This High Holidays: Are we Praying to be Raised or Praying to be Lowered?

This High Holidays:
Are we Praying to be Raised or Praying to be Lowered?

Yaakov Jaffe

The high note of the Yamim Noraim service, both literally and figuratively, growing up, was the two-word phrase “mi yarum,” “who will be raised,” halfway through the U-Netaneh Tokef piyyut. These two words proceed the congregation’s cry of the now-anthem of the day “Repentance, prayer, charity can remove[1] the evil of[2] the decree,” and the two-word phrase carries a special intensity.[3] “Who will be raised” ought to carry a special message for Rosh Hashanah and Yom Kippur, [4] although what that message might be requires special consideration.

For the first two paragraphs of this piyyut, the tension builds, leading up to the two words “who will be raised.” The speaker considers the frailty of humanity, and the gravity of the judgment that takes place on the High Holidays. Said tension reaches its climax through a long list of potential passings ending with “mi yarum,” ready to be released with the congregation’s reply. Using word-painting, many Shliach Tzibbur will ominously lower his voice at the words “mi yishafel,” “who will be lowered,” and then raise it both in pitch and in amplification triumphantly asserting “mi yarum,” “who will be raised,” the preferred outcome which ends the paragraph.

Yet, one can ask whether being raised is really the preferred outcome. Do we really pray to be raised and achieve a position of more prominence, power, or dominance instead of being lowered? Inspecting the prayer at length will help us understand the meaning of these words, and whether being raised or lowered is the better result. The question can be answered on two different levels – both investigating what the original author intended, and also what the individual reciting the prayer in synagogue ought to feel today.

Key to answering this question is the unusual order of four words in the center of U-Netaneh Tokef, “who shall become poor and who shall become wealthy; who will be lowered and who will be raised.”  Not all versions of the piyyut feature this order, and understanding the thinking behind the order is crucial to understanding which of those four outcomes we aspire towards and which we prefer to avoid.  Inspection of the piyyut as a whole is vital to understand how the individual at prayer arrives at these key words, and so a brief introduction to U-Netaneh Tokef follows below.

A Piyyut of Human Mortality and Divine Magnificence

U-Netaneh Tokef is of uncertain origin, found in the standard liturgy of today and also as far back as the Cairo Geniza.[5] Serving as an introduction to Kedushah,[6] it consists of four paragraphs, and each of the four find a different way to contrast human mortality and Divine magnificence. For example, the third paragraph contrasts the ephemerality of humanity with God (“And you are, He, King, Living and Everlasting).[7] The fourth paragraph lists many great praises of the name of Hashem who has no limit and no end. Thus, the piyyut is more a praise or description of God, than it is a prayer to God; we ask little from Hashem in these words, mostly describing him, as is fitting for a Siluk piyyut and the start of kedusha.

A dramatic first paragraph describes the day of judgement,[8] comparing humanity to soldiers or sheep, where God determines the decree of each creature, to life or to death.[9] God is judge, arguer, knower, witness, scribe, sealer, counter – without any assistant or rival. Both the shepherd and general determine which of their flock and troop would die, without taking appeals from specific soldiers or sheep. The general and shepherd sometimes might not even have any deep, thoughtful criteria who lives and who dies.[10] In contrast, the profound, novel idea of the high holidays, according to this piyyut, is that Hashem is different in giving the Jew on the high holidays the capacity to change the decree from the negative side of the ledger to the positive side through a direct appeal for a change. The power of the piyyut is how it builds to create the concept of an awesome God, with scurrying fearful angels beside Him,[11] who has full, unchallenged, unappealable control over judgement, only to then later break the model and show that reprentance and prayer provides an alternative option where humanity can change the decree.

The first paragraph is replete with allusions to Biblical verses and to Midrashim that make this core point,[12] using meter and rhythm to build tension. The paragraph consists of 26 phrases, many of which operate as pairs. Some are rhyming pairs (hayom-ayom, malchutekha-kisekha, nishkahot-zichronot, yitaka-yishama, yeichafeizun-yocheizun, edro-shivto), while other pairs use using Biblical Parallelism, and share the same content twice in different words (checking his flock-passing under the rod, cut the endpoint for every creature-inscribe the decree of their judgment, the day of judgment has come-to count all the legions of Heaven in judgment). Everyone’s signature appears in the book of recollections, attesting to the truth of what has happened (Sifri to Devarim 32:4 based on Job 37:7). The book miraculously is even read on its own (recalling Megilah 15b’s interpretation of Esther 6:1). The paragraph ends with three verbs describing God meeting out judgment: counting and measuring each creature, cutting the end for every creation, and then inscribing or writing their decree.

A Dozen Pairs of Life and Death Outcomes

The second paragraph reviews a series of life outcomes in pairs, culminating in the question of who will be raised and who will be lowered.  It is important to recognize that in general, the more negative outcome appears second. This pattern suggests that being raised, second in its pair, might be the more negative of the two outcomes.

The second paragraph begins with three lines that set the stage for this somber section: how many will be die or be born,[13] who will live or die, and whether it will be in the proper time.[14] The second and third of these three lines contain each a pair of outcomes beginning with “mi.” Recalling the paradigm of troops and sheep, the commander or shepherd decides which of the group lives and which dies – not exactly judging each individual on his or her own, just deciding how many will live and how many will die. This introduction is followed by five pairs of types of deaths, with the more negative listed second:

Who by water and who by fire” [water=strangulation; fire is worse, Sanhedrin 37b][15]
Who by sword and by wild animal.” [Animal=stoning is worse, Sanhedrin 37b, Eicha 4:9]
Who by famine and who by thirst (dehydration).” [Thirst is worse, Rashi Bamidbar 20:3]
Who by earthquake and who by plague” [Protracted, painful death of plague is worse]
Who by strangulation and who by stoning” [Stoning is worse, Sanhedrin 49b)

The paragraph ends with five pairs of outcomes, with a more positive outcome juxtaposed with a negative outcome. Here, again, the inferior outcome typically comes second – at least in older versions of the piyyut. Below is a translation of the five pairs, using the verbiage of most Mahzorim but with the negative outcome appearing last, which is how they appear in some Mahzorim.16

Who shall rest and who will move around[17]
Who shall be quieted and who will be torn[18]
Who shall be made serene and who will be rebuked[19]
Who shall be made rich and who shall be made poor[20]
Who shall be raised and who shall be lowered[21]

The second paragraph, in sum, is a litany of a dozen possible outcomes, many of them negative. The listener feels the tension build, waiting for it to be released through the cathartic chant “repentance, prayer, and charity.” One of the numerous bad outcomes seems to be being lowered, and thus we hope instead to be raised; the negative outcome, being lowered, appears last.

Reversing the Last Pair of Outcomes

It is common practice today to reverse the final two outcomes, “raised” and “lowered” to result in a new line “who shall be lowered and who shall be raised.” Some also reverse the penultimate pair, rich and poor.[22] Why reverse the pair and end with what appears to be the positive conclusion and not the negative one? Two answers present themselves, a conventional answer, presented in the paragraphs that follow, and a more speculative answer which will be presented in the following sections. The conventional answer maintains that being “raised” is indeed the preferred outcome, while the more speculative suggestion wonders if being “lowered” is the better outcome.

It is ancient Jewish practice to end units of liturgy with a positive conclusion. Many of the most sad or pessimistic liturgical prayers, including the Kinot and Slichot, often end with a final line that is positive. By rule, the first six Aliyot of Torah reading must end with something positive and readings of the Haftarah, Megilot, and the recitation some chapters of Tehillim (such as Chapter 94 on Wednesdays) are often tweaked to ensure the endings are positive.

It is therefore unsurprising to find that in most congregations the final pair or two pairs in the second paragraph, are each reversed, ostensibly so the paragraph ends positively, at a high note with a positive outcome. Consequently, there are ten pairs where the worst outcome is second, and then in the final one or two pairs, the order is reversed, and the worst outcome is first. Musically, ending positively also allows the prayer leader to end this central moment of the prayers with a dramatic, musical flourish, often not at the cadence point but an octave or two higher than it, thereby readying the congregation to respond.

Yet, in the next section, we speculate whether there is an an alternative reason for reversing the order of the final line prayer, which preserves the pattern of the rest of the paragraph, with the negative outcome appearing second. In this alternative, later publishers argue that the Jew actually prefers the outcome of being lowered before God instead of being raised as a pseudo-rival to Him, so the reversal places the negative choice last as it has been across the entire piyyut: “Who shall be lowered” – a good outcome – instead of “and who shall be raised,” a surely negative result.

This question can be asked on multiple levels:

  1. What the original author think when he composed the pair raised/lowered?
  2. What was the thinking of the publishers or editors who reversed the order and put being lowered first and raised second?
  3. And beyond the history, what should the individual at prayer think when reading these words on the high holidays?

Biblical and Mishnaic Ethical Teachings about being Raised or Lowered

The book of Yeshayahu features a three-chapter prophecy about the greatness of God and the misplaced arrogance of humanity.  Many themes of this chapter are apropos of the high holidays, and indeed Isaiah 5:16 is used to end the blessing of God’s holiness on the high holidays, moments after the conclusion of U-Netaneh Tokef: “And Hashem, Master of Legions, became high through judgment, and the holy God become holy through Tzedakah.”  The section of Yeshayahu commands humanity to change their haughty attitude and lower themselves in the presence of the Almighty.  Indeed, the prior verse (5:15) reads “and a human being is let down and a person is lowered (vayishpal), and the eyes of the high ones shall be lowered (tishpalnah).”  Twice in the verse, the prophet teaches that humanity should conduct itself in a posture of being lowered, ceding the high, exalted space for their Creator.

The root to be lowered, sh-p-l appears fifty-three times in the Tanach in verb and adjective form, in both Biblical Hebrew and Biblical Aramaic; two of the fifty-three appear in the above cited verse. It also can be used as a noun, although with slightly different meaning. The word is often contrasted with height, to be “gavoha,” but at times is also contrasted with being raised, and the root r-v-m.

The plurality of the fifty-three times appears in the Book of Isaiah. A lengthy prophecy at the start of the book is focuses specifically on the idea of lowering the raised, making the “rum” into “shafel” (Isaiah 2:9, 11, 12, 17).[23] The thrust of this prophecy is that a human being should strive to be lowly, not to be haughty and raised, and that any person who is not yet lowly should strive to become so. The chapter makes no mention of any other individuals, righteous or not, who should be raised, because that position is reserved for God. No human should be raised, and being raised is synonymous with sin. This prophecy doesn’t read as a typical description of sin and punishment, where the wicked are lowered for their sins, it reads as amoral argument that all of humanity should be willing to be lowered.

The Haftarah for the morning of Yom Kippur (57:15) is one of two prophecies (also 32:19) where God looks favorably towards those who have already acquired the characteristic of being lowly. Again, being lowly is not a negative social or economic condition to be ameliorated, but a moral condition to be pursued. Some books of the Bible seem to focus on the lowering of the haughty (Isaiah 25:11-12) or the undeservedly raised “ramim” (Isaiah 10:33, 26:5), which leaves open the unstated possibility that certain meritorious individuals do deserve to be raised.  God will occasionally lower something as a punishment (13:11, 29:4, 57:5) or for pragmatic reasons (40:4), but the citations in the Book of Yeshayahu and in the parts of the book that find echoes in the high holiday prayer service, focus exclusively on God lowering humanity to the proper register, without raising anyone in response. 

The ethical books of the Bible convey the same sense. Proverbs 16:19 and 29:23 both recommend that an individual be of lowly spirit, “shafal ru`ach,” rejecting being of a high spirit. Psalms 75:6-8 explains that a human being should not strive to be raised, because God determines the lowly and raised. Psalms 138:6 says that God is raised and looks positively at the lowly. This idea is also echoed in Avot in at least three occasions (4:4, 4:10, 5:19). It would be odd to have intention on Yom Kippur to become something that the ethical teachings recommend against![24] The role models of Judaism are known for their humility and how they lower themselves (see Bamidbar 12:3, Rashi Devarim 32:44 “hishpil atzmo”), and we should act in the same way.

Most people at prayer argue for the reverse, that the author intended “raised” as the positive outcome and “lowered” as the negative outcome. The pair of wealthy/poor and raised/lowered appear in the exact same order in Chanah’s prayer, the Haftarah of Rosh Hashanah (2:7) “Hashem brings poverty and makes wealthy, lowers even raises;” in this context wealth and being raised are both positive outcomes. And there are a minority of Biblical passages which value raising the lowly and set lowliness as a situation to be avoided (Jeremiah 13:18, Ezekiel 17:6, 14, 24; Ezekiel 29:14-15, Malachi 2:9, Psalms 147:6, Job 5:11, Daniel 7:24). With evidence on both sides, we cannot know for certain what the original author intended, or what the editor who swapped the order intended. Still, a majority of Biblical verses, those cited above along with numerous other ones (Shmuel 2:6:22, 2:22:28=Psalms 18:28 [lower the raised], Ezekiel 21:31, Job 22:29, 40:11, Daniel 4:34, 5:19-22,), convey the idea that it is better to be lowly, not to be raised.[25]

Hints in the Piyyut: Supporting Being Lowered

The general sense of the piyyut gives multiple clues that the correct disposition for a human being is lowliness. The entire third paragraph contrasts between God’s greatness and man’s insignificant lowness: flesh and blood which will end as dust (Genesis 3:19), compared to broken pottery (Bereishit Rabbi Loc. Cit. [14:7]), dry grass & wilting sprout (Yeshauahu 40:7), passing shade (Psalms 144:4), ceasing cloud (Job 7:9), blowing breeze (Yeshayahu 40:7), flying dust (Isaiah 5:24), and a dream that flies away (Job 20:8). Human beings shouldn’t be raised, they should recognize how small they are compared to God!

Even the majestic and grand first paragraph still hints that even God’s own true nature is also defined not through His loftiness, but through His modesty. When describing the commotion among the angels on the day of judgment, God’s essence is not captured through thunder, lighting or earthquake, but through the thin, soft voice that Elijah heard (Kings 1:19:11-12). This concept of God’s greatness is implicit in the piyyut’s focus less on the power of God, and more on God’s unwavering truth. The word truth appears three times in the piyyut (twice dramatically beginning sentences); power and exaltedness are less critical than softness, honesty, consistency, and truth.[26]

Though the end of piyyut does mention briefly the unlimitedness[27] of God’s years and our inability to estimate the greatness of God’s chariots, the ecstatic praises that end the poem are also focused more on God’s honesty, kindness, and forbearance than on His power. Thus, though at the start of the piyyut, God is contrasted with humanity in such his way that His all-powerful being leads to fear, at the end, God is contrasted with humanity in a way that leads to optimism; Hashem is unique through a kindness and calmness that makes repentance possible. God’s nature, name, or “Sheim” doesn’t change – in contrast to temporary human beings, and therefore one has a guarantee that God is “slow to anger and easy to be appeased” (Avot 5:11), never wishing for the sinner to die but instead waiting each day for him to repent (Ezekiel 18:22, 32).[28]

Being raised and exalted is of limited value in the logic of this piyyut, but being soft, humble, and truthful is of a significant value. If that is what we expect from God, should we expect any less from people?

Kavanah and Tefilah

On the high holidays, the Jew will recite pages and hours of prayers, inspired and motivated by specific lines, tunes, or moments, but the prayer experience often deprives us of considering the larger outlook or theology of particular prayers. One reciting any piyyut ideally must contend with the original intent of the original author, along with any possible editors that may have exchanged the order of any of the phrases. Yet, even if the original editor had intended one reading, the individual reciting the prayer must select their own an interpretation for the prayers we recite. In this case, do we hope hoping for a year where we are raised, becoming “a head and not a tail” (Rosh Hashanah meal liturgy, based on Devarim 28:13), or a year where we are lucky to develop a lowly affect and personality and to avoid haughty self-concept.

U-Netaneh Tokef ends with the words “our names, you called with Your name” conveying that we have a close relationship with God, representing Him in such a way.[29] In a song that praises God for his patient choice to delay punishment and allow for repentance, eschewing the role of indifferent general and shepherd and instead enwrapping in the cloak of justice and sitting on the throne of truth – should we not try to be the same way? And in that vein, perhaps we should pray this year to have the honor to be inspired to successfully lower ourselves, and to avoid self-aggrandizement and self-raising.

[1] A note on the grammar and word choice: “Remove,” is in the Hebrew “ma`avirin,” using the Hiphil form of the root `-v-r, which literally means to move to the other side, but here means to remove entirely. It is sometimes taken figuratively to mean “to remove” in the Tanach, such as in Esther 8:3. See later note about the repeated use of this root in the piyyut.
[2] The phrase “evil of the decree,” implies that some part of the decree might not be evil and ought to remain. Earlier sources in the Jewish tradition talk instead about removing a “decree” entirely, not specifically “the evil of the decree,” although later sources, particularly the ones composed after U-Netaneh Tokef use the phrase “evil of the decree” as well.

Our text of Avinu Malkeinu also uses this construction, “evil of the decree,” but Rav Amram Gaon’s earlier version of Avinu Malkeinu does not have it, and so it is possible that our Avinu Malkeinu was changed to match this piyyut, or that this piyyut follows a different version of Avinu Malkeinu, as it is not entirely clear which of these tefilot was written first and thus which might have influenced the other – or if they are both influenced by a third source.
[3] Rosh Hashanah 16b lists four things that can remove the negative outcomes of the decree: charity, prayer, changing the name, and changing one’s actions (repentance); these are three of the four.
[4] Though the piyyut mentions both Yom Kippur and Rosh Ha-Shanah, its focus is on Rosh Ha-Shanah, as it includes the words “And write their decree” which reflects the events of the Day of Judgment more than the Day of Atonement when the decree is sealed (Rosh Hashanah 16b). The piyyut also walks through the four parts of the internal blessings of the Rosh Ha-Shanah service (Rosh Hashanah 32a) in order: (1) “And we shall relate the severity of the holiness of the day”….. (2) “And through this (or, on it) your Kingdom shall be elevated”…. (3) “And you will open the book of Remembrance and it shall be read on its own,” (4) “And it shall (be) blown with a great Shofar” [Isaiah 27:13, about the redemptive era].
[5] Isaac of Viena (Ohr Zarua`276), citing Ephraim of Bonn, attributes the Piyut to Amnon of Mainz. As to whether he was the original author or transmitter of the prayer, see Avraham Frankel, “The Historical figure of Rabbi Amnon of Mainz and the development of the Piyyut ‘U-Netaneh Tokef’ in Italy, Germany, and France,” Tzion (2002), 125-132, and sources cited therein.
[6] As a Siluk piyyut, the words “and we shall pronounce Kedusha to you” precedes the beginning of U-Netaneh Tokef. As it functions as a transition to Kedusha, the end of U-Netaneh Tokef asks G-d to sanctify his name, just as the angels and people do using the words of Kedusha.
[7] G-d is called “living and everlasting” in Aramaic in Daniel 6:27.
[8] As noted above, the piyyut refers to the annual day of judgment on Rosh Hashanah, although Wolf Heidenheim, Mahzor Rosh Ha-Shanah (Rodelheim, 1880), 77a was of that view that it refers to the day of judgment at the end of days, instead.
[9] Ranon Katzuf, “U-Netaneh Tokef” Daf Shevui:Bar Ilan 985 (2012), discusses these two elements of the Piyut at length. Rosh Hashanah 16a already established that humanity is judged “Kivnei Maron,” although the meaning of that phrase is unclear. The Talmud (18a) gives a variety of explanations for the phrase, including sheep [who are counted when being tithed (Rashi)], and soldiers [who are counted going out to war (Rashi)].

The first explanation, sheep, takes “Maron” to be Hebrew, cognate with Aramaic “imrana,” while the second explanation, soldiers, believes “Maron” is a loan word from the related Latin word “numerus” which refers to an army formation. The first explanation also takes its cue from the verb “to pass,” found by the animal tithe.

The author of U-Netaneh Tokef clearly has both meanings of the phrase in mind. Before using the phrase of the Mishnah, that all creatures pass before G-d “ki-vnei maron,” the piyyut refers to how the troop of heaven, “tzva marom,” is judged, signaling the second meaning of the phrase, referring to soldiers. Just after using the key phrase “ki-vnei maron,” the author compares G-d’s actions to a shepherd checking his flock (Yechezkel 34:12), passing them under his rod (Leviticus 27:32, Jeremiah 33:13). Thus, both meanings are intended and signaled, one before the use of the ambivalent phrase and one just after.

The meaning of the Aramaic “imrana” is, itself, also unclear. Rashi takes it to be equivalent to “imra,” meaning lamb, in Aramaic, although the words are slightly different from each other.
[10] Katzuf notes that in the case of the animal tithe, which according to some is determined by Rosh Hashanah (Rosh Hashanah 2a), 1 out of every 10 sheep is sentenced to be sacrificed. In the case of the Roman decimatio, 1 out of every 10 soldiers is similarly sentenced to death in punishment for a collective crime. In both cases, 1 out of 10 is killed, but their death is not the result of a unique, specific judgment of each specific subject, rather a certain percentage of the group dies, and the selection of specific ones are arbitrary. Vayikra 27:33 even requires that the shepherd not compare between good and bad when deciding who will die. In that vein, sometimes, the death of human individuals over the course of a year might seem to be similarly arbitrary.

Alternatively, one could distinguish and say that soldiers are evaluated based on their fitness are past record of performance, while specifically sheep are judged as a group and without an eye to specific members of the group as individuals. In any event, the piyyut begins by implying humanity is judged in the same way, before later providing the alternative account, that repentance allows us to be judged uniquely based on our own accomplishments in the past year.[
[11] A note on the Biblical sources for the wording: “u-malachim yeichapheizun,” “and angels will hurry,” is based on Psalms 104:7, where the verb appears although the subject of the verb is unclear; it probably refers to the waters but could be taken to refer to angels which appeared earlier in verse 4. The line ends “ve-chil u-re’adah yocheizun,” fear and dread will grab them,” with a rhyming verb and similar vowel pattern, based on Yeshayahu 13:8. Though the two verbs look the same, they are grammatically different, however. The former is a standard third person plural verb with an added nun for sound with no grammatical importance; the latter is a third person plural verb with a suffix, “grab them.”
[12] A note on the Biblical sources for the wording: sources include: “awesome and frightening” (Habakuk 1:7), “raise your monarchy” (Numbers 24:7), “establishing a throne with kindness and truth” (Isaiah 16:5), judging the “troop of heaven” (Isaiah 24:21), “not clear in Your eyes” (Job 15:15).
[13] A note on the grammar and word choice: The piyyut will later use the convetional root for death, m-t-h, but here uses an alternative “who will pass,” with the root `-v-r, to pass. Normally the word is used literally in the Bible, but can be used to mean to end or cease, such as in Melachim 1:15:12. (It does not refer to death in the Bible, but does in the Mishnah, such as Avot 5:21).

There are four possible poetic reasons for the use of the word in this context: (1) It alliterates nicely with the next clause, how many will be born, “kamah yibarei’un”. (2) It can also be translated “how many will be forgiven,” as G-d passes over the sin, as in Micha 7:18, the final words of the Haftara of Shabbat Shuva. (3) The root had been used earlier in the piyyut twice for the sheep passing before the shepherd and once for G-d’s judgment of humanity, and so it echoes the earlier paragraph; the root will be used later when describing the passing shade. See also note 1. (4) It provides poetic variation from the word for death, used in the next line.[
[14] It is beyond the scope of this essay to consider Judaism’s view if people have set lifespans destined to them or not. This line implies they have a set lifespan that can be shortened in the event of sin. See Rashi to Genesis 5:24, 15:15, 17:14, Iyov 4:18 who describes death before a set time, often using the phrase “before his time” that is not found in the earlier Midrashim.
[15] Rabbi Soloveitchik’s custom was to follow Heidenheim, 77b and to reverse the order of these two clauses, possible preferring to preserve the order of the verse (Tehillim 66:12), over the idea of keeping the worse death second.
[16] See Daniel Goldschmidt, Mahzor Le-Yamim Noraim (Jerusalem: Academy, 1970), 169-172 and the alternative versions cited therein.
[17] A note on the Biblical sources for the wording. The verb “to rest” is found often in the Bible. The verb “to move around,” n-u-`, appears in many occasions in the Bible, meaning to move around but also to be scared or to shake. When the word appears in passive voice (such as Amos 9:9 and Nahum 3:12) it means to be shaken by others. Here, the word is in the standard active form and would mean to move around (as in Tehillim 109:10, 107:27). In Hebrew grammar, to move and to rest are opposites, as they name the two types of Sheva’s: a voiced (na`) and unvoiced (nach) one, though in Biblical and Mishnaic Hebrw they are not opposites. The author is juxtaposing the words based on how they appear in grammar, not in the Bible.
[18] It is not intuitive that these two would be opposites. The verb sh-k-t is often the opposite of going to war (or ironically, the previous verb, to move around, see Isaiah 7:2-4), not being torn.

A note on the grammar and word choice:

Goldschmidt vowelizes the first word in hiphil form, “yashkit,” “make quiet” as in Psalms 15:18, Isaiah 7:4. Heidenheim vowelizes the word in the niphal form, “yishakeit,” but the word never takes that form in the Bible.

Goldschmidt vowelizes the second word in pual form, “yetoraf” as in Genesis 37:33, 44:28.

Heidenheim vowelizes the word in the niphal form, “yitareif” as in Exodus 22:12.
[19] A note on the Biblical sources for the wording: Sh-l-v appears in the Bible in verb form only once (Job 3:26), although it does appear in noun and adjective form a few times. It appears here in the niphal form, “yishaleiv,” be made serene. Y-s-r means to be punished or rebuked. It appears here it hitpael form, see Ezekiel 23:48.
[20] A note on the grammar and word choice: The verb to become wealthy `-sh-r normally appears in the hiphil form in Tanach, and for Goldschmit takes that form here, “ya`ahir” as in Psalms 49:17. Heidenheim vowelizes the word in the niphal form, “yeiasheir.”

The notion G-d causes wealth and poverty also appears in Shmuel 1:2:7 but in slightly different verbiage “Hashem morish u-ma`ashir.” The two Mahzorim also disagree about whether the other word is vowelized yeiani or ya`ani.”
[21] “Yarum” means to rise up, as in Tehilim 27:6 and elsewhere. Heidenheim has “yishapeil” in niphal while Goldschmidt has yeshupal in pual. The Tanach uses a third form, yashpil in hiphil (Tehillim 75:8).
[22] Rabbi Soloveitchik’s custom was only to reverse the final pair.
[23] I discuss this prophecy at length, while also applying it to its historical context, in Isaiah and his Contemporaries, (Kodesh Press, 2023), 44-46.
[24] See also Rashi to Devarim 7:7 for further discussion of this idea.
[25] Ironically, Psalms 136:23 can be read either way, that being lowly is a meritorious condition that led G-d to recall us, or a pathetic condition that similarly caused G-d to recall us. Daniel 4:14 has similar ambivalence.
[26] Truth is God’s signature, Shabbat 55b. Some Chazanim highlight the central role truth plays in the piyyut by beginning to read out loud from this word, the two times it begins a sentence. Ohr Zarua` sees in this line an acceptance of G-d’s true justice that even when the bad decree befalls us, we still deserve what happens to us.
[27] Using the same word, kitzvah, used early to refer to the set time of the lives of the various creatures.
[28] The song ends with praise of G-d’s name, the Tetragrammaton, which captures how God is eternal and does not change. This impacts the process of repentance and punishment in two ways. First, because G-d does not change, the judgment is always truthful; He is not given over to fits of improper anger and the like. Second, because God is eternal, He has no need to hasten to anger and can wait, because there will always be future opportunities for punishment (Rashi Devarim 32:43), and so the individual has time for repentance.

The piyyut says we cannot express the hidden aspects of the name, see Pesahim 50a.
[29] Artscroll connects this line to Rashi Bamidbar 26:5. Heidenheim connects it to Jeremiah 14:9 or Devarim 28:10. It also may be that the line is inspired by none of these sources. Whatever the origin of the phrase, it clearly speaks to our relationship with G-d.




From Medina Raḥamim to Elul Seliḥot: Toward a Prehistory of Nocturnal Penitential Prayer

From Medina Raḥamim to Elul Seliḥot:
Toward a Prehistory of Nocturnal Penitential Prayer

Aton M. Holzer

Shulamit Elizur, the undisputed doyenne of piyyut scholarship, published in 2016 a characteristically magisterial study on the origins of the seliḥot liturgy.[1] This liturgical category – like the prayerbook as a whole – is not attested before the eighth and ninth centuries. The great payyetanim of late antique Eretz Israel – Yose ben Yose, Yannai, and R. Eleazar ha-Qalir – composed qinot, qerovot, and other poetic forms, yet, as Elizur has demonstrated elsewhere,[2] seliḥot cannot be ascribed to this early Eretz-Israeli stratum. Contrary to earlier assumptions that located their genesis in the pre-classical Palestinian milieu, the genre is in fact a Babylonian creation, nurtured in a setting where “primitive” poetic styles persisted well into later centuries. The available evidence indicates that seliḥot entered the liturgical repertoire of the land of Israel only after the late eighth century, and even then only in a limited and sporadic fashion. From Babylonia, the genre subsequently radiated westward, leaving its imprint on Italy, Ashkenaz, and Sefarad.

The seliḥot as they have come down to us consist of two distinct components. The seliḥot proper are payyetanic compositions structured upon the framework of a primordial abecedarian proto-seliḥah preserved in the Seder of R. Saʿadyah Gaon. This early prototype interwove biblical verses drawn alternately from Torah, Writings, and Prophets. Three verses, however – the Thirteen Attributes (Exod. 34:5–6), the Prayer of Moses (Num. 14:19–20), and the Prayer of Daniel (Dan. 9:18–19) – were singled out for repetitive or responsive recitation, while the remaining verses were gradually supplanted by confessional passages (viduy) or thematic prose paragraphs. Elizur contends that the genre most plausibly derives from a pre-classical Palestinian text embedded in the Qedushat ha-Yom blessing for Yom Kippur, where prayers composed entirely of biblical verses were customary. In Babylonia, this early piyyut – and, in due course, the expanding sequence of piyyutim modeled upon it – was transplanted into the Amidah at the selah lanu blessing, thereby establishing the formal locus of the seliḥot within the liturgy.

A second, distinct component of the seliḥot service is the raḥamim – the repetitive litanies beginning with ʾEl raḥum shimekha. This section was not initially bound to the fixed liturgy but was instead recited in assemblies convened during the ashmoret ha-boker (“the third watch of the night,” before dawn) throughout the month of Elul, the Ten Days of Repentance, and Yom Kippur. As with seliḥot, this practice finds no precedent in the late antique liturgy of Eretz Israel, but rather emerges within the Babylonian milieu. In the course of time, the raḥamim were often relocated to the taḥanun following the morning prayer, and, once the seliḥot component was excised from the Amidah, the two elements were joined. Thus, on Yom Kippur, only the evening service retained raḥamim, while the other services preserved seliḥot. In Sephardic communities, the seliḥot rites that remained independent of the fixed liturgy – those recited at ashmoret during Elul and the Ten Days of Repentance – developed in a more fluid and less regimented manner: seliḥot-type piyyutim were freely interwoven with raḥamim-litanies, precisely because their origins lay outside the structured framework of the Amidah.

When, then, did these nocturnal gatherings originate? No documentary evidence attests to seliḥot or raḥamim before the eighth century. Nevertheless, there is reason to suspect that Babylonian Jewish communities had already consecrated the month of Elul to penitential supplication by the close of late antiquity. A fascinating recent study by Michael E. Pregill traces the evolution of traditions surrounding the Golden Calf episode across late antique Judaism, Christianity, and Islam. He demonstrates that the ḥet ha-ʿegel was a charged theme in Eastern Christianity from the fourth century onward, generating a distinctive cross-pollination between Jewish and Syriac Christian traditions in the Sasanian orbit.

A striking motif emerges in the writings of Ephrem of Nisibis (306–373) – who integrates certain midrashic elements, such as the murder of Hur and apologetic defenses of Aaron – namely, the portrayal of Israel as an unfaithful bride:

“The Holy One took the Synagogue up to Mount Sinai
He made her shine with pure white garments, though her heart was dark
She whored with the Calf (bĕ-ʿeglâ gārat), and He came to despise her
He smashed the Tablets, the book of her covenant (kĕtābâ da-qyāmāh).”[3]

This imagery appears to have acquired particular resonance in the Aramaic-speaking milieu, aided by the rendering of saru (Exod. 32:8) as satu in the targumim – a translation evocative of sotah – and echoed, albeit in less explicitly sexualized form, in the Peshitta. The motif was subsequently taken up by Syriac Christian theologians and exegetes such as Theodoret of Cyrrhus and Jacob of Serugh. As Pregill persuasively argues, rabbinic sources themselves came to embrace this image, precisely as both a product of and a response to this polemical environment.

It may therefore be that the month of Elul – the period traditionally associated with Moses’ ascent to atone for the sin of the Golden Calf – was observed with particular intensity, at least on an individual level, within the Babylonian milieu, where the Golden Calf served as a focal point of interreligious controversy.[4] A possible allusion to such a practice appears in Seder Eliyahu Zuta, a distinctive rabbinic midrashic work and moral treatise,[5] likely composed in Babylonia between the fifth and ninth centuries:

“Were it not for God’s forbearance toward Israel during the first forty days that Moses was up on Mount Sinai to bring the Torah to his people, the Torah would not have been given to Israel. By what parable may the matter be illustrated? By the parable of a mortal king who wed a woman he loved with utter love. Having sent for a man to act as a go-between between him and his future queen, he showed the emissary all his nuptial chambers, his halls of state, and his private living quarters. The king then said to the go-between: Go and say on my behalf to the lady, ‘I do not require anything from you. You need make for me only a small nuptial chamber where I can come and dwell with you, so that my servants and the members of my household will know that I love you with utter love.’ Yet even while the king was concerning himself with the measurements of the nuptial chamber [she was to make for him] and while he was dispatching a messenger to convey many, many gifts to the lady, people came and told him: ‘Your future wife has committed adultery with another man.’ At once the king put aside all the plans he had in hand. The go-between was expelled and withdrew confounded from the king’s presence, as is said, While the King was thinking [about the measurements] of His nuptial chamber, my spikenard let go [and lost] its fragrance (Song 1:14)… During the last forty days when Moses went up a second time to Mount Sinai to fetch the Torah, Israel decreed for themselves that the daytime hours of each day be set aside for fasting and self-affliction. The last day of the entire period, the last of the forty, they again decreed self-affliction and spent the night also in such self-affliction as would not allow the Inclination to evil to have any power over them. In the morning they rose early and went up before Mount Sinai. They were weeping as they met Moses, and Moses was weeping as he met them, and at length that weeping rose up on high. At once the compassion of the Holy One welled up in their behalf, and the holy spirit gave them good tidings and great consolation, as He said to them: My children, I swear by My great name that this weeping will be a joyous weeping for you because this day will be a day of pardon, atonement, and forgiveness for you – for you, for your children, and for your children’s children until the end of all generations.” (Ch. 4, Braude translation)

The precedent for individual supplications is reflected within the raḥamim-style litanies themselves – for example, “He who answered Abraham our father … to Isaac his son … to Daniel … to Ezra.” Daniel Boyarin has noted that the prayers of the narrator in the extracanonical 4 Ezra (late first century CE) bear striking affinities to the litanies, confessions, and invocations of the divine attributes that later characterize the seliḥot.[6] Even if one remains cautious about retrojecting the fully developed genre – absent from both Talmuds and unattested in the Palestinian West – back to so early a period, and even if many of Boyarin’s textual parallels must undoubtedly be assigned to later strata,[7] the evidence nonetheless suggests the possibility of an early use of penitential litanies in private devotion. This, in turn, stands in contrast to their later employment within the communal ʿAmidah of fast days, as recorded in m. Taʿanit 2:4.

Other, later developments within “Babylonian territory” – regions under the halakhic and tributary jurisdiction of the Babylonian center by the close of late antiquity – may likewise hint at the existence of such practices and illuminate stages in their historical evolution.

Recent scholarship suggests that rabbinic Judaism maintained a significant presence in the Arabian Peninsula, at least in its northern regions – possibly even reflected in the toponym Khaybar (deriving from ḥaver[8]) – as well as in the Jewish city of Yathrib/Medina, which some now identify as a community of halakhah-observant, rabbinic Jews.[9] This line of research is relatively recent, its conclusions necessarily tentative, yet it opens promising avenues for further inquiry.

While the midrashic material drawn upon by the Qurʾan appears to be of Eretz-Israeli provenance[10] – attesting to the earlier dominance of the Eretz-Israeli center – the Arabian Peninsula after 570 was largely under the sway of the Sasanian Empire or its clients, with direct Sasanian control extending as far south as Najrān and Jeddah. The Ḥijāz itself is later described as long having functioned as a “backyard” of the Babylonian academies:[11]

“’Abdur Rahman bin ‘Abdul Qari said, ‘I went out in the company of ‘Umar bin Al-Khattab one night in Ramadan to the mosque and found the people praying in different groups. A man praying alone or a man praying with a little group behind him. So, ‘Umar said, ‘In my opinion I would better collect these (people) under the leadership of one Qari (Reciter) (i.e. let them pray in congregation!).’ So, he made up his mind to congregate them behind Ubai bin Ka’b. Then on another night I went again in his company and the people were praying behind their reciter. On that, ‘Umar remarked, ‘What an excellent Bid’a (i.e. innovation in religion) this is; but the prayer which they do not perform, but sleep at its time is better than the one they are offering.’ He meant the prayer in the last part of the night. (In those days) people used to pray in the early part of the night.’” (Ṣaḥīḥ al-Bukhārī, Vol. 3, Book 32, Hadith 227)

The “Prophet’s Mosque” of Medina, in its original form, seems to have resembled a synagogue, with the qibla (direction of prayer) even initially facing Jerusalem. In the first decades of the seventh century, before the coalescence of an “Islamic” identity, Jews might actually have been included in the proto-Islamic muʾminūn (“believers”) movement.[12] This hinges, to some extent, on whether the word characterizing the Jews’ relationship to the new movement is umma (“[one] community”), as Fred Donner reads it, or amāna (“secure”), as Michael Lecker would have it.[13]

Regardless, in the early period of Islam Jews and Christians seem to have joined the “community” without having to recant their previous faith or identity, and there was no “conversion” rite or procedure.[14]

The brief “honeymoon” between Muhammad and the Jewish tribes of Yathrib ended abruptly, culminating in the bloody execution of some four hundred men of the Jewish tribe of Banū Qurayẓa.[15] More recent revisionist scholarship, however, tends to regard this episode – attested only in sources written a century or more later – as altered,[16] exaggerated, or even fabricated, serving primarily the purpose of boundary-setting.[17] These retellings were likely shaped by later Muslim conflicts with Jewish communities in Damascus and Baghdad, while the original events, insofar as they occurred, are better understood as a matter of political expediency rather than religious confrontation.[18]

In any case, many Jews appear to have remained in Medina for several decades thereafter. The expulsion of non-Muslims from the Ḥijāz – the western province of Arabia – was long attributed to the second caliph, ʿUmar ibn al-Khaṭṭāb (r. 634–644), who was also credited with the shurūṭ ʿUmar (“Pact of ʿUmar”), the charter assigning dhimmī status to Jews and Christians and thereby marking clear boundaries between them and the emergent Islamic polity. More recent research, however, tends to assign both the expulsion and the Pact not to ʿUmar I, but rather to ʿUmar ibn ʿAbd al-ʿAzīz (r. 717–720).[19]

Jewish sources themselves offer little contemporary testimony datable to this formative period. One exception is an apocalyptic work composed around the mid-eighth century, Nistarot de-Rabbi Shimon bar Yoḥai, pseudepigraphically attributed to R. Shimon bar Yoḥai – cast here as the fiercest rabbinic adversary of Rome.[20] This work strikingly celebrates ʿUmar ibn al-Khaṭṭāb, conqueror of Jerusalem from the Byzantines, as a beneficent figure whose reign would prepare the ground for Israel’s redemption. The text prophesies that the Ishmaelite regime would vanquish Christendom and create the conditions for the advent of the Messiah:

“The second king who will arise from Ishmael will be a friend of Israel. He will repair their breaches and mend the breaches of the Temple; he will shape Mount Moriah and make the whole of it a level plain. He will build for himself there a place of prayer (hishtaḥavayah) upon the site of the ‘foundation stone’ (ʾeven shetiyyah), as Scripture says: ‘and set your nest on the rock’ (Num. 24:21). He will wage war with the children of Esau, slaughter their troops, and capture a great multitude of them. And in the end, he will die in peace and with great honor.”

ʿUmar acquired the epithet al-Fārūq (“the redeemer”) – from the same root as purqan – most likely through Jewish usage.[21] The early Islamic movement may at first have been perceived in terms akin to contemporary Noahides: strict monotheists who acknowledged Israel’s chosenness and with whom joint prayer posed no obstacle. ʿUmar’s acceptance of the Byzantine surrender in 637 and his subsequent activities in Jerusalem – including the readmission of Jewish residents, the clearing of refuse from the Temple Mount, and the construction of an initial “prayer-house” open to all worshippers, Jews among them[22] – could only have deepened Jewish admiration for him and for the movement he led in its formative environment.

It was during ʿUmar’s caliphate that the month of Ramadan, having been unmoored from the solar calendar after 632, fell successively in Iyyar,[23] then in Tishrei (637–639), and thereafter in Elul (640–642). Jews observing the Babylonian rite of raḥamim by night would naturally have assembled in Medina’s spacious prayer-house during the nights of Tishrei and Elul/Ramadan. Before the incorporation of seliḥot, these supplications were recited individually. ʿUmar evidently regarded the practice as salutary but preferred that it be performed collectively; hence, alongside the adoption of seliḥot, the communal ashmoret service became standard across lands under Babylonian influence. Intriguingly, however, the seliḥot embedded in these ashmoret gatherings retained an individualistic tenor for centuries – most clearly visible in the piyyutim of R. Isaac ibn Ghiyyat, composed especially for the nights of Elul. Thus, even as the ashmoret gatherings assumed a communal form, they continued to be conceptualized as assemblies of individuals.[24]

The Geonic treatment of this custom, preserved in R. Isaac ibn Ghiyyat’s Hilkhot Teshuvah (§58), records that both the ninth-century Gaon R. Kohen Ẓedeq b. Abimai of Sura and the renowned eleventh-century R. Ḥayya Gaon of Pumbeditha restricted the practice to the Ten Days of Repentance in their own locales. Yet R. Ḥayya also concedes that in “some places in Persia” the recitation of taḥanunim extended through the entire month of Elul, and R. Isaac ibn Ghiyyat notes that such was likewise the practice in his native al-Andalus. To one line of speculation, then, another may be added: the custom of seliḥot throughout Elul – attested both in Persia at the eastern edge of the Jewish world and in Spain at its westernmost reach, both within the orbit of Babylonian influence – appears to have “skipped over” the very center itself, namely, the Geonic academies of Babylonia.

As Simcha Gross has demonstrated,[25] the Iggeret of R. Sherira Gaon, in recounting the Geonic academies’ greeting to the Islamic conquerors, reflects the rising prominence of the ʿAlids as the Abbasid caliphate matured; in this recension, it is specifically Caliph ʿAlī whom the Geonim are said to have welcomed with great affection. By the late tenth century, the Shiʿite Būyids had assumed control of Baghdad and much of the Iraq–Iran region. Within Shiʿi circles, the prayer service introduced by ʿUmar – the Tarāwīḥ – was condemned as an illegitimate innovation, and both Fāṭimid and Būyid rulers actively suppressed its observance.[26] Indeed, even today Shiʿi sources continue to enumerate its perceived deficiencies: that it is performed at the wrong time (in the early evening rather than at the close of night), that it diminishes the primacy of individual prayer, and that it is conducted with undue haste.[27] It is not difficult to imagine that similar criticisms contributed to the suppression of month-long nocturnal supererogatory prayer within the Geonic academies of Baghdad and its environs – the very setting in which anti-Tarāwīḥ polemics were most vigorously advanced. Moreover, the month of Elul coincided with the kallah, when vast numbers of students converged upon the Geonic centers for intensive study, thereby directing the academies’ energies away from nocturnal penitential assemblies at precisely this season.

Notes:

Many thanks to Prof. Y. Tzvi Langermann, Prof. Shulamit Elizur, and Prof. Gabriel Said Reynolds, for their valuable comments on several of the ideas discussed in this article. Needless to say, all errors remain the sole responsibility of the author.

[1] Shulamit Elizur, “The Origins of the Selihot Piyyutim,” Tarbiz, vol. 84, no. 4 (2016): 503-542 (Hebrew), available here (https://www.academia.edu/36608670).
[2] Shulamit Elizur, “The Character and Influence of the Babylonian Center of Poetic Production: Considerations in the Wake of Tova Beʾeri’s Books,” Tarbiz, vol. 79, no. 2 (2010-2011): 229-248 (Hebrew), available here (https://www.academia.edu/36608504).
[3] Hymns on Faith 14.6, translation in Michael E. Pregill, The Golden Calf between Bible and Qur’an: scripture, polemic, and exegesis from late antiquity to Islam (Oxford University Press, 2020) 216.
[4] Fascinatingly, in Second Temple times the month of Elul appears to have been the season when numerous calves – specifically, since ovine and caprine births occurred earlier in the year, prior to the preceding goren – were brought to the Temple for the tithe of animals (maʿasar behemah). One may wonder whether a symbolic connection was drawn between this practice and the atonement for the sin of the Golden Calf observed at this time of year. See Ze’ev Safrai, Mishnat Eretz Yisrael: Tractate Bekhorot, with Historical and Sociological Commentary (Yavneh: Kvutzat Yavne, 2020), 297–298 (Hebrew).
[5] Lennart Lehmhaus, “‘Were not understanding and knowledge given to you from Heaven?’ Minimal Judaism and the Unlearned ‘Other’ in Seder Eliyahu Zuta,” Jewish Studies Quarterly, vol. 19, no. 3 (2012): 230-258, available here (https://www.academia.edu/1817892).
[6] Daniel Boyarin, “Penitential Liturgy in 4 Ezra,” Journal for the Study of Judaism, vol. 3, no. 1 (January 1972): 30–34, available here (https://www.academia.edu/36253296).
[7] Shulamit Elizur, “The Character and Influence,” p. 243, fn. 54.
[8] See discussion in Raphael Dascalu, “Revisiting the Qur’anic aḥbār in Historical Context,” Journal of Qur’anic Studies, vol. 23, no. 2 (2021): 41-65.‏
[9] See Haggai Mazuz, The Religious and Spiritual Life of the Jews of Medina (Leiden: Brill, 2014).‏
[10] Holger M. Zellentin, “Aḥbār and Ruhbān: Religious Leaders in the Qurʾān in Dialogue with Christian and Jewish Literature,” in Angelika Neuwirth and Michael Sells, eds., Qurʾānic Studies Today (New York: Routledge, 2016), 258-289, available here (https://www.academia.edu/34810735).
[11] See Robert Brody, The Geonim of Babylonia and the Shaping of Medieval Jewish Culture (New Haven: Yale University Press, 1998), 125.
[12] See Fred M. Donner, Muhammad and the Believers: At the Origins of Islam (Cambridge, MA: Harvard University Press, 2010).‏
[13] See summary in Mark R. Cohen, “Islamic Policy Toward Jews from the Prophet Muhammad to the Pact of ‘Umar,” in Abdelwahab Meddeb and Benjamin Stora, eds., A History of Jewish-Muslim Relations: From the origins to the present Day (Princeton University Press, 2013), 58-77, available here (https://www.academia.edu/37423214).
[14] Ilkka Lindstedt, Muḥammad and his followers in context: the religious map of late antique Arabia (Brill, 2024), ‏319.
[15] Meir Jacob Kister, “The Massacre of the Banū Qurayẓa: A Re-Examination of a Tradition,” Society and Religion from Jahiliyya to Islam (Routledge, 2022), VIII 61-VIII 96.‏
[16] JaShong King, “The Message of a Massacre: The Religious Categorization of the Banū Qurayẓa,” Ancient Judaism, vol. 6 (2018): 203-226.‏
[17] See Mohammed Ahmed, “The Literary Role of Jews in Qur’anic Exegesis,” (Ph.D Diss., University of Cambridge, 2025).‏

Gabriel Said Reynolds, who serves as the Jerome J. Crowley and Rosaleen G. Crowley Professor of Theology and Assistant Professor of Islamic Studies at the University of Notre Dame, expresses skepticism regarding the traditional accounts in the Sīra literature about the Jewish tribes of Yathrib and their interactions with Muhammad and his followers. Nonetheless, he emphasizes that the existence of Jewish tribes in the Hijaz is beyond dispute, a fact confirmed by the discovery of rock inscriptions in the region (personal communication).
[18] See e.g. Juan Cole, Muhammad: Prophet of Peace Amid the Clash of Empires (Hachette UK, 2018).‏
[19] Milka Levy-Rubin, Non-Muslims in the Early Islamic Empire: From Surrender to Coexistence (Cambridge University Press, 2011); and Harry Munt, “‘No two religions’: Non-Muslims in the early Islamic Ḥijāz,” Bulletin of the School of Oriental and African Studies, vol. 78, no. 2 (2015): 249-269.‏
[20] See the discussion by John C. Reeves, Trajectories in Near Eastern Apocalyptic: A Postrabbinic Jewish Apocalyptic Reader (Atlanta: Society of Biblical Literature, 2005), 76-77. Translation in ibid., p. 81-82.
[21] Suliman Bashear, “The Title ‘Fārūq’ and Its Association with Umar I,” Studia Islamica, no. 72 (1990): 47-70.‏
[22] Beatrice St Laurent, “Discovering Jerusalem’s First Mosque on the Haram al-Sharif and Capitalizing Jerusalem in the Seventh Century,” Bridgewater Review, vol. 36, no. 1 (2017): 23-28.‏
[23] Ben Abrahamson and Joseph Katz, “The Islamic Jewish Calendar: How the Pilgrimage of the 9th of Av became the Hajj of the 9th of Dhu’al-Hijjah,” Paper presented at the‏ Jamalullail Chair for Prophetic Sunnah International Conference (JCICI), Malaysia, October, 2020, available online here (https://www.alsadiqin.org/history/The%20Islamic%20Jewish%20Calendar.pdf).
[24] Ariel Zinder, “‘There They Stand at Midnight, Time and Again’: Selihot for Repentance Nights by Yitzhak Ibn Giyyat; A Critical Edition with an Introductory Essay and Literary Analysis,” (Ph.D Diss., Hebrew University of Jerusalem, 2014; Hebrew).
[25] Simcha Gross, “When the Jews Greeted Ali: Sherira Gaon’s Epistle in Light of Arabic and Syriac Historiography,” Jewish Studies Quarterly, vol. 24, no. 2 (2017): 122-144, available here (https://www.academia.edu/33854404).
[26] Christine D. Baker, Medieval Islamic Sectarianism (Leeds: Arc Humanities Press, 2019), 55. Incidentally, the Sunni call to the morning fajr prayer – al-ṣalāt khayr min al-nawm (“prayer is better than sleep”) – bears a striking resemblance to the opening of the piyyut of unknown provenance, Ben adam mah lekha nirdam; qum qera be-taḥanunim (“O mortal, why do you slumber? Arise and call out in supplication”)
[27] See, e.g., “Chapter One: The lies, innovations & conjectures behind Tarawih,” available here (https://shiapen.com/comprehensive/tarawih-a-parody-of-prayers/chapter-one-the-lies-innovations-conjectures-behind-tarawih).




Kol Nidrei, Choirs, and Beethoven: The Eternity of the Jewish Musical Tradition

Kol Nidrei, Choirs, and Beethoven: The Eternity of the Jewish Musical Tradition
The Seforim Blog is reposting Dan Rabinowitz’s post from 2018.
On April 23, 1902, the cornerstone to the Taharat Ha-Kodesh synagogue was laid, and on Rosh Ha-Shana the next year, September 7, 1903, the synagogue was officially opened. The synagogue building was on one of Vilna’s largest boulevards and constructed in a neo-Moorish architectural style, capped with a blue cupola that was visible for blocks. There was a recessed entry with three large arches and two columns. The interior housed an impressive ark, located in a semi-circular apse and covered in a domed canopy. But what really set the synagogue apart from the other 120 or so places to pray in Vilna was that above the ark, on the first floor, were arched openings that served the choir. In fact, it was generally referred to by that feature and was known as the Choral Synagogue. The congregants were orthodox, most could be transported to any modern Orthodox synagogue and they would indistinguishable, in look – dressing in contemporary styles, many were of the professional class, middle to upper middle class, and they considered themselves maskilim, or what we might call Modern Orthodox.[1]

The incorporation of the choir should be without controversy. Indeed, the Chief Rabbi of Vilna, Yitzhak Rubenstein would alternate giving his sermon between the Great Synagogue, or the Stut Shul [City Synagogue], and the Choral Synagogue.[2] Judaism can trace a long relationship to music and specifically the appreciation, and recognition of the unique contribution it brings to worship. Some identify biblical antecedents, such as Yuval, although he was not specifically Jewish. Of course, David and Solomon are the early Jews most associated with music. David used music for religious and secular purposes – he used to have his lyre play to wake him at midnight, the first recorded instance of an alarm clock. Singing and music was an integral part of the temple service, and the main one for the Levite class who sang collectively, in a choir. With the destruction of the temple, choirs, and music, in general, was separated from Judaism. After that cataclysmic event, we have little evidence of choirs and even music. Indeed, some argued that there was an absolute ban on music extending so far as to prohibit singing.

It would not be until the early modern period in the 16th century that choirs and music began to play a central role in Jewish ritual, and even then, it was limited – and was associated with modernity or those who practiced a more modern form of the religion.
Rabbi Leon (Yehudah Aryeh) Modena (1571-1648) was one of the most colorful figures in the Jewish Renaissance. Born in Venice, he traveled extensively among the various cities in the region.[3] He authored over 15 books, and made his living teaching and preaching in synagogues, schools, and private homes; composing poems on commission for various noblemen; and as an assistant printer. In 1605, he was living in Ferrara where an incident occurred in the synagogue that kickstarted the collective reengagement with music. Modena explained that “we have six or eight knowledgeable men, who know something about the science of song, i.e. “[polyphonic] music,” men of our congregation (may their Rock keep and save them), who on holidays and festivals raise their voices in the synagogue and joyfully sing songs, praises, hymns and melodies such as Ein Keloheinu, Aleinu Leshabeah, Yigdal, Adon Olam etc. to the glory of the Lord in an orderly relationship of the voices according to this science [polyphonic music]. … Now a man stood up to drive them out with the utterance of his lips, answering [those who enjoyed the music], saying that it is not proper to do this, for rejoicing is forbidden, and song is forbidden, and hymns set to artful music have been forbidden since the Temple was destroyed.[4]
Modena was not cowed by this challenge and wrote a lengthy resposum to defend the practice which he sent to the Venetian rabbinate and received their approbation. But that did not put the matter to rest.
In 1610, as he approached forty, Modena received his ordination from the Venetian rabbis and settled in Venice to serve not only as a rabbi but as a cantor, with his pleasant tenor voice. In around 1628 in the Venetian ghetto, an academy of music was organized with Modena serving as the Maestro di Caeppella . Both in name and motto that academy embraced its subversive nature. It was called the Academia degli Impediti, the Academy of the Hampered, named in derision of the traditional Jewish reluctance to perform music because of “the unhappy state of captivity which hampers every act of competence.” In this spirit, especially in light of Modena’s responsum on music in 1605, the Accademia took the Latin motto Cum Recordaremur Sion, and in Hebrew, Bezokhrenu et Tzion, when we remembered Zion, based paradoxically on Psalm 137, one of the texts invoked against Jewish music: “We hung up our harps…. How shall we sing the Lord’s song in a strange land?”
On Shemini Atzeret and Simchat Torah in October 1628, a spectacular musical performance was held in the Spanish synagogue, which had been decorated with silver and jewels. Two choirs from the academy sang artistic Hebrew renderings of the afternoon service, the evening service, and some Psalms. Their extensive repertoire lasted a few hours. A throng of Christian noblemen and ladies attended the Simchat Torah service. The applause was great, and police had to guard the gates to ensure order
Beyond his musical endeavors, Modena also served as an expert in Hebrew publishing. The two would create a confluence that enabled the first modern Jewish book of music.
For Rabbi Leon Modena, his young friend, the musician Salamone Rossi, would herald the Jewish re-awakening. We know very little about Rossi’s life. He was born circa 1570 and died sometime after 1628, possibly in 1630. He is listed as a violinist and composer on the payroll of the Gonzaga dukes, rulers of Mantua, and was associated with a Jewish theater company, as composer or performer or both. In addition, Rossi was also writing motets – short pieces of sacred music typically polyphonic and unaccompanied – for the synagogue using contemporary Italian and church styles. He was specifically encouraged in this endeavor by Modena, who urged the composer to have this music published so that it could have an even greater impact.[5] In 1622 the publishing house of Bragadini in Venice issued thirty-three of Rossi’s synagogue motets in a collection, Shirim asher le-Shlomo, that Modena edited. This extraordinary publication represented a huge innovation. First, the use of musical notations that required a particularly thorny issue to be resolved right versus left. Rossi decided to keep the traditional musical notational scheme and provide those from left to right and write the Hebrew backward, because the latter would be more familiar to the reader. Second, it was the first time the Hebrew synagogue liturgy had ever been set as polyphonic choral music. Polyphony in the Christian church had begun centuries earlier. Rossi’s compositions sound virtually indistinguishable from a church motet, except for one thing: the language is Hebrew – the lyrics are from the liturgy of the synagogue, where this music was performed.
There was bound to be a conflict between the modern Jews who had been influenced by the Italian Renaissance and who supported this innovation, and those with a more conservative theology and praxis. But the antagonism towards music, especially non-traditional music, remained strong. Anticipating objections over Rossi’s musical innovations, and perhaps reflecting discussions that were already going on in Venice or Mantua, Modena wrote a lengthy preface included the responsum he wrote in 1605 in Ferrara in support of music in which he refuted the arguments against polyphony in the synagogue. “Shall the prayers and praises of our musicians become objects of scorn among the nations? Shall they say that we are no longer masters of the art of music and that we cry out to the God of our fathers like dogs and ravens?”3 Modena acknowledged the degraded state of synagogue music in his own time but indicates that it was not always so. “For wise men in all fields of learning flourished in Israel in former times. All noble sciences sprang from them; therefore, the nations honored them and held them in high esteem so that they soared as if on eagles’ wings. Music was not lacking among these sciences; they possessed it in all its perfection and others learned it from them. … However, when it became their lot to dwell among strangers and to wander to distant lands where they were dispersed among alien peoples, these vicissitudes caused them to forget all their knowledge and to be devoid of all wisdom.”
In the same essay, he quotes Emanuel of Rome, a Jewish poet from the early fourteenth century, who wrote, “What does the science of music say to the Christians? ‘Indeed, I was stolen out of the land of the Hebrews.’” Using the words of Joseph from the book of Genesis, Modena was hinting that the rituals and the music of the Catholic church had been derived from those of ancient Israel, an assertion that has been echoed by many scholars. Although it can be argued that Modena indulges in hyperbole, both ancient and modern with some attributing the earliest ritual music to Obadiah the convert who noted a Jewish prayer that was only then appropriated for use in Gregorian chants.[6]
Directly addressing the naysayers, Modena wrote that “to remove all criticism from misguided hearts, should there be among our exiles some over-pious soul (of the kind who reject everything new and seek to forbid all knowledge which they cannot share) who may declare this [style of sacred music] forbidden because of things he has learned without understanding, … and to silence one who made confused statements about the same matter. He immediately cites the liturgical exception to the ban on music. Who does not know that all authorities agree that all forms of singing are completely permissible in connection with the observance of the ritual commandments? … I do not see how anyone with a brain in his skull could cast any doubt on the propriety of praising God in song in the synagogue on special Sabbaths and on festivals. … The cantor is urged to intone his prayers in a pleasant voice. If he were able to make his one voice sound like ten singers, would this not be desirable? … and if it happens that they harmonize well with him, should this be considered a sin? … Are these individuals on whom the Lord has bestowed the talent to master the technique of music to be condemned if they use it for His glory? For if they are, then cantors should bray like asses and refrain from singing sweetly lest we invoke the prohibition against vocal music.
No less of an authority than the Shulhan Arukh, explains that “when a cantor who stretches out the prayers to show off his pleasant voice, if his motivation is to praise God with a beautiful melody, then let him be blessed, and let him chant with dignity and awe.” And that was Rossi’s exact motivation to “composed these songs not for my own honor but for the honor of my Father in heaven who created this soul within me. For this, I will give thanks to Him evermore.” The main thrust of Modena’s preface was to silence the criticisms of the “self-proclaimed or pseudo pious ones” and “misguided hearts.”
Modena’s absurdist argument – should we permit the hazzan to bray like an ass – is exactly what a 19th-century rabbi, Rabbi Yosef Zechariah Stern, who was generally opposed to the Haskalah – and some of the very people who started the Choral Synagogue, espoused. Stern argues that synagogal singing is not merely prohibited but is a cardinal sin. To Stern, such religious singing is only the practice of non-Jews who “strive to glorify their worship in their meeting house [בית הכנסת שלהם] so that it be with awe, and without other intermediaries that lead to distraction and sometimes even to lightheadedness. In the case of Jews, however, there is certainly be a desecration of G-d’s Name when we make the holy temple a place of partying and frivolity and a meeting house for men and women … in prayer. there is no place for melodies [נגונים], only the uttering of the liturgy with gravity [כובד ראש] … to do otherwise is the way of arrogance, as one who casts off the yoke, where the opposite is required: submission, awe and gravity, and added to this because of the public desecration of G-d’s Name – a hillul ha-Shem be-rabbim.” (For more on this responsum see here.)
Similarly, even modern rabbis, for example, R. Eliezer Waldenberg, who died in 2006, also rejected Modena’s position, because of modernity. Although in this instance, not because of the novelty or the substance of Modena’s decision but because of the author’s lifestyle. Modena took a modern approach to Jewish life and was guilty of such sins as not wearing a yarmulke in public and permitting ball playing on Shabbos.
Despite these opinions, for many Orthodox Jews, with some of the Yeshivish or Haredi communities as outliers, song is well entrenched in the services, no more so than on the Yomim Noraim. Nor is Modena an outlier rabbinic opinion of the value of music and divine service. No less of an authority than the Vilna Gaon is quoted as highly praising music and that it plays a more fundamental role to Judaism that extends well beyond prayer. Before we turn to the latter point it is worth noting that at times Jewish music was appropriated by non-Jews – among the most important composers, Beethoven. One the holiest prayer of Yom Kippur, Kol Nedri, is most well-known not for the text (which itself poses many issues) but the near-universal tune. That tune, although not as repetitive in the prayer can be heard in the sixth movement of Beethoven’s Quartet in C# minor, opus 131 (you can hear a version here). One theory is in 1824, the Jews in Vienna were finally permitted to build their own synagogue and for the consecration asked Vienna’s most famous composer to write a piece of music.[7] Although Beethoven did not take the commission, he may have done some research on Jewish music and learned of this tune. We could ask now, is Beethoven playing a Jewish music?[8]
R. Yisrael M’Sklov, a student of the Gaon records that he urged the study of certain secular subjects as necessary for the proper Torah study, algebra and few other, but “music he praised more than the rest. He said that most of the fundamentals and secrets of the torah … the Tikkunei Zohar are impossible to understand without music, it is so powerful it can resurrect the dead with its properties. Many of these melodies and their corresponding secrets were among the items that Moshe brought when he ascended to Sinai.”[9]
In this, the Gaon was aligned with many Hassidim who regularly incorporated music into their rituals, no matter where the origin. Just one of many examples, Habad uses the tune to the French national anthem for the prayer Aderet ve-Emunah. The power of music overrides any considerations of origin. Indeed, they hold that not only can music affect us, but we can affect the music itself, we hold the power to transform what was impure, the source and make it pure. That is not simply a cute excuse, but the essence of what Hassidim view the purpose of Judaism, making holy the world. Music is no longer a method of attaining holiness, singing is itself holiness.[10]
Today in Vilna, of the over 140 places of worship before the Holocaust five shul buildings remain and only one shul is still in operation. That shul is the Choral Synagogue – the musical shul. Nonetheless not all as it should be. In the 1960s a rabbi from Israel was selected as the rabbi for the community and the shul. When he arrived, he insisted that choirs have no place in Judaism and ordered the choir arches sealed up. We, however, have the opportunity, as individuals and community to use the power of music to assist us on the High Holidays – that can be me-hayeh ma’tim.
[1] See Cohen-Mushlin, Synagogues in Lithuania N-Z, 253-61. For more on the founding of the congregation see Mordechai Zalkin, “Kavu le-Shalom ve-ain: Perek be-Toldot ha-Kneset ha-Maskili ‘Taharat ha-Kodesh be-Vilna,” in Yashan mi-Pnei Hadash: Mehkarim be-Toldot Yehudei Mizrah Eiropah u-ve-Tarbutam: Shai le-Imanuel Etkes, eds. David Asaf and Ada Rapoport-Albert (Jerusalem: Merkaz Zalman Shazar, 2009) 385-403. The images are taken from Cohen-Mushlin.
[2] Hirsz Abramowicz, Profiles of a Lost World (Detroit: Wayne State University Press, 1999), 293.
[3] Regarding Modena see his autobiography, translated into English, The Autobiography of a Seventeenth Century Rabbi, ed. Mark Cohen (Princeton: Princeton University Press, 1988); and the collection of articles in The Lion Shall Roar: Leon Modena and his World, ed. David Malkiel, Italia, Conference Supplement Series, 1 (Jerusalem: Hebrew University Press, 2003).
[4] His responsum was reprinted in Yehuda Areyeh Modena, She’a lot u-Teshuvot Ziknei Yehuda, ed. Shlomo Simonsin (Jerusalem: Mossad Harav Kook, 1956), 15-20.
[5] See generally Don Harrán, Salamone Rossi: Jewish Musician in Late Renaissance Mantua (Oxford: Oxford University Press, 1999); Michelene Wandor, “Salamone Rossi, Judaism and the Musical Cannon,” European Judaism 35 (2002): 26-35; Peter Gradenwitz, The Music of Israel: From the Biblical Era to Modern Times 2nd ed. (Portland: Amadeus Press, 1996), 145-58.
The innovations of Rossi and Modena ended abruptly in the destruction of the Mantua Ghetto in 1630 and the dispersion of the Jewish community. The music was lost until the late 1800s when Chazzan Weintraub discovered it and began to distribute it once again.
[6] See Golb who questions this attribution and argues the reverse and also describes the earlier scholarship on Obadiah. Golb, “The Music of Obadiah the Proselyte and his Conversion,” Journal of Jewish Studies 18: 43-46.
[7] Such ceremonies were not confined to Austria. In Italy since the middle of the seventeenth century, special ceremonies for the dedication of synagogues had become commonplace. See Gradenwitz, Music of Israel, 159-60.
[8] Jack Gotlieb, Funny, It Doesn’t Sound Jewish, (New York: State University Press of New York, 2004), 17-18; see also Theodore Albrecht, “Beethoven’s Quotation of Kol Nerei in His String Quartet, op. 131: A Circumstantial Case for Sherlock Holmes,” in I Will Sing and Make Music: Jewish Music and Musicians Through the Ages, ed. Leonard Greenspoon (Nebraska: Creighton University Press, 2008), 149-165. For more on the history of the synagogue see Max Grunwald, Vienna (Philadephia: Jewish Publication Society of America, 1936), 205-21.
[9] R. Yisrael M’Sklov, Pat ha-Shulhan (Sefat, 1836).
[10] See Mordechai Avraham Katz, “Be-Inyan Shirat Negunim ha-Moshrim etsel ha-Goyim,” Minhat ha-Kayits, 73-74. However, some have refused to believe that any “tzadik” ever used such tunes. Idem. 73. See also our earlier article discussing the use of non-Jewish tunes “Hatikvah, Shir HaMa’a lot, & Censorship.”



Kol Nidrei, Choirs, and Beethoven: The Eternity of the Jewish Musical Tradition

Kol Nidrei, Choirs, and Beethoven:  The Eternity of the Jewish Musical Tradition  

On April 23, 1902, the cornerstone to the Taharat Ha-Kodesh synagogue was laid, and on Rosh Ha-Shana the next year, September 7, 1903, the synagogue was officially opened.  The synagogue building was on one of Vilna’s largest boulevards and constructed in a neo-Moorish architectural style, capped with a blue cupola that was visible for blocks. There was a recessed entry with three large arches and two columns.  The interior housed an impressive ark, located in a semi-circular apse and covered in a domed canopy. But what really set the synagogue apart from the other 120 or so places to pray in Vilna was that above the ark, on the first floor, were arched openings that served the choir.  In fact, it was generally referred to by that feature and was known as the Choral Synagogue.  The congregants were orthodox, most could be transported to any modern Orthodox synagogue and they would indistinguishable, in look – dressing in contemporary styles, many were of the professional class, middle to upper middle class, and they considered themselves maskilim, or what we might call Modern Orthodox.[1]

The incorporation of the choir should be without controversy.  Indeed, the Chief Rabbi of Vilna, Yitzhak Rubenstein would alternate giving his sermon between the Great Synagogue, or the Stut Shul [City Synagogue], and the Choral Synagogue.[2]  Judaism can trace a long relationship to music and specifically the appreciation, and recognition of the unique contribution it brings to worship.  Some identify biblical antecedents, such as Yuval, although he was not specifically Jewish.  Of course, David and Solomon are the early Jews most associated with music.  David used music for religious and secular purposes – he used to have his lyre play to wake him at midnight, the first recorded instance of an alarm clock.  Singing and music was an integral part of the temple service, and the main one for the Levite class who sang collectively, in a choir.  With the destruction of the temple, choirs, and music, in general, was separated from Judaism.  After that cataclysmic event, we have little evidence of choirs and even music.  Indeed, some argued that there was an absolute ban on music extending so far as to prohibit singing. 

It would not be until the early modern period in the  16th century that choirs and music began to play a central role in Jewish ritual, and even then, it was limited – and was associated with modernity or those who practiced a more modern form of the religion. 
Rabbi Leon (Yehudah Aryeh) Modena (1571-1648) was one of the most colorful figures in the Jewish Renaissance. Born in Venice, he traveled extensively among the various cities in the region.[3] He authored over 15 books, and made his living teaching and preaching in synagogues, schools, and private homes; composing poems on commission for various noblemen; and as an assistant printer.  In 1605, he was living in Ferrara where an incident occurred in the synagogue that kickstarted the collective reengagement with music. Modena explained that “we have six or eight knowledgeable men, who know something about the science of song, i.e. “[polyphonic] music,” men of our congregation (may their Rock keep and save them), who on holidays and festivals raise their voices in the synagogue and joyfully sing songs, praises, hymns and melodies such as Ein Keloheinu, Aleinu Leshabeah, Yigdal, Adon Olam etc. to the glory of the Lord in an orderly relationship of the voices according to this science [polyphonic music]. … Now a man stood up to drive them out with the utterance of his lips, answering [those who enjoyed the music], saying that it is not proper to do this, for rejoicing is forbidden, and song is forbidden, and hymns set to artful music have been forbidden since the Temple was destroyed.[4]
Modena was not cowed by this challenge and wrote a lengthy resposum to defend the practice which he sent to the Venetian rabbinate and received their approbation.  But that did not put the matter to rest. 
In 1610, as he approached forty, Modena received his ordination from the Venetian rabbis and settled in Venice to serve not only as a rabbi but as a cantor, with his pleasant tenor voice.  In around 1628 in the Venetian ghetto, an academy of music was organized with Modena serving as the Maestro di Caeppella . Both in name and motto that academy embraced its subversive nature.  It was called the Academia degli Impediti, the Academy of the Hampered, named in derision of the traditional Jewish reluctance to perform music because of “the unhappy state of captivity which hampers every act of competence.” In this spirit, especially in light of Modena’s responsum on music in 1605, the Accademia took the Latin motto Cum Recordaremur Sion, and in Hebrew, Bezokhrenu et Tzion, when we remembered Zion, based paradoxically on Psalm 137, one of the texts invoked against Jewish music: “We hung up our harps…. How shall we sing the Lord’s song in a strange land?”
On Shemini Atzeret and Simchat Torah in October 1628, a spectacular musical performance was held in the Spanish synagogue, which had been decorated with silver and jewels. Two choirs from the academy sang artistic Hebrew renderings of the afternoon service, the evening service, and some Psalms. Their extensive repertoire lasted a few hours. A throng of Christian noblemen and ladies attended the Simchat Torah service. The applause was great, and police had to guard the gates to ensure order
Beyond his musical endeavors, Modena also served as an expert in Hebrew publishing. The two would create a confluence that enabled the first modern Jewish book of music. 
For Rabbi Leon Modena, his young friend, the musician Salamone Rossi, would herald the Jewish re-awakening. We know very little about Rossi’s life. He was born circa 1570 and died sometime after 1628, possibly in 1630. He is listed as a violinist and composer on the payroll of the Gonzaga dukes, rulers of Mantua, and was associated with a Jewish theater company, as composer or performer or both. In addition, Rossi was also writing motets – short pieces of sacred music typically polyphonic and unaccompanied – for the synagogue using contemporary Italian and church styles. He was specifically encouraged in this endeavor by Modena, who urged the composer to have this music published so that it could have an even greater impact.[5] In 1622 the publishing house of Bragadini in Venice issued thirty-three of Rossi’s synagogue motets in a collection, Shirim asher le-Shlomo, that Modena edited. This extraordinary publication represented a huge innovation. First, the use of musical notations that required a particularly thorny issue to be resolved right versus left. Rossi decided to keep the traditional musical notational scheme and provide those from left to right and write the Hebrew backward, because the latter would be more familiar to the reader.  Second, it was the first time the Hebrew synagogue liturgy had ever been set as polyphonic choral music. Polyphony in the Christian church had begun centuries earlier. Rossi’s compositions sound virtually indistinguishable from a church motet, except for one thing: the language is Hebrew – the lyrics are from the liturgy of the synagogue, where this music was performed.
There was bound to be a conflict between the modern Jews who had been influenced by the Italian Renaissance and who supported this innovation, and those with a more conservative theology and praxis. But the antagonism towards music, especially non-traditional music, remained strong. Anticipating objections over Rossi’s musical innovations, and perhaps reflecting discussions that were already going on in Venice or Mantua, Modena wrote a lengthy preface included the responsum he wrote in 1605 in Ferrara in support of music in which he refuted the arguments against polyphony in the synagogue. “Shall the prayers and praises of our musicians become objects of scorn among the nations? Shall they say that we are no longer masters of the art of music and that we cry out to the God of our fathers like dogs and ravens?”3 Modena acknowledged the degraded state of synagogue music in his own time but indicates that it was not always so. “For wise men in all fields of learning flourished in Israel in former times. All noble sciences sprang from them; therefore, the nations honored them and held them in high esteem so that they soared as if on eagles’ wings. Music was not lacking among these sciences; they possessed it in all its perfection and others learned it from them. … However, when it became their lot to dwell among strangers and to wander to distant lands where they were dispersed among alien peoples, these vicissitudes caused them to forget all their knowledge and to be devoid of all wisdom.”  
In the same essay, he quotes Emanuel of Rome, a Jewish poet from the early fourteenth century, who wrote, “What does the science of music say to the Christians? ‘Indeed, I was stolen out of the land of the Hebrews.’” Using the words of Joseph from the book of Genesis, Modena was hinting that the rituals and the music of the Catholic church had been derived from those of ancient Israel, an assertion that has been echoed by many scholars. Although it can be argued that Modena indulges in hyperbole, both ancient and modern with some attributing the earliest ritual music to Obadiah the convert who noted a Jewish prayer that was only then appropriated for use in Gregorian chants.[6] 
Directly addressing the naysayers, Modena wrote that “to remove all criticism from misguided hearts, should there be among our exiles some over-pious soul (of the kind who reject everything new and seek to forbid all knowledge which they cannot share) who may declare this [style of sacred music] forbidden because of things he has learned without understanding, … and to silence one who made confused statements about the same matter. He immediately cites the liturgical exception to the ban on music. Who does not know that all authorities agree that all forms of singing are completely permissible in connection with the observance of the ritual commandments? … I do not see how anyone with a brain in his skull could cast any doubt on the propriety of praising God in song in the synagogue on special Sabbaths and on festivals. … The cantor is urged to intone his prayers in a pleasant voice. If he were able to make his one voice sound like ten singers, would this not be desirable? … and if it happens that they harmonize well with him, should this be considered a sin? … Are these individuals on whom the Lord has bestowed the talent to master the technique of music to be condemned if they use it for His glory? For if they are, then cantors should bray like asses and refrain from singing sweetly lest we invoke the prohibition against vocal music.
No less of an authority than the Shulhan Arukh, explains that “when a cantor who stretches out the prayers to show off his pleasant voice, if his motivation is to praise God with a beautiful melody, then let him be blessed, and let him chant with dignity and awe.” And that was Rossi’s exact motivation to “composed these songs not for my own honor but for the honor of my Father in heaven who created this soul within me. For this, I will give thanks to Him evermore.” The main thrust of Modena’s preface was to silence the criticisms of the “self-proclaimed or pseudo pious ones” and “misguided hearts.”
Modena’s absurdist argument – should we permit the hazzan to bray like an ass – is exactly what a 19th-century rabbi, Rabbi Yosef Zechariah Stern, who was generally opposed to the Haskalah – and some of the very people who started the Choral Synagogue, espoused. Stern argues that synagogal singing is not merely prohibited but is a cardinal sin.  To Stern, such religious singing is only the practice of non-Jews who  “strive to glorify their worship in their meeting house [בית הכנסת שלהם] so that it be with awe, and without other intermediaries that lead to distraction and sometimes even to lightheadedness.  In the case of Jews, however, there is certainly be a desecration of G-d’s Name when we make the holy temple a place of partying and frivolity and a meeting house for men and women … in prayer. there is no place for melodies [נגונים], only the uttering of the liturgy with gravity [כובד ראש] … to do otherwise is the way of arrogance, as one who casts off the yoke, where the opposite is required: submission, awe and gravity, and added to this because of the public desecration of G-d’s Name – a hillul ha-Shem be-rabbim.” (For more on this responsum see here.)
 Similarly, even modern rabbis, for example, R. Eliezer Waldenberg, who died in 2006, also rejected Modena’s position, because of modernity.  Although in this instance, not because of the novelty or the substance of Modena’s decision but because of the author’s lifestyle.  Modena took a modern approach to Jewish life and was guilty of such sins as not wearing a yarmulke in public and permitting ball playing on Shabbos. 
Despite these opinions, for many Orthodox Jews, with some of the Yeshivish or Haredi communities as outliers, song is well entrenched in the services, no more so than on the Yomim Noraim. Nor is Modena an outlier rabbinic opinion of the value of music and divine service.  No less of an authority than the Vilna Gaon is quoted as highly praising music and that it plays a more fundamental role to Judaism that extends well beyond prayer.  Before we turn to the latter point it is worth noting that at times Jewish music was appropriated by non-Jews – among the most important composers, Beethoven.  One the holiest prayer of Yom Kippur, Kol Nedri, is most well-known not for the text (which itself poses many issues) but the near-universal tune.  That tune, although not as repetitive in the prayer can be heard in the sixth movement of Beethoven’s Quartet in C# minor, opus 131 (you can hear a version here).  One theory is in 1824, the Jews in Vienna were finally permitted to build their own synagogue and for the consecration asked Vienna’s most famous composer to write a piece of music.[7]  Although Beethoven did not take the commission, he may have done some research on Jewish music and learned of this tune.  We could ask now, is Beethoven playing a Jewish music?[8]
R. Yisrael M’Sklov, a student of the Gaon records that he urged the study of certain secular subjects as necessary for the proper Torah study, algebra and few other, but “music he praised more than the rest.  He said that most of the fundamentals and secrets of the torah … the Tikkunei Zohar are impossible to understand without music, it is so powerful it can resurrect the dead with its properties.  Many of these melodies and their corresponding secrets were among the items that Moshe brought when he ascended to Sinai.”[9] 
In this, the Gaon was aligned with many Hassidim who regularly incorporated music into their rituals, no matter where the origin.  Just one of many examples, Habad uses the tune to the French national anthem for the prayer Aderet ve-Emunah.  The power of music overrides any considerations of origin.  Indeed, they hold that not only can music affect us, but we can affect the music itself, we hold the power to transform what was impure, the source and make it pure.  That is not simply a cute excuse, but the essence of what Hassidim view the purpose of Judaism, making holy the world.  Music is no longer a method of attaining holiness, singing is itself holiness.[10]  
Today in Vilna, of the over 140 places of worship before the Holocaust five shul buildings remain and only one shul is still in operation.  That shul is the Choral Synagogue – the musical shul.  Nonetheless not all as it should be.  In the 1960s a rabbi from Israel was selected as the rabbi for the community and the shul.  When he arrived, he insisted that choirs have no place in Judaism and ordered the choir arches sealed up.  We, however, have the opportunity, as individuals and community to use the power of music to assist us on the High Holidays – that can be me-hayeh ma’tim.
[1] See Cohen-Mushlin, Synagogues in Lithuania N-Z, 253-61. For more on the founding of the congregation see Mordechai Zalkin, “Kavu le-Shalom ve-ain:  Perek be-Toldot ha-Kneset ha-Maskili ‘Taharat ha-Kodesh be-Vilna,” in Yashan mi-Pnei Hadash: Mehkarim be-Toldot Yehudei Mizrah Eiropah u-ve-Tarbutam: Shai le-Imanuel Etkes, eds. David Asaf and Ada Rapoport-Albert (Jerusalem:  Merkaz Zalman Shazar, 2009) 385-403. The images are taken from Cohen-Mushlin. 
[2] Hirsz Abramowicz, Profiles of a Lost World (Detroit:  Wayne State University Press, 1999), 293.
[3] Regarding Modena see his autobiography, translated into English, The Autobiography of a Seventeenth Century Rabbi, ed. Mark Cohen (Princeton:  Princeton University Press, 1988); and the collection of articles in The Lion Shall Roar: Leon Modena and his World, ed. David Malkiel, Italia, Conference Supplement Series, 1 (Jerusalem:  Hebrew University Press, 2003).
[4] His responsum was reprinted in Yehuda Areyeh Modena, She’a lot u-Teshuvot Ziknei Yehuda, ed. Shlomo Simonsin (Jerusalem: Mossad Harav Kook, 1956), 15-20.
[5] See generally Don Harrán, Salamone Rossi:  Jewish Musician in Late Renaissance Mantua (Oxford: Oxford University Press, 1999); Michelene Wandor, “Salamone Rossi, Judaism and the Musical Cannon,” European Judaism 35 (2002): 26-35; Peter Gradenwitz, The Music of Israel:  From the Biblical Era to Modern Times 2nd ed. (Portland: Amadeus Press, 1996), 145-58. 
The innovations of Rossi and Modena ended abruptly in the destruction of the Mantua Ghetto in 1630 and the dispersion of the Jewish community. The music was lost until the late 1800s when Chazzan Weintraub discovered it and began to distribute it once again.

[6] See Golb who questions this attribution and argues the reverse and also describes the earlier scholarship on Obadiah.  Golb, “The Music of Obadiah the Proselyte and his Conversion,” Journal of Jewish Studies 18: 43-46.
[7] Such ceremonies were not confined to Austria.  In Italy since the middle of the seventeenth century, special ceremonies for the dedication of synagogues had become commonplace.  See Gradenwitz, Music of Israel, 159-60.
[8] Jack Gotlieb, Funny, It Doesn’t Sound Jewish, (New York:  State University Press of New York, 2004), 17-18; see also Theodore Albrecht, “Beethoven’s Quotation of Kol Nerei in His String Quartet, op. 131:  A Circumstantial Case for Sherlock Holmes,” in I Will Sing and Make Music:  Jewish Music and Musicians Through the Ages, ed. Leonard Greenspoon (Nebraska:  Creighton University Press, 2008), 149-165. For more on the history of the synagogue see Max Grunwald, Vienna (Philadephia:  Jewish Publication Society of America, 1936), 205-21.
[9] R. Yisrael M’Sklov, Pat ha-Shulhan  (Sefat, 1836).
[10] See Mordechai Avraham Katz, “Be-Inyan Shirat Negunim ha-Moshrim etsel ha-Goyim,” Minhat ha-Kayits, 73-74.  However, some have refused to believe that any “tzadik” ever used such tunes.  Idem. 73. See also our earlier article discussing the use of non-Jewish tunes “Hatikvah, Shir HaMa’a lot, & Censorship.” 



נוסח סליחות אשכנזי מודפס ארבע עשרה בלתי ידוע

נוסח סליחות אשכנזי מודפס ארבע עשרה בלתי ידוע –
דוד חיים רוט
לפי פרופ’ דניאל גולדשמידט ז”ל,[1] יש שלש עשרה
נוסחאות מודפסים של סליחות אשכנזים: אשכנז הכללי (פפד’מ), עלזאס, פיורדא-נירנברג, וורמייזא,
פלאס, שוואבין-שוויץ, קוילן, אשכנזים שבאיטליה (כל הנ’ל הם שייכים לנוסח אשכנז
המערבי), ליטא, פולין, בהמן, פוזנא, ובית כנסת הישן בפראג (ששייכים למנהג המזרחי).[2],[3]
בדרך כלל, אצל אשכנזים, נהוג לומר סליחות שונות
בכל יום, ובכל הנוסחאות הנ”ל, יש סדר שונה לכל יום של ימי אלול וימי התשובה,
וכן לשחרית, מוסף, ומנחה של יוהכ’פ.[4]
כדי להבין את מה שמיוחד בספר סליחות שמצאתי
בספריה של בית מדרש לרבנים באמריקה, צריכים להבין קצת על מנהגי יהודי איטליה.  באיטליה קיימות שלש ‘עדות’ שנוהגות מנהגים
שונים: אשכנזים (שנוהגים מנהג אשכנז המערבי), ספרדים, ובני רומא.  כמו שהזכרנו לעיל, יש מנהג מיוחד לסליחות שנהוג
(או שהיה נהוג) אצל אשכנזים שבאיטליה (שהיה נהוג אף אצל האשכנזים שביון), אבל מה
שמצאתי הוא משהו שונה.  ספר סליחות זה,
שנדפס בפירנצה ב-1922, הוא “סליחות ללילי אלול וימי תשובה כפי מנהג הקהל
הקדוש האשכנזי בעיר פירארא יע’א”.  אף
שפירארא היא עיר באיטליה, נראה שבפירארא לא נהגו לומר סליחות לפי ‘מנהג האשכנזים
שבאיטליה’, אלא לפי מנהג מיוחד שלהם שמצאנו. 
מנהג זה ייחודי אצל קהילות האשכנזים הנ”ל, שאין בו אלא סדר סליחות
אחד, ונראה שאמרוהו בכל יום, ודומה למנהג רוב הספרדים היום שאומרים אותם הסליחות
בכל יום[5].  לפי זה, סביר לומר שתופעה זו הגיעה מהשפעת
הספרדים שמתגוררים ליד קהילה זו באיטליה, אך גם ייתכן שמשום שמנהגי הסליחות לא
נקבעו עד די מאוחר[6]
התגבש בצורה שונה במקומות שונים.  אי נמי,
אפשר להציע שאי פעם קהילת האשכנזים שבפירארא אמרו נוסח קבוע לסליחות שמחולק לפי
הימים (או לפי מנהג אשכנזים שבאיטליה או לפי נוסח אחר), ובדורות האחרונים החליטו
לקצר, ובזה מובן מה שלא מצאנו נוסח זה אלא בדפוס די מאוחר.
סדר הסליחות כך: מתחילים ב’לך ה’ הצדקה'[7] וב’שומע
תפילה’, ואח’כ אומרים (כמובן עם י”ג מדות בין כל סליחה וסליחה) סליחות ‘אנשי
אמנה אבדו’,[8]
‘יום ישועה ועת רצון’,[9] ופזמון
‘ישראל נושע בה”,[10] ואח”כ
ממשיכים ‘זכור לנו ברית אבות’,[11] וידוי,
וכמה מהתחנונים שבסוף הסליחות,[12] ואחר כך
מופיע הוראה לומר קדיש תתקבל, ומשמע שלא נפלו על פניהם.

(ברשות ספרית בית המדרש לרבנים באמריקה)

[1] הקדמה לסליחות מנהג פולין, עמ’ 7; הקדמה לסליחות
מנהג ליטא, עמ’ 7; הקדמה למחזור ליוהכ”פ, עמ’ יג.
[2] בין הנוסחאות שהוא מזכיר, אני יודע בוודאות שחמשה
מהם – אשכנז, עלזאס, פולין, ליטא, ובהמן – נהוגים עדיין היום.  אינני יודע אם יש היום איזשהו קהילה שנוהגת
מנהג פיורדא-נירנברג, שוואבין-שוויץ, אשכנזים שבאיטליה, ובית כנסת הישן בפראג,
ואני מניח (לדאבוני) שאין שום קהילה בעולם שנוהגת לפי מנהג וורמייזא, פלאס, קוילן,
או פוזנא.  אם יש לאף אחד מדע לגבי
הנוסחאות שאני מסתפק בהם, אני מעוניין מאוד לדעת על זה.
[3] יש לציין שכל חילוקי הנוסחאות האלה הם לפי חילוקים
גיאוגרפיים, ואין שום קשר בין מתנגדים וחסידים, נוסח אשכנז וספרד, וכו’, שכן
חילוקים אלו קיימו כבר כמה מאות שנים קודם שהחסידים המציאו את ‘נוסח ספרד’.
[4] דבר פשוט הוא שבכל הקהילות נאמרו סליחות בכל תפילות
היום עד חצי השני של המאה ה-19 (עי’ בהקדמה למחזור גולדשמידט יו”כ עמ’ יג).  וכתב הטור (או”ח תרכ) ש”סליחות ורחמים
חובת היום הם”, והערוך השלחן (או”ח תרכ,א) צעק ככרוכיא על מנהג הטעות המחודש
שלא לומר סליחות, שאין לזה יסוד כלל וכלל.
[5] אך יש לציין שבעבר היו מנהגים ספרדיים לחלק את
הסליחות לפי הימים, ואף בימינו יש ספרדים בצפון אפריקה, או יוצאי צפון אפריקה, שעדיין
אומרים את הסליחות ע”פ ההחלוקה לימים שבספר שפתי רננות.
[6] מופיע סדר מגובש לסליחות שמסודר לפי הימים כבר במנהגי
מהר”ז יענט (תחילת המאה ה-15), והוא זהה למנהג האשכנזים שבאיטליה (ומודפס (עם
שיבושים) במנהגי מהר”י טירנא של מכון ירושלים, עמ’ קעט ואילך), וכן יש כמה
כת”י לפי נוסח זה או נוסח קבוע אחר.  אבל מ”מ בהרבה קהילות עדיין לא נתקבלו
סדרים כאלה עד תקופת הדפוס, וקודם לכן כל חזן אמר את מבחר הסליחות שבחר
בהם, עיין בזה מאמרם של יונה ואברהם פרנקל על מחזור נירנברג here)), ויש לציין שבמחזור נירנברג עצמו יש סדר קבוע לסליחות של ער”ה,
צום גדליה, עיו”כ, ולתפילות יו”כ. 
(תודתי לר’ אברהם לוין שעזר עם המדע על כתבי היד.)
[7] כמו בהרבה ממנהגי מנהג המערבי שמתחילים מיד ב’לך ה’
הצדקה’, ואין אומרים אשרי או אדון עולם קודם.
[8] שמופיע בהרבה נוסחאות סליחות ליום ראשון או לאחד
משאר הימים, ויש שאומרים אותו אף באחד מימי בה”ב.
[9] שהוא חלק השני של סליחת ‘איככה אפתח פה’ בנוסחאות
אחרות, אבל לא ייתכן שחסר כאן משהו, שהרי כתוב בתחילה ‘א-להנו וא-להי אבותינו’,
ועוד שיש מספרי עמודים, ולא חסר כאן כלום.
[10] שנאמר ברוב הנוסחאות לאחד מימי הסליחות, וכן לפי
כמה מנהגים באחד מימי בה”ב.
[11] כמו בכל מנהגי אשכנז המערבי, אין ‘שמע קולינו’.
[12] ונראה שקטעים אלו קטועים, שמיד אחר וידוי (פעם אחת)
‘סרנו ממצותיך’ ו’הרשענו ופשענו’, מופיע ‘ואתה רחום מקבל שבים ועל התשובה מראש הבטחתנו
ועל התשובה עינינו מיחלות לך: עשה למענך אם לא למענינו עשה למענך והושיענו’ [וחסר
כל הפס’ מנביאים וכתובים, כגון עזרא הסופר אמר לפניך], וקטע עננו ה’ עננו הוא גם
כן קטוע.



New Book Announcement: A critical edition of R’ El‘azar HaKalir’s Piyyutim of Rosh Hashanah, by Shulamit Elizur and Michael Rand

New Book Announcement: A critical edition of R’ El‘azar HaKalir’s Piyyutim of Rosh Hashanah, by Shulamit Elizur and Michael Rand
By Eliezer Brodt
רבי אלעזר בירבי קליר, פיוטים לראש השנה, ביארה והוסיפה מבוא, שולמית אליצור, התקין מכתבי היד מיכאל רנד, האיגוד העולמי למדעי היהדות, ירושלים תשע”ד, [מקורות לחקר תרבות ישראל, כרך יח], 718 עמודים.
I am very happy to announce the publication of an important work out just in time for Rosh Hashanah, a critical edition of all of R’ El‘azar HaKalir’s Piyyutim for Rosh Hashonah, by Shulamit Elizur and Michael Rand.
The importance of studying the Piutim before Yom Tov has been noted by many for example:
R’ Moshe Hakohen, nephew of the Rosh, writes in his work, Sefer Hamaskil:
מה טוב ומה נעים לעיין תמיד דבר בעתו בכל שבוע ושבוע בפירוש חומש ומחזור וסליחות ויוצרות ופיוטים וקינות ופרקי אבות ודברות והושענות וזכרנו ואגדת פסח ומערבים וגדול וקטן… [ספר חסידים, עמ’ עא].
[For an exact explanation of this passage and for general information about this work see the special article of Rabbi M. Honig in Yerushaseinu 1 (2007) pp. 196-240 especially p. 229].
A similar idea is found in the Mahril:
וכל אדם יחזור וילמוד התפלה והקרובץ מקודם להיות שגורים בפיו בר”ה בשעת התפלה [מהרי”ל עמ’ רעב].
The Taz writes:
ראה דבתפלה שצריך להבין בפי’ הדברים בפרט בפיוטים שחמור פירוש’ אם לא בנתינת דעה רבה עליהם ודאי צריך להסדיר תחלה ולא מהני לו ספר בזה וזה פשוט [ט”ז, סי’ ק ס”ק א].
In regard to the Piyutim by the Kalir, it’s worth quoting the Arizal, as mentioned by the Magen Avrohom:
האר”י ז”ל לא היה אומר פיוטים ופזמונים אלא מה שסדרו הראשונים כגון הקלירי שנתקנו ע”ד האמת, (הכוונות( [סי’ סח הקדמה].
Different aspects related to the Kalir have been dealt with here on the Seforim Blog; see Dan Rabinowitz’s article here which includes a bibliography about him. In addition to this, see Marc Shapiro’s article here and my article here, note 73.
The Kalir as described by Rabbi Joseph B. Soloveitchik
 
I would just like to quote one special passage of Rabbi Joseph B. Soloveitchik about the greatness of the Kalir. This passage is from the Koren Mesorat Harav Kinot (pp. 386-388) which is based on Rabb Jacob Schacter’s transcripts of the Rav’s Tisha B’Av sessions:
At this point, it would be useful to make some general observations about Rabbi Elazar Hakalir and the style of his piyutim, his religious poetry. The piyutim of Rabbi Elazar HaKalir, including his kinot, serve two purposes. The first is limmud, learning. Every sentence of the piyut quotes m’aamarei Hazal, teachings of the sages. The second purpose is tokhaha, rubuking the people for their misdeeds and instructing them in the proper way to act. These piyutim deal with reproach, repentance, petition and acknowledgment of God’s justice. The shali’ah Tzibbur was not merely a hazan, a cantor, but was one of the great scholars of the generation who was the principal mokhiah, moral critic of the people…
Rabbi Elazar HaKalir was a master of the Hebrew language and very creative in his use of Hebrew. If not for him, modern Hebrew could not have come into existence. Before HaKalir, the Hebrew language was very rigid. For example, the noun and verbs were fixed in their form. It was difficult to transform a verb into a noun or a noun into a verb, a simple matter in other languages…
But HaKalir made a critical contribution to the development of the Hebrew language by endowing the language with flexibility, thereby paving the way for the development of modern Hebrew. There were other early paytanim, composers of piyut, such as Yose ben Yose, but they were not as radical in their literary style as HaKalir.  HaKalir was the father of the paytanim, and he dared to do more than any other paytan.
As noted above, Rabbi Elazar haKalir’s piyutim served two purposes: limmud, study and tokhaha, rebuke. As for the element of study, one of the dimensions of HaKalir’s piyutim is that they are compilations of the statements of the sages. Most of us, who are expert in neither Hebrew nor aggadot Hazal, find HaKalir’s corpus of piyutim boring. But it is not boring at all; it is like a gold mine. His piyutim for Yom Tov explain the essence of the Yom Tov. The midrashim concerning Sukkot are replete with information about the sukka, etrog and lulav, and all the explanations in the Midrash, all the ta’amei sukka, the reasons for the sukka, all of the ma’amarei Hazal, are brought together in the HaKalir’s piyutim for the first day of Sukkot. Similarly, his piyutim for Rosh HaShana and Yom Kippur include all the homiletical literature concerning the statement in the Midrash, “On Rosh HaShana, Sarah, Rachel and Hanna, were remembered” (Bereshit Raba 73:1). If one were to study carefully and thoroughly the piyutim of Rabbi Elazar HaKalir for Rosh HaSahana, Yom Kippur, Sukkot, and Pesah, one would find many applicable halakot and the entire pertinent Midrash, including many  midrashim that are unknown to us from any other source.
It is quite possible that during the time of Roman and Byzantine rule in the land of Israel, the ruling authorities prohibited shiurim and afternoon lectures by Torah scholars and sent officers to the synagogues on Yom Tov afternoon to prevent the people from studying. Consequently, the rabbis introduced the study of Torah into the prayer service via piyutim, a subterfuge that eluded the authorities. The piyutim were deliberately written in a fashion that would make them difficult to understand, lest the officers recognize their true function and forbid their recitation. As previously noted, we do not know with certainty when Rabbi Elazar HaKalir lived. According to Tosafot (Hagiga 13a, s.v. veraglei hahayot), he was the tanna, Rabbi Elazar HaGadol, who lived in the second century, but according to other Rishonim, he was either an amora, or one of the early liturgical poets, from the sixth or seventh century. But his piyutim could certainly have served the purpose of integrating Torah study into the prayers in a way that would not have been obvious to the non-Jewish authorities.
Description of the work:
What follows is a description of this new work [sent around from the publishers of the book]
Rosh Hashana, the Day of Judgment, has been embellished with numerous fascinating liturgical poems (piyyutim). This book is devoted to the compositions that were written for Rosh Hashana by the illustrious poet R. El‘azar berabbi Qillir, who was active in the Land of Israel at the beginning of the seventh century. The piyyutim for Rosh Hashana are many and varied, and they adorn all of the special prayers for the festival. A number of these piyyutim are known and recited to this day in Ashkenazi congregations, while others are published here for the first time. Even those piyyutim that are known from the festival prayer books (mahzorim) are presented here in a new light. The present edition is primarily based not on European mahzorim, but on earlier fragments from the Cairo Genizah; on the basis of such early sources the editors have succeeded in adding new, original material to the known compositions—there is not one famous composition to which heretofore unpublished material has not been added, in some cases throwing new light on the entire work. Even in such cases, therefore, we are not merely offering old wine in new wineskins, but presenting a new blend that confers on the poetic compositions novel aspects, not previously brought to light.
This edition has been prepared on the basis of close to 400 manuscripts, and all of the variant readings have been given in the margins. An extensive commentary aids the reader in understanding the difficult idiom of the payyetan, identifying the many scriptural and midrashic sources that are woven into the piyyutim, and following the development of their themes. A general introduction treats various questions connected to the poems, from their attribution to the author and the reconstruction of the component parts of each composition, to the literary shaping of the material. In his piyyutim, R. El‘azar berabbi Qillir treats Rosh Hashana in all of its aspects: the Day of Judgment, the blowing of the shofar; the malkhiyot, zikhronot, and shofarot verses; the merit of the Fathers; and more. A number of compositions are specially intended for when Rosh Hashana falls on the Sabbath. Qillir’s unique method in the shaping of each of these themes is also clarified in the introduction. The complex web of interrelations between the piyyutim and their literary sources is elucidated as well; thus it has become clear, for example, that one of the piyyutim edited here for the first time throws new light on the famous poem, U-netane toqef qedushat ha-yom.
“O King, Remember [the ram] caught [by its] horn!” These few words from one of the piyyutim published in the book reveal the genius of the great payyetan. Here, R. El‘azar berabbi Qillir has succeeded in encapsulating in four words the three great themes that lie at the heart of the benedictions that are unique to Rosh Hashana—kingship, remembrance and the ram’s horn (shofar)—all in the
form of a prayer that beseeches God to remember for our sakes, on the Day of Judgment, the Binding of Isaac, symbolized by the ram whose horns are caught in the thicket. And if in four words the payyetan has managed to encapsulate such far-flung meanings, one can only imagine the riches contained in this enormous collection of R. El‘azarʼs writings for the Day of Judgment, which we now have before us.
About the authors:
Prof. Shulamit Elizur has been teaching since 1980 in the section for Medieval poetry and piyyut in the Department of Hebrew Literature at the Hebrew University of Jerusalem. She has published more than ten books and scores of articles, predominantly in the field of Genizah piyyut, but also devoted to Spanish Hebrew poetry and the development of various liturgical rites. A series of her books is devoted to the Late Eastern period of piyyut, and comprises an attempt to characterize the linguistic and literary developments attested during this phase on the basis of the production of critical editions of a number of its outstanding representatives. The present work is part of another series of her books devoted to the great Classical poets, among them R. El‘azar berabbi Qillir and R. Pinhas ha-Kohen.
Dr. Michael Rand specializes in Hebrew philology and piyyut. Since 2013, he has been Lecturer in Hebrew and Aramaic at the University of Cambridge. Dr. Rand acquired expertise with Genizah manuscripts over the course of a number of years of work in the section for piyyut and Medieval poetry of the Historical Hebrew Dictionary Project of the Academy of the Hebrew Language. He has devoted an extensive study to the grammar of the piyyutim of R. El‘azar berabbi Qillir; together with Jonathan Vardi, he has recently completed a soon-to-appear reconstruction of a copy of the Diwan of R. Shmuel ha-Nagid, the leaves of which are now scattered across various Genizah collections. He has also written many articles, among which are a number in which he has edited parts of the Qillirian corpus. In the present work, Dr. Rand is responsible for the paleographical aspects of the research: reading the manuscript sources, grouping them together (where relevant) and reconstructing thereby the larger units (quires, books) to which they belong, producing the apparatus of variant readings, and describing the manuscripts.
Purchasing information:
 
For a Table of Contents or more information about purchasing this work, feel free to contact me at Eliezerbrodt@gmail.com. Copies of this work will be arriving at Biegeleisen shortly.