Reinventing Hasidic Music:
Shlomo Carlebach
Though not necessarily written for worship,
neo-Hasidic melodies quickly found their way into the synagogue.
By Marsha Bryan Edelman
Excerpted with
permission from Discovering Jewish Music
(Jewish Publication Society).
Shlomo Carlebach (1925-1994) was among the most unorthodox
Orthodox rabbis of the 20th century. With a unique personality reflecting the
full fervor of his adopted Hasidic background as well as a genuine love for his
fellow Jew, Carlebach traveled North America telling stories, reaching out to
Jews of all persuasions (including those with no affiliation), and using his
talents to create melodies that touched his listeners and became instant
staples in havurot [small prayer communities] and minyanim [prayer
quorums] across the denominational spectrum. His setting of "Esa
Einai" (Psalm 121), one of his earliest hits, was not originally intended
for use in regular worship; however, the melody has been borrowed for use in
conjunction with other texts, including the Sabbath Hymn of Glory (Anim
Zemirot).
Some of the other Carlebach melodies that became regular
parts of worship services were written for entry into Israel's annual Hasidic
Song Festival. In 1968 a small-budget Israeli play called Ish Hasid Haya (Once
There Was a Hasid) brought traditional Hasidic songs and stories to the
generally nonobservant masses who filled its audiences. The success of this
material inspired enthusiasts to revitalize Hasidic music by soliciting
songs--in an ostensibly Hasidic style--to be presented in an annual Israeli
festival, starting in 1969. The fascination with most things Israeli on the
part of many American Jews after the 1967 Six-Day War led Israeli promoters to
bring a version of the Hasidic Song Festival to North American audiences.
The only things "Hasidic" about most of these
songs were their relatively short melodies and traditional lyrics. Still, the
presence of catchy new tunes for brief liturgical texts encouraged the use of
many of these songs in the prayers of American Jews looking for easy-to-learn
melodies and more congregational singing--even by congregants who were not
fluent in Hebrew. Carlebach's ve-Ha'er Einenu quickly jumped back into
the morning services from which its lyrics were taken, and Nurit Hirsh's (b.
1942) Oseh Shalom not only launched her subsequent career (limited
almost exclusively to secular songs), but also became a staple of weekday and
Sabbath services in countless synagogues across the continent....
The right-wing Orthodox camp also produced performers and
ensembles to sing liturgical texts in non-liturgical settings. These groups
were certainly not motivated by a desire to assimilate the musical vocabulary
of America. Rather, the Hasidic community sought refuge from modern popular
music--and in particular, from its lyrics--by creating new tunes in the old
European style of the Ba'al Shem Tov [the founder of Hasidism] and his
followers. Most popular were the boy choirs assembled into performing ensembles
under the aegis of Pirchei Agudas Yisroel (literally, the "blossoms of the
society of Israel"). What the first of these groups lacked in vocal polish
they made up for through their enthusiastic renditions of catchy tunes with
sophisticated arrangements and impressive instrumental accompaniment. Melodies like
"Urah Kevodi," by Moshe Greiniman, quickly jumped over the lines
separating the Hasidim from the modern Orthodox, and from there it was a short
leap to the religiously oriented summer camps, schools, and youth movements
with diverse political and theological orientations.
Shlomo Carlebach was among the first singer-songwriters from
the Orthodox camp. Carlebach used his music to reach out to Jews of all
backgrounds. The limited texts and purposely repetitive Hasidic-style songs he
wrote and sang (interspersed with his own stories and inspirational religious
message) were the key to his outreach efforts and enabled Jewishly uneducated
members of his audiences to become a part of the music-making. For many, it was
also among their most powerful Jewish experiences--encounters they would not
have sought within the confines of the synagogue setting but to which they
gravitated eagerly on college campuses in California, in the coffee houses of
New York's Greenwich Village, and in hundreds of formal and informal gatherings
in between.
Marsha Bryan Edelman
is Professor of Music and Education at Gratz College. She also serves as
Director of the Tyson Music Department and coordinates the college's academic
programs in Jewish music.
Copyright 2003 by
Marsha Bryan Edelman