Mevaser Tov on Shabbos and the Festivals

Nine Luminaries Of Jewish Liturgical Song

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The hoshanot are accompanied by a series of liturgical verses climaxing with, " Kol mevasser, mevasser ve-omer " The voice of the Herald [ Elijah ] heralds and says —expressing hope for the speedy coming of the Messiah. In Ashkenazi culture, it is traditional to eat soup with kreplach during the meal served on the day of Hoshana Rabba.

Also in Yiddish-speaking communities, some eat boiled cabbage on Hoshanah Rabbah. Rabbi Pinchas of Koretz taught that one should bake an apple with the Hoshana branch in it to ward off tooth aches in the coming year. From Wikipedia, the free encyclopedia.

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In other projects Wikimedia Commons. In this quasi-autobiographical drama, as well as in "The Singing Blacksmith" and "Overture to Glory" the persona of the real-life Oysher blended well with those of the films' heros. The latter film—based on the true story of a cantor in 19th century Vilna who leaves his pulpit in a tragic quest for a career in opera—was a capstone of Yiddish cinema and the perfect showcase for Oysher's many talents.

It was also an authentic depiction of East European synagogue life which was then on the brink of destruction. In he signed a contract to sing in the Chicago Opera's production of La Juive and Pagliacci, but a heart-attack prevented him from doing so. Ill health followed him for the rest of his life, but he would not curtail his demanding singing career.

Having divorced his first wife, he remarried in His new wife served as his piano accompanist until he died of a third heart-attack in Shortly before his death their eleven-year old daughter narrated a long-playing record album, The Moishe Oysher Chanukah Party, whose blend of liturgical, folk, and theatrical selections in Hebrew, Yiddish and English introduced his singing talents and outstanding repertoire to a new generation of Americans. It was the third in a series of recordings featuring English narration: On these albums just as earlier in his career, the theatrical energy of his cantorial renditions and the sparkling orchestral arrangements—including occasional swing passages—breathed new life into a genre whose popularity had waned.

Although technically unschooled, his sharp ear for melody, rhythm and style, made him the consummate American Jewish musician of his day—a multimedia star able to bridge the worlds of art and entertainment, synagogue and stage, old country and new world. Carlebach, Shlomo , songwriter, folksinger, inspirational storyteller; b. His father and forebears were Orthodox rabbis. There he continued his high school education and met classmate Ben-Zion Shenker , a fellow aficionado of the music of the Hasidim—whose ecstatic spirituality and moralistic teachings had long appealed to him.

Later, to the chagrin of his teachers in the rabbinical academy of Lakewood, New Jersey, he took to composing and performing simple tunes to short Hebrew liturgical phrases in a style reminiscent of Hasidic singing. He was ordained as a rabbi and briefly held a pulpit, but he eschewed the title, instead finding his calling among crowds of young people estranged from their Jewish heritage to whom he was simply "Shlomo. At first he worked under official rabbinic auspices, but he soon found these to be too restrictive, so he charted an independent course that allowed him to get closer to his audiences and to place greater emphasis on his music-making, for which he learned to accompany himself on the guitar.

It was an independent course that lasted thirty years, during which his Neo-Hasidic genre and its offshoots became the most popular form of Jewish music worldwide. His para-liturgical compositions quickly entered the public domain and from there were absorbed into worship services all over the world as "traditional" settings. They exerted a strong influence on the development of synagogue music and they helped to blur the lines between Jewish popular and religious genres.

In he recorded the first of approximately twenty-five albums—not including the many unauthorized recordings that were produced during and after his lifetime. In all, he recorded only a fraction of his compositions, estimated to total anywhere between 1, and 4,; Carlebach himself was not sure of the number. He seemed to be constantly composing tunes, often extemporaneously right before or during a concert. He would also privately offer settings of a verse from the Psalms or the Prayerbook to individuals in need; these would not be performed in public.

In the early 's he sang in venues large and small throughout America, as well as in Jerusalem, London, Amsterdam, Paris, and Rome. In one of his performances in a Greenwich Village New York nightclub was recorded for Vanguard Records, a label that also released a studio album in His performance at the Berkeley California Folk Festival was a landmark event which broadened Carlebach's conception of his musical mission; two years later he founded in San Francisco a synagogue and homeless shelter called The House of Love and Prayer.

There, for a decade, the "Singing Rabbi" tended to the physical and spiritual needs of runaways, drug addicts, and sundry "Flower Children," even as he absorbed some of their dress, manner and free spirit. Concurrently with his activities in California, he inherited the leadership of the New York congregation formerly served by his deceased father, and maintained a world-wide musical ministry through his international concert schedule.

He performed wherever there were new hearts to touch: In he visited Russia for the first time, uplifting oppressed Soviet Jews with one of his most famous songs, Am Yisrael Chai "The Jewish People Are Alive" , composed five years earlier as an anthem of hope for activists dedicated to freeing persecuted Jews. In , a year before closing his San Francisco center, he brought several dozen of its members to a settlement near the biblical city Modi'in southeast of Tel-Aviv where a new community of Carlebach's disciples was eventually established.

Every year thereafter he would spend a few weeks there. In he toured the Far East. In he returned for a day tour of the former Soviet bloc. He maintained his international concert schedule right up to the last year of his life, during which he toured Morocco, Australia, Israel, Germany, Austria, and France. That Carlebach's inspiring songs filled a Jewish musical and spiritual vacuum of the post-Holocaust years contributed to their rapid acceptance.

Their short sequential structure made them easily sung and remembered, and their logical melodic lines tapped into the folk styles of many different traditions -- further advancing their global popularity. Western, Oriental, Sephardic and Ashkenazic Jews, as well as non-Jewish audiences all over the world, found his gently rhythmic melodies strangely familiar upon first hearing.

Many of Carlebach's songs lend themselves to endless repetition, and in concerts he would sing them to the point of exhiliration or exhaustion. This might be preceded or followed by a bit of spiritual wisdom or an elaborate and moving story, and the pattern would repeat with the next song.

Exchanges between the audience and performer were encouraged, and after the last encore amateur instrumentalists would crowd the stage to jam with the singer or the band. Although his extensive concertizing earned him considerable money, he did not hold on to it, but gave it away to the needy—sometimes on the trip right after the concert. He similarly neglected his copyrights and the income from recordings and publications, and he died a poor man.

His charismatic personality and simple sincerity earned him an immense and devoted following throughout his career, as teenage fans became adult disciples. But after his death his influence grew exponentially. A world-wide fellowship sings his songs, retells his stories, and trades legendary tales about the noble ways of their hero.

Mevaser Tov on Shabbos and the Festivals (Biala Rebbe)

While his spiritual and musical heirs can be found across the spectrum of Jewish society, his esteem among Orthodox Jews was especially remarkable in the years following his death, when objections to his controversial lifestyle gave way to an appreciation of his formative role in popular Jewish music via his early influence on such Orthodox pop stars as The Rabbi's Sons, The Diaspora Yeshiva Band, Mordechai Ben David, and Avraham Fried.

Brandwein, Reb Shlomele Jerusalem, Shenker, Ben Zion , singer, composer, cantor; b. May 12, , Brooklyn, NY. As a child he learned European Hasidic melodies from his mother, as well as the cantorial idiom from recordings and occasional live performances by "Golden Age" cantors. At age 12 he joined a choir conducted by Cantor Joshua Weisser, who presented him in radio performances of Jewish music in At the same time he began studying music theory and composition.

In he attended a religious service led by Rabbi Saul Taub, a Polish Hasidic leader noted for his charismatic devotional songs and wordless melodies, who had recently immigrated to America. The young Shenker fell under his musical and spiritual spell, and would eventually become identified with the collection, transcription, singing, and dissemination of the stirring para-liturgical melodies known as nigunim sing. He would also play an important role in preserving the inspirational stories surrounding their composition. In he formed the Neginah record label in order to produce the first commercial recordings of authentic Hasidic nigunim.

His light tenor voice with its distinctive timbre was featured on all of the solos, which were accompanied by a professionally arranged male chorus singing the Hebrew texts as well as the characteristic Hasidic vocables. While the melodies he recorded all hailed from the " Modzitzer " Hasidic tradition—named after the European hometown near Lublin of Rabbi Taub's forebears—the importance of his project and the influence of his singing reached far beyond this small Jewish community. He also officiates there on occasional Sabbaths throughout the year. Since he rarely performs in concert, aficonados of Hasidic singing often visit his congregation in the hopes of hearing his singing.

Besides introducing Shenker to the riches of the Modzitzer repertoire, Rabbi Taub had also encouraged him to compose his own songs. He followed the rabbi's advice, and eventually wrote over original nigunim. These include settings of Mizmor Ledavid Psalm 23, comp. His nigunim followed the traditional European Hasidic style, and so stood apart from the American-influenced neo-Hasidic songs composed by his contemporary Shlomo Carlebach , who was also inspired by the music and teachings of Rabbi Taub. In their separate ways, Shenker and Carlebach were the two most important conduits for preserving and spreading a nearly-lost European musical tradition, and served as models for countless performers and composers of Hasidic music.

Mizrahi, Alberto , world famous cantor, operatic tenor; b. He had little exposure to Jewish traditions in his native Greece. Shortly after his family immigrated to Cleveland in , that city's community helped to fund his elementary and high school Jewish education. His musical education included studies at the Chicago Conservatory of Music , the Cincinnati Conservatory , and the Juilliard School's American Opera Center Concurrently, he prepared for a cantorial career at the Jewish Theological Seminary's Cantors Institute in New York , and continued his studies with Moshe Ganchoff, a past master of the cantorial arts who was his mentor for twenty-five years.

In addition, from to Mizrahi also made significant strides towards an illustrious career in opera and classical singing. He sang numerous operatic roles for major American companies and appeared as the tenor soloist with several American symphony orchestras. Since then he has devoted most of his energies to a celebrated career in many facets of Jewish music, his superb tenor voice and experience as an opera singer earning him the sobriquet "The Pavarotti of Jewish Music.

His recital repertoire spans nine languages, and includes classical and cantorial masterpieces as well as folk, theatre and popular songs. His very busy concert and recording career takes him to important halls all over the world, and he is in great demand to sing major compositions.

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Among many such works, he has sung the following world premieres: In they released their first recording, compiled from live performances around the world. In he assembled nine accomplished Chicago-area musicians to create "Titiko," a cross-cultural fusion band that backs him up in traditional as well as jazz and New Age arrangements of music from around the Middle East and Israel.

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In addition to exploring a greater range of the World music repertoire with the band, Mizrahi pays homage to his native Greece by singing a number of Hebrew arrangements of songs by popular Greek singer Nikos Gounaris. Among Mizrahi's many recordings, the two volumes of Chants Mystiques , are notable for tracing the development of Jewish music from its earliest extant written piece 12th century through the 20th century. In the burial society, they have the wooden stakes that they put in a new grave before they put up the headstone.

I am not planning to return here, so you can use those stakes to build your Sukkah. He began to cry from the depths of his heart. I cannot remove the sadness from my heart. Tell me, I have everything, but no joy. And you, who have nothing - from where do you get all this joy? There you can learn what true simcha is. All that he needed was for someone to ignite the spark that was hidden deep within him.

S hmuel I Chapter In this chapter we learn how Shmuel requested that the Jewish people testify about him that he had not cheated them or robbed from them and the Jewish People testified that Shmuel had not committed any crime against them. Shmuel then reminded the Jewish People about their past and how they had come to request from him that they have a king appointed over them.

Shmuel then had HaShem perform a miracle and although it was then the wheat harvest season when it does not rain, HaShem made it rain on that day. Shmuel had this occur to demonstrate to the people that they had been wicked to ask HaShem for a king. Upon seeing the rain it is said that the Jewish People feared HaShem and Shmuel and they requested that Shmuel pray on their behalf that they do not die because they had requested to have a king appointed over them.

Shmuel then informs the people that HaShem will never forsake His people and they should fear HaShem and serve Him faithfully with all their hearts. There are two ideas that dominate this chapter. One idea is fear of HaShem and the second idea is the poor choice of appointing a king. In a similar vein, Shabbos is a time when HaShem reveals His kingship on earth.

It is specifically for this reason that on Shabbos, even a person who is not scrupulous in separating tithes is believed to say that he has tithed. The fear of Shabbos is upon him and he is deemed to be declaring the truth. On Shabbos all harmful agents are removed from the Jewish People and then there is a place for the Name of Heaven to rest.

The first three conditions that were mentioned previously a blech, completely cooked food and still warm are absolutely required. Food can never be returned unless there conditions are in place. Bideved ex post facto , however, there will be situations where exceptions apply. Thus, if one inadvertently forgot to adhere to these two conditions, there will be situations when returning is permitted. Last week we posed the question: W hy are we instructed to speak less on Shabbos? If Shabbos is a day when we praise HaShem, would not it be fitting that we talk even more?

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Perhaps one approach to answer this question is that on Shabbos we are not instructed to minimize our speech just for the sake of minimizing idle chatter. Thus, when HaShem is revealing to us His majesty, it behooves us to be silent. What is the significance of declaring that Shabbos is good or that Shabbos is peaceful? If you have a possible answer, please email me at ShabbosTaamHachaim gmail. To receive this publication please email doreishtov gmail.

Have a wonderful and delightful Shabbos and a Good Yom Tov. Moshiach Tzidkienu bimheira viyameinu amen. Prepared by Rabbi Binyomin Adler.

For sponsorships please call To subscribe weekly by email, please send email to ShabbosTaamHachaim gmail. Sunday, October 12, Shabbos: Shabbos in the Zemiros Askinu Seudasa Composed by the Arizal, Rabbi Yitzchak Luria Asader lidroma minarta dissima vishulchan im nahama bitzipona arshin , I shall arrange to the south the Menorah of hidden wisdom and a table with bread shall I emplace to the north. Shabbos in Tefillah Zeh shir shevach shel yom hashevii shebo shavas Keil mikol milachto , this is the song of praise of the Shabbos Day: Shabbos Story There was once a Karliner chassid who lived in a small town in a small broken down house.

Shabbos in Navi S hmuel I Chapter 12 In this chapter we learn how Shmuel requested that the Jewish people testify about him that he had not cheated them or robbed from them and the Jewish People testified that Shmuel had not committed any crime against them. Shabbos in Halacha The first three conditions that were mentioned previously a blech, completely cooked food and still warm are absolutely required. Shabbos Challenge Question Last week we posed the question:

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