". The text is based on the words of the Torah (Bereishit 1:1-31 and 2:1-3). In this clip it is performed by the Ashdod Chamber Orchestra conducted by Luis Gorelik. The soloists are Amalia Ishak (soprano) and Avihai Ornoy (flute). 

This recording was made at a live concert at Kibbutz Yavneh nearly 30 years ago, back in 1995. Of this work, music critic Uri Epstein described it as, 

"...an expression of exhilaration and awe in witnessing the phenomenon on creation."

The piece, which is of 20 minutes in duration, is structured in seven variations, each being a day in the process of the world's formation: 1 darkness-light, 2 seas-heaven, 3 land-vegetation, 4 sun-moon-stars, 5 fish-birds, 6 beasts-man, 7 Sabbath.

You can watch and listen to it by clicking here.

The water-drawing ceremony set to music

We've just received from our member and composer Max Stern a charming YouTube clip of his reconstruction of the Water Drawing Ceremony for Beit Hasho'evah: This clip (which lasts one minute and 41 seconds) was made in October 2012. It seeks to describe the ancient ritual prayer for rain in the courtyard above King David's Tomb on Har Tzion.

You can check out this jolly piece by clicking here. Thanks, Max, for sharing this with us.

Ha'azinu set to music

Besides Rabbi Berel Wein's divrei Torah, we can also share with you Max Stern's Ha'azinu. This piece lasts around half an hour and Max -- a leading Israeli classical composer and a long-standing member of Beit Knesset Hanassi -- is playing the double bass in it. 

The link is on YouTube is here.

Mizmor LeDavid -- a psalm of thanksgiving

It has been a hard year for us all -- but we all respond to the problems and pressures of the moment in different ways. Our esteemed member Max Stern, a leading light among modern Israeli composers, has responded creatively. He writes:

“In these troubled times I managed to record this song that David wrote when he brought the Ark of the Covenant to Jerusalem (with almost the original instruments).

 וַיֹּאמֶר דָּוִיד, לְשָׂרֵי הַלְוִיִּם, לְהַעֲמִיד אֶת-אֲחֵיהֶם הַמְשֹׁרְרִים, בִּכְלֵי-שִׁיר נְבָלִים וְכִנֹּרוֹת וּמְצִלְתָּיִם--מַשְׁמִיעִים לְהָרִים-בְּקוֹל, לְשִׂמְחָה

May it bring us a blessing in our days as well.”

We asked Max what inspired him and where his idea came from. He told us this:

"I got the idea to set this to music from reading this commentary:

This Song of Thanksgiving was written by King David for Asaph and his brother Levites following the celebrations in bringing the Holy Ark to Jerusalem (1 Chr. 15). It was sung in the Tabernacle which David erected as accompaniment to the daily sacrifices: the first 15 verses (1 Chr. 16:1-15) during the tamid-offering in the morning service, and the last 14 verses (1Chr. 16:23-36) during the mincha-tamid-offering in the afternoon. It continued to be sung for 43 years until Solomon inaugurated the Temple. They were later incorporated into liturgy, as pesukei d’zimra (verses of praise) in the daily morning service of the synagogue.

I then read the passage from 1 Chronicles which gives the instruments he used:

16 And David spoke to the chief of the Levites to appoint their brethren the singers, with instruments of music, psalteries and harps and cymbals, sounding aloud and lifting up the voice with joy.

Because I didn't have a Levitical choir or harps to work with I substituted them with local singers and piano. But this could be done with many harps & trumpets and a 2-part choir as well. Maybe someday..."

You can enjoy Max’s song on YouTube here: https://www.youtube.com/watch?v=bNL9tAfO4iQ