In 1966 Ben Haim was commissioned to compose a service for the Union Prayer book for NFTY; premiered in the spring of 1968, in the preface to the score Ben Haim states, “I have tried to set the prayers to music in as simple and modest a style as possible to express the spirit of the Jewish Liturgy…according to the request of the commissioning body.” Listen The refrain of this L’cha Dodi is an example of contrafactum, the substitution of one text for another without substantial change to the melody. Listen Lewandowski spent his teenage years and adult life serving as music and choir master in the Jewish community of Berlin. Association of Reform Zionists of America (ARZA). Throughout the years this beloved poem, found in the Kabbalat Shabbat worship among Jews the world over, has perhaps more melodies associated with it than any other liturgical text.According to Abraham Z. Idelsohn, there were more than 2,000 known melodies to the text ofL’cha Dodi in 1929. The tune labeled "usy tune" is based on the Bumble Bee Tuna jingle. Uganda Listen Although commissioned originally by a conservative congregation, this somewhat raucous setting from Taubman’s Friday Night Live service reflects an evolution in Reform Worship practice that arose in the late 1990’s – concurrent with Rabbi Eric Yoffie’s call for Worship Transformation in 1999. The author draws from the rabbinic interpretation of Song of Songs in which the maiden is seen as a metaphor for the Jews and the lover (dod) is a metaphor for God, and from Nevi'im, which uses the same metaphor. Lecha Dodi Likrat Kala, P'nei Shabbat N'kabelah. Both of these forms are given by Isaac Nathan in his setting of Byron's "Hebrew Melodies" (London, 1815), where they constitute the air selected for "She Walks in Beauty", the first verses in the series. And He will take great pity upon you compassionately. Lekha Dodi (Hebrew: לכה דודי; also transliterated as Lecha Dodi, L'chah Dodi, Lekah Dodi, Lechah Dodi; Ashkenazic pronunciation: Lecho Dodi) is a Hebrew-language Jewish liturgical song recited Friday at dusk, usually at sundown, in synagogue to welcome Shabbat prior to the evening services. At Congregation B’nai Jeshurun (BJ) in New York City, ethnomusicologist Dr. Mark Kligman reported on his research in 2002, “that it (the music) is a mixture of styles – generational and cultural. Who is Like Unto Thee/Mi Chamocha: versions by Max Helfman and Debbie Friedman : Israel, iii. Here we learn that there are 184 melodic variants for L’cha Dodi among these cantors’ congregations alone. In some synagogues, congregants will rise and turn to face the entrance of the synagogue during the last verse; people imagine they are greeting the Sabbath bride by bowing to the left and the right. Listen to this recording of L’cha Dodisung by the Abayudaya of Uganda. Dating back only to 1919 when their ancestors converted to Judaism, the Abayudaya were separating themselves from the Christian missionaries and British political rulers of that time period. When Sizomu attended the Hebrew Union College – Jewish Institute of Religion in 2001 these heretofore unknown melodies began to work their way into the broader Jewish world community. Verse 2, line 10: Last made, but first planned: The Sabbath Day, the seventh and last day of Creation, was, essentially, the last thing created in that week and yet it is believed that a day of cessation, reflection, and worship was part of God's plan from the very first. Listen to this excerpt from a medley arranged by Ari Priven, musical director at B’nai Jeshurun. They developed a new style of music influenced by their native language Luganda. Please check your inbox for our emails, and to manage your subscription. Settings of Lekhah Dodi, usually of great expressiveness and not infrequently of much tenderness and beauty, are accordingly to be found in every published compilation of synagogal melodies. According to Abraham Z. Idelsohn, there were more than 2,000 known melodies to the text ofL’cha Dodi in 1929. It is part of the Kabbalat Shabbat ("welcoming of Sabbath "). Lekhah Dodi means "come my beloved," and is a request of a mysterious "beloved" that could mean either God or one's friend(s) to join together in welcoming Shabbat that is referred to as the "bride": likrat kallah ("to greet the [Shabbat] bride"). Do not be ashamed! Translations, etc.  The poem shows Israel asking God to bring upon that great Shabbat of Messianic deliverance. Cantor Eduard Birnbaum ("Der Jüdische Kantor", 1883, p. 349) has discovered the source of this melody in a Polish folk-song, "Wezm ja Kontusz, Wezm", given in Oskar Kolberg's "Piesni Ludu Polskiego" (Warsaw, 1857).
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