Posted on November 11th, 2012 No comments
This week we lost another luminary of Reform Judaism, Cantor William Sharlin. Some of my earliest Jewish memories are of Cantor Sharlin. He was cantor at Leo Baeck Temple in Los Angeles for his whole career.
My parents belonged to Leo Baeck when I was born. Cantor Sharlin officiated at my twin sister’s and my baby naming. (I admit I don’t remember that). We were consecrated there. I have memories of that joyous evening, marking the beginning of my Jewish education and receiving my own mini Torah – which I still have. While soon after that, my parents made the decision to shift their membership to another congregation, they maintained their relationships with the clergy at Leo Baeck through their ongoing and very active involvement in the Los Angeles Jewish community.
Many years later, as a second year student at HUC-JIR I had the honor of studying with Cantor Sharlin. He offered an elective class in Torah chanting. While I am not a very confident singer, I wanted to both learn how to chant more proficiently and to experience learning with him. While I still haven’t become a proficient Torah chanter – I need lots of practice before doing it (unlike Rick who can cite chant from the tikkun) – the memories I have of the stories Cantor Sharlin told, the conversations we had about Jewish music, and the impression he made on me as model member of the Jewish clergy remain with me today.
I am compelled to share one of those memories with you.
It was the first day of our Torah chanting class. Cantor Sharlin was trying to get to know each of the students in the class. He went around the room, asking us to share a bit about ourselves and especially our Hebrew names. Given that it was a class in Torah chanting, he wanted to know and use our Hebrew names when it was our turn to chant.
When it was my turn to share a bit about myself, I didn’t really need to say so much. Cantor Sharlin knew exactly who I was. He remembered me as Mark and Marsha’s daughter. So, I shared a bit about where I had gone to university, what I was hoping to get out of the class. I was about to say, “and my Hebrew name is…” when Cantor Sharlin stopped me.
“I know your Hebrew name. It’s הדסה בתיה, Hadasah Batya. And your sister’s name is דבורה שושנה, Devorah Shoshanah.”
My classmates and I were astounded!
Over 20 years had passed since our baby naming! How many other babies had he named in the two plus decades? How many b’nai mitzvah had he trained? Weddings officiated? How was it possible that he could remember our names?
As a rabbi who has officiated at not nearly as many baby namings as Cantor Sharlin had at that point in his 40+year career, and one who cannot remember the names of all those babies, I am even more inspired by Cantor Sharlin. The attention and focus he must have given to each of these rituals, to make them meaningful and special for each family surely must have contributed to his ability to remember names. In that moment he taught us all what it means to be a member of the clergy.
On a final note, it wouldn’t be right to leave this blog post without some music from Cantor Sharlin. My favorite piece is one that he arranged with Debbie Friedman and can be heard in NFTY albums of days past, Lo Yarei’u combined with Lo Yisa Goy. You can read about it and hear just a piece of it here in this URJ Ten Minutes of Torah by Cantor Kay Greenwald.
May Cantor Sharlin’s memory be a blessing and may his music bring joy and inspiration to us all for many more years to come.
Posted on September 5th, 2012 3 comments
Bonia Shur, Director of Liturgical Arts, passed away Thursday, August 30, 2012, Erik Contzius offers this personal remembrance.
The world, the Jewish world, and the music world has lost a special soul. Bonia Shur was a unique shining star whose fire burned brightly. He
dedicated himself to the Jewish liturgical arts. Bonia could have easily used his talents to create commercial success. Instead, his Judaism and love of prayer spurred him to compose for the sake of Heaven. I was privileged to have known the man behind the works.Just after my Investiture from HUC-JIR, I took a position at Temple Israel in Omaha, Nebraska. My rabbi, Aryeh Azriel, was a very enthusiastic and creative partner. He insisted that I go in the middle of Sukkot (in my first year as a cantor, mind you!) and spend several days studying with his good friend, Bonia Shur. I had met and worked with Bonia briefly my first year in Jerusalem (he was a visiting composer-in-residence), and I was taken by his composition and energy. Aryeh’s offer to me was like asking if I wanted a brand new car and here are the keys! So Aryeh called Bonia, made the arrangements, and I was on my way to Cincinnati, with really no idea what to expect.Bonia was truly a gracious host. He gave me a wonderful tour of the Cincinnati campus (I remember distinctly him pointing out a block of sidewalk in which someone had indicated, in Hebrew, not to urinate on the grounds!), and made arrangements for me to stay in the dorms there. Since it was during Sukkot, he and Fanchon hosted an annual meeting of the second year students at their house. Bonia and I went together to the supermarket and picked out food for the evening. He mused over the quality of the grapes, and actually fed me one! At their home, we prepared for the festivities. It was an evening of music, story sharing, and sitting on large, inflatable exercise balls!Back at the college, Bonia was preparing for the annual performance of his Hallel Psalms (one of his greatest works, in my opinion) and he invited me to join the choir of rabbinic students and ringers. I was more than happy to oblige. In our downtime from rehearsing, he exposed me to the depth and breadth of his work, sharing with me his opinions on composing for the synagogue. I drank in his wisdom and was taken by his deep commitment to artistic integrity.
Although the visit was short, it left a lasting impression on me. Following that trip, Bonia and I were bonded in a relationship of sharing music and more. While in Cincinnati, he and I talked about the need for a new setting of the Mi Shebeirakh, and he composed a work in Hebrew and English which embodies the hope that one needs when praying for the sick. When Yitzhak Rabin was assassinated, I composed a setting of Shalom Rav, which was incomplete until Bonia arranged it for me. I sent him my new compositions, and he sent me his. I appreciated his feedback on my work, and I loved being one of the first to look at a new Shur manuscript.I was always impressed by his active mind. Late in his life, he took to using computers, and I wound up being his long-distance tutor in Finale (a computer program for engraving.) I sometimes fielded four or five phone calls from Bonia with the preface, “Just one more zing!”More than a composer and philosopher, Bonia was a thoughtful and caring human being. If you connected with him, it was with love. Bonia always asked about my family and my well being out of true concern. When I was going through my divorce, Bonia would check up on me to see how I was faring. And he was always encouraging. He egged me on to compose more. When I sent him one of my CD’s, he said, “Zere’s too much! Always keep people wanting more! Don’t give it all away!” He was always wise.I learned that when he passed, he was holding the copy of his Hallel Psalms in his hand, newly published by Transcontinental Music. Bonia was so prolific and I am saddened that his compositional voice has been extinguished. But I have been influenced so much by this mountain of a man. I can only hope that my composition work, greatly shaped by his guidance, will sound echoes of Bonia’s life, such that his voice will continue to sound strong.May Bonia live on in his music and all who loved him.
Posted on April 10th, 2012 No comments
Music always offers a wonderful way to connect to Israel and the diversity of Jewish life. As we look toward the marking of Yom Hazikaron and Yom Haatzmaut, we offer this tour of ancient and modern music as seen through the eyes of Cantor David Berger of Congregation Tikvat Joseph of Manhattan Beach CA.
This year I have the unique privilege of spending nine months in Jerusalem studying at the Hebrew University and teaching at the Hebrew Union College. Within a few blocks of my apartment in Jerusalem there are more synagogues than you can imagine.
Situated right between the old alleyways and courtyards of Nachla’ot, and the bustling shopping of Ben Yehudah, my temporary home is just about a block away from the first Reform synagogue in Israel, Kehilat Har-El, on Shmuel Hanagid street. Bouncing between all these different types of Jewish communities gathered together in such close proximity, I am continuously reminded that the sounds of Judaism are so much more diverse than any one community can ever contain.
Some of these places preserve melodies that have been sung for hundreds of years, accompanying the community through different historical eras and geographical locations. Other places experiment with new types of musical expression, reaching out to the “secular” Israeli population by following the words of Rabbi Abraham Isaac Kook – “May the old be renewed and may the new be holy.” I wish that I could personally take you with me on a tour of the exciting Jewish sounds all around my Jerusalem apartment, but instead, I’ll share some of those sounds and sites with you using Youtube.
We’ll start at the “Great Synagogue Ades of the Glorious Aleppo Community.” This stunningly beautiful building in Nachla’ot is the center of the Syrian Jewish cantorial tradition. Every Saturday night, from Sukkot until Pesach, members of the community gather at 3:00 AM and sing piyutim (liturgical poems) and psalms for four hours in a ritual called “Bakashot.” After a whole night of singing, the community starts their Shabbat morning service at 7:00. It is quite the undertaking to visit, but the spirit and joy of the community makes it all worth it. Check out this video to get a sample of this Bakashot ceremony (filmed in 1976, but things haven’t really changed much).
Moving from Nachla’ot to my favorite music store on Ben Yehuda Street, Hatav Hash’mini (The Eighth Note), I would love to share some of the newest Israeli popular music that takes Jewish texts and melodies once limited to the synagogue and gets them on the radio.
Sagiv Cohen has combined traditional Yemenite melodies with contemporary pop arrangements on his new album Hal’lu. Listen for his Yemenite pronunciation of Hebrew on this recording of the 150th psalm.
The New Jerusalem Orchestra released a live recording of their inaugural concert, lead by the incomparable Rabbi Haim Louk, the leader of the Moroccan cantorial world. This unique ensemble brought together Jazz, Arabic music, Classical music and modern Israeli music – something that has never really been done before. Listen to their recording of “Ya’alah Ya’alah,” a classic Moroccan festive song.
Etti Ankari has been a major figure on the Israeli popular scene for 20 years. After six albums of beautiful, secular songs, she went through a religious transformation, and recently came out with an album of original melodies to religious poetry by Rabbi Yehudah Halevy (1075-1141). On this extraordinary album is a touching setting of Psalm 23 – watch her in a live performance here.
Going back up Ben Yehuda Street, there is a new major Jewish institution on King George Boulevard, right next to the Jewish Agency building. Beit Avi Chai (bac.org.il) is a center that offers an unbelievable array of concerts, classes, programs and exhibits around issues of Israeli culture, Jewish tradition, food, music, theater… It is impossible to keep up with everything that goes on there. Check out this small sampling of exciting videos on their Youtube channel.
Guy Zuaretz (an Israeli TV star) singing “Cuando El Rey Nimrod” in a concert of Ladino music:
Here is a group performing the text “Even when I walk through the valley of the shadow of death” from Psalm 23 to an Arabic melody:
Here is a jazz ensemble performing a classic, nostalgic song made popular by North African Jewish singers about the city of Barcelona:
Look around their Youtube channel – it is a tremendous treasury of the newest and coolest Jewish culture coming out of Israel today.
For one more synagogue visit – I want to take you to an exciting new place called Nava Tehila
This relatively new community meets once a month for Friday night services and offers continuing classes on Jewish spirituality and kabbalah. Mostly using their own melodies, this community reaches out to Israelis in a musical and spiritual language that feels natively Israeli. They post videos of their musicians performing many of their new melodies so that people can come to synagogue prepared to sing. Check out this melody for Psalm 98, part of the Kabbalat Shabbat service (and then look around the rest of the site)
I wish that I could bring you into more places – but for now this taste will have to suffice. Jerusalem is alive with Jewish music and Jewish prayer that never ceases to amaze. Just when I think I’ve heard it all – I wander into another place and find myself enthralled with something I’ve never even imagined. As I enter my last few months of time here in Jerusalem, I wonder how I will be able to bring this music back to my synagogue in California. As Reform Jews, we are committed to an ever-expanding vision of Judaism. This year at your Passover seder, when you recite the words “L’shanah Haba’ah Birushalayim” – “Next year in Jerusalem” – and you think about the sounds and sites of the holy city, may you be inspired with a vision of Judaism and Jewish music that celebrates all the diversity and excitement Jerusalem can bring.
This piece originally appeared on the American Conference of Cantors blog and was reprinted with permission.