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