The musical material that we use for our prayers consists mainly of the traditional 'Nusach'. The word nusach in our context refers primarily to  the ancient traditional melodies that are specific to particular prayers. these melodies, through their majestic beauty and because of their ancient age have attained a status of sanctity. They have become an inseparable part of our 'Minhag'. For these reasons they are also known as 'Niggunim Missinai' - 'Tunes from Sinai' and are regarded as if given on Mount Sinai.

Melodies in this group include the Kadishim before Mussaf of Yamim Noraim and before Neilah, Kadishim before the Geshem and Tal (prayers for rain and dew) 'Vehakohanim' of the Avodah Service on Yom Kippur and more. Their dissemination among Ashkenazi Jewry is attributed to Rabbi Yaacov Molin (known as The Maharil) of 14th century Mainz, a major halachic authority and himself a chazzan. His Sefer Haminhagim compiled by his disciple Rabbi Zalman, constitutes the foundation stone for Rabbi Moshe Isserlis's (the Rama) halachic work Darkei Moshe and his glosses on the Shulchan Aruch. Thousands of quotations from this work are scattered in halachic literature. It is in this book that we find many instructions regarding the correct way of chanting various prayers. For Rabbi Molin's efforts in spreading these melodies they are also known as 'Nigunei Rabeinu Maharil' - the tunes of our rabbi Maharil.

The term nusach can also refer to a certain musical style applied to some prayers. In distinction from the above missinai tunes, here nusach is a more general instruction. Whereas in the missinai tunes we have complete tunes, in this kind of nusach the insistence is only on a particular mode (a mode is a musical scale that bears a distinctive colour or flavour due to the specific intervals between its notes) and in some cases other specific motifs, but in general there is more freedom for musical expression.

For example, in the Musaf Service we have the section of Malchuyiot (biblical verses relating G-d's kingship) - beginning with Al kein nekaveh Lecha. In order to express the majesty of G-d conveyed in these verses we very appropriately utilize the major scale which is capable of expressing majesty and grandeur. But apart from this requirement, the chazzan, within the major scale, is free to follow his own style and create his own recitative.

Another important element in our liturgical music is the wealth of compositions that were created particularly in the last two centuries. The beauty of our liturgical poetry inspired many chazzanim and choirmasters to compose and arrange many moving, rousing and exciting settings. People like Solomon Sulzer (1804- 1890), Louis Lewandowski (1821- 1894), Joseph Rosenblatt (1882-1933), Zavel Kwartin (1874-1952), Mordechai Hershman (1886-1943), Leib Glantz (1898-1964) and Moshe Ganchoff (1905-1997) to name but a few, created magnificent masterpieces for the Days of Awe. Some of these compositions were so enthusiastically received by congregations that they have become an integral part of the services in many synagogues thus attaining almost 'Nussach' status.

Last but by no means least we have also the beautiful tunes sung by the congregation during the services. These simple and catchy but nevertheless delightful melodies have the power to inspire and unite the congregation. Take for instance 'Ki Anu Amecha' before the 'Vidui' - Confession on Yom Kippur when the entire synagogue is immersed in singing 'For we are Your people and You are our G-d' in the traditional melody. This is one of the highest moments in the entire synagogue calendar. I have to say that at this point I just listen to the congregation and draw enormous inspiration.

Rabbi Nachman of Breslov says that a Shaliach Tzibur - the chazzan acting on behalf of the congregation, has to have the ability to draw the good points in each one of the worshipers and then, having gathered all this goodness with him then he can pray on their behalf.

The great gift of music given to us by the almighty can elevate our prayers into a symphony of the goodness within us to bring us nearer to Him.

Amid the liturgical riches of our High Holy Days Machzor, we find some of the most magnificent prayer poetry. One of the highest points of the Musaf (Additional) Service is in no doubt, the very majestic, sublime and at the same time profoundly stirring, "Unetane Tokef Kedushat Hayom" - "And we shall proclaim the mighty holiness of this day". This prayer is one of those piyutim (liturgical poems) classified as 'silluk', i.e. the last in a cycle of poems that leads into and serves as an introduction to the 'Kedusha' (sanctification of G-d's name). This is the Ashkenazi custom. In Sefardi and oriental rites the "Unetane Tokef' is recited either before the Kaddish before Musaf of the High Holy Days, or in the repetition of Rosh Hashanah Musaf in the middle of the "Ata Zocher" - "You remember" prayer.
 
The source of the prayer though is Ashkenazi. The very moving and inspiring account of the creation of Unetane Tokef, is mentioned for the first time by Rabbi Yitzchak ben Moshe of Vienna (1180- 1260) in his halachic work 'Or Zarua' (laws of Rosh Hashanah 276). He quotes from a manuscript left by Rabbi Ephraim ben Yaakov of Bonn (1132- c. 1200). There he tells the story of Rabbi Amnon of the 11th century Mayence.

A wealthy, learned and distinguished Jew who was friendly with the Archbishop of Mayence, who continually but fruitlessly tried to persuade Rabbi Amnon to change his faith. On one occasion however, he was pressed so hard that rabbi Amnon, in order to take off the pressure asked for three days for consideration. As soon has he left the palace, he regretted showing (although only outwardly), even for a moment, he had any doubts about his faith in G-d. When he failed to appear at the end of the three-day period, he was brought by force before the archbishop. Wishing to sanctify G-d's name as an atonement, Rabbi Amnon then decreed his own punishment - to have his tongue, which had uttered falsehood, severed. Yet the inexorable archbishop decided on a much crueler sentence. Instead of his tongue, he ordered to amputate Rabbi Amnon's hands and feet. After this barbarous act had been carried out, he was then returned home. On Rosh Hashanah which was not too far away, Rabbi Amnon who by now was close to death, asked the members of his family to carry him to the synagogue and to lay him down next to the chazzan. When they arrived at 'Kedusha', Rabbi Amnon asked the chazzan to pause in order for him to proclaim publicly his unequivocal faith thus sanctifying G-d's name. Then he went on to recite the very awe inspiring piyut 'Unetane Tokef which he had composed and as soon as he finished the 'silluk', he departed from the world. Three days later Rabbi Amnon appeared in a dream to Rabbi Kalonimus ben Meshulam of Mayence in which he taught him the prayer in order to introduce to all congregations.

The prayer consists of three parts. The first 'Unetane Tokef - 'And we shall proclaim the mighty holiness of this day', is a gloriously exalted narration of the day of judgment: "We will express the mighty holiness of this day, for it is tremendous and awful,' on which Your kingdom is exalted, and Your Throne established in grace; whereupon You are seated in truth. Verily it is You who are Judge and Arbitrator, who knows all, and are witness, writer, sealer, recorder and teller". Then describing the eventfulness of that day in heaven it reads: ..." The great Shofar is sounded,' a dull murmuring noise is heard! The angels shudder! fear and trembling seize them! and they exclaim: 'It is the day of judgement! '... as the shepherd musters his flock, and passes them under his crook, so do You cause to pass, number, appoint, and visit, every living soul, fixing the limitation of all creatures, and prescribing their destiny".

The second part- 'Berosh Hashanah' - 'And on Rosh Hashanah will be inscribed' brings us directly to the point: "who shall live and who will die, who will die in his predestined time and who before his time ". But the paragraph ends positively urging us: "But repentance, prayer and charity remove the evil of the decree ".

The last Part 'Ki Keshimcha' - 'For as Your name, so is Your praise', ends imploring G-d Who is 'hard to anger and easy to appease. It also depicts the insignificance of man: Man's origin is from dust and his destiny is back to dust... he is likened to a broken shard, withering grass, a fading flower a passing shade.., and a fleeting dream ".

Naturally, such sublime poetry inspired chazzanim and choirmasters to create beautiful musical interpretations.

May we all, by the power of music to instill in us the proper mood and kavanah, attain a higher degree of closeness to G-d, and may our meditations be accepted in favour before Hashem.

The Talmud (Berachot 6a) tells us that prayer should take place in the
synagogue. 'In the place of song (the synagogue), there, should be
prayer'. Rashi, our great commentator explains that the place of song is
the synagogue 'where the congregation recite songs and praises in a
melodious sweet voice'. Indeed the vast majority of our prayers are
chanted rather than recited. The question is why? Would it not be better to express our plea in the more eloquent speech intonation? Why is it so essential for us to sing our supplications?

Rabbi Yosef Chayim (author of the Ben Ish Chai) of l9th century
Baghdad, in his work Benayahu draws a beautiful parable. There was a king who was very kind and merciful. Anyone who came before him for
charity was given abundantly. His ministers seeing this were concerned
that the king will thus exhaust all his treasures. So they commanded the guards of the royal palace that anyone who would come to the gates to ask for charity should be denied entry. A poor man desperate to appear before the king to speak to him of his situation found a way. He took off his rags and put on respectable garments. Then he composed songs of praise to the king and within the praises he inserted lines that spoke of his poverty and his needs. When he approached the gates of the palace, the guards upon seeing this well attired gentleman, asked him about the purpose of his visit. His response was that he wished to honour and bless the king. Then he went on to show them some of the poetry and songs he had composed. After making such a good impression he was admitted to the royal palace. As he was standing and singing before the king he came to the part where he would ornately elaborate on his needs. The king who was kindhearted and sympathetic gave him everything he's asked for. So through the music and poetry he was able to smuggle in his requests.

It is similar with our prayers explains Rabbi Yosef Chayim. There are
angels who are ungenerous towards our asking for our needs. So when we offer our prayers they become our accusers and show that according to our actions We are undeserving of the goodness we are requesting.
However, these angels have no power to stop us in our songs and praises to the A-lmighty. When we sing our prayers they appear as praises offered to Hashem and this is indeed our opening to smuggle in our supplications.

We could take this idea further. When we examine our own deeds we
might feel that we lack the confidence to pray. As we find ourselves
inadequate in the various areas of our lives we become our own accusers. As a result, our prayers lack the heart and inspiration which are the essential thrust of prayer. But we can approach this from a different perspective. True, our balance sheet doesn't show much to our credit. Yet, G-d is 'gracious' and merciful, slow to anger, abundant in kindness and truth, and abundantly beneficent. He favours the repentance of the wicked and does not desire their death' (Neilah Service).

Melody is the intonation of praise. Sweet tunefulness is the way in which we accentuate our exaltation of the A-lmighty. When we clothe our petitions with song we evoke G-d's greatness. We remind ourselves that it is not by our merit that we approach G-d. Indeed, '...ein banu ma 'asim - we have no worthy deeds'. We rather entreat G-d in His great generosity to do with us 'izedaka vachesed - charity and kindness'. Through this concerto of our prayers we are able to pour back into our prayers the enthusiasm and devotion that will surely bring them before Gd's throne of glory.

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This page contains a number of articles from the pen of my very good friend, the distinguished Chazan Moshe Haschel.

In 1988 Chazan Haschel became Cantor of the Finchley Synagogue in London, where he succeeded Naftali Herstick and since 1997 he has been Chazan at the prestigious St. John's Wood Synagogue in London.

He is a very popular Chazan and had given concerts in many parts of the world.

I am very appreciative that he has given me permission to reproduce these articles, which I am sure you will enjoy.

Most of us are familiar with the liturgical poem 'Adon Olam - L-rd of the Universe, sung chiefly at the end of Shabbat and festivals services. Its authorship is debated among scholars, but most ascribe it to the Jewish poet and philosopher Shelomo Ibn Gabirol (1021- 1051).

Adon Olam became known throughout the Jewish world. It proclaims   the eternity of G-d (He was, He is and He shall be glorious for evermore); His uniqueness (He is One, there is none else, alone, unique beyond compare); His providence and protection (into His hand my soul I place, when I awake and when I sleep).

Adon Olam is placed in our siddur early on at the beginning of the day serving as an introduction to the Morning Prayer. This is in order to instil in us the reverence of the A-lmighty thus bringing us into proper devotion for prayer. We also bring the day to a close reciting Adon Olam right at the end of our bedtime prayers, reaffirming our faith in G-d.

As we mentioned, we conclude our Mussaf Prayers on Shabbat and Festivals by singing Adon Olam. Unsurprisingly, there are many musical settings for Adon Olam in a variety of styles. Also, you'll find special tunes for special occasions. We have a majestic melody for Yamim Noraim. On other festivals we imbue the text with the unambiguous festival's flavour. For instance, on Chanukah we sing Adon Olam to the tune of Maoz Tzur and on Pesach to the tune of Addir Hu. Perhaps we should mention here the website shulmusic.org where you can find many synagogue compositions which you can listen to in midi file format, including a long list of melodies for Adon Olam.

Here are some examples of compositions, some better known and some less so.

Salamone De Rossi (c.1570-c.1630) served as composer at the court of the Gonzaga Dukes of Mantua. He was probably the first Jew to gain recognition for his composing style which was considered rather innovative for that period. In his book for the Mantua Synagogue, 'Hashirim Asher LiShlomo', we find a beautiful and fairly solemn setting for Adon Olam in early Baroque style. You can hear a very elegant rendition of it on our CD 'The Song In Prayer', performed by our Neimah Singers.

A much-loved melody, usually reserved for special occasions, is the 'De Sola' (Blue Book, page276), brought over from Amsterdam by Rabbi David Aaron de Sola (1796-1860) who was appointed as minister at the Bevis Marks Synagogue in 1818. In 1857 he published 'The ancient Melodies of the Spanish and Portuguese Jews'. His Adon Olam is still sung in Sephardi and Ashkenazy congregations to this day.

Another classic favourite with British communities, is the setting by Simon W. Waley (1827-1876) for the West London Synagogue. This melody became so popular that it was readily adopted by orthodox communities. It can be found in the 'Blue Book' on page 91.

Eliezer Mordechai Gerowitsch (1844-1914) was a very distinguished cantor composer.  His main cantorial appointment was to the Rostov on Don's (southern Russia) Chor Shul (choral synagogue) in 1887. He was to Eastern European Chazanut what Sulzer and Lewandowski were for western European synagogue music. In 1890 he published his first book 'Shire T'filoh' dedicated to the High Holydays.

In his second book 'Schirej Simroh' published in 1904, we find his Adon Olam which started life as a serious choral four part harmony piece with a cantor's solo. However, it became so well-liked that it soon spread throughout synagogues acquiring a lighter character. If you are still not sure to which tune I refer, you can find it in the above shulmusic.org..  It is number 28 on the Adon Olam list and under its composer it simply says, 'Traditional'!

Its popularity is such that it is performed in a diversity of styles. To illustrate this I recommend you to listen to the rendition of Yehuda Glantz. Argentinean born Yehuda, who is based now in Israel, is an artist, singer and composer who developed  a style that fuses Chassidic and Latino music creating a sort of 'Gaucho Klezmer' idiom. You can hear his interpretation of the Gerowitsch Adon Olam on You Tube, http://www.youtube.com/watch?v=78nGYFopaAI , where he accompanies himself on the 'charango' (small South American stringed instrument) adding some Aramaic and Spanish verses! Enjoy. Although I'm also Argentinean born, but please don't expect such a rendition from me!

The Mishna (Rosh Hashanah, chapter1 mishna 2) tells us that on Sukkot the world is judged for rain. The Talmud (Taanit 7a) says in the name of Rav Yosef that the world's dependence on rain for its sustenance is so total that rainfall is compared to the revival of the dead. This is the reason says Rav Yosef, why the Rabbis put the phrase -' Mashiv Haruach uMorid Hageshem' - 'He Makes the wind to Blow and the rain to fall' in the second blessing of the Amida which speaks about Divine Might and concludes with 'Blessed are You, Lord, who revives the dead'.

The Talmud (Rosh Hashanah 16a) brings Rabbi Yehuda's view that the world is judged on all aspects already on Rosh Hashanah but the final judgment is sealed for each feature only in its specific time; for grain on Pesach, for fruits of trees on Shavuot and for rain on Sukkot. Rabbi Yehoshua Ibn Shuaib (13th century Spain) in his work 'Derashot al haTorah' (derasha for Shemini Atzeret) explains this notion  in connection with rain that the amount of rain that will fall during the coming year is in fact determined already on Rosh Hashanah. However, on Sukkot it is decided where i.e. on which parts of the world it would fall, and how i.e. whether it would be beneficial to the world or otherwise. This idea is reflected in the Liturgical poem 'Af Beri' by Rabbi Eleazar haKalir recited at the Shemini Atzeret Mussaf repetition. According to tradition Af Beri is the name of the angel appointed over rainclouds. The word 'af' means anger and the word 'beri' means health alluding in his very name the two ways in which rain can fall.

Our Rabbis say that raining on Sukkot would appear as if G-d doesn't favour our mitzvah of dwelling in the Sukkah, and it is considered a 'siman kelala' - a sign of curse. It would be therefore inappropriate for us to pray for rain during the first seven days of the Festival. Only on Shemini Atzeret, when the mitzvah of Sukkah does not apply any longer, we hold the 'Tefilat Geshem', the prayer for rain, at the Mussaf Service.

Shemini Atzeret therefore has a dimension of a Yom Din - a day of judgment. Accordingly, the chazzan wears his white garments for Tefilat Geshem as on Yamin Noraim. This aspect is reflected also on the music for the liturgy of Geshem.

The Nusach (i.e. specific melody for a particular prayer) for the Kaddish before Geshem and the beginning of the Amida repetition and the liturgical poem 'Af Beri' is very ancient. This tune belongs to a group of melodies categorized as 'Niggunim Missinai' - 'tunes from Sinai'. These melodies, because of their majestic beauty and ancientness have attained a status of sanctity. They have become an inseparable part of our 'Minhag' and are regarded as if they were given on Mount Sinai.

Other melodies in this group include the Kadishim before Mussaf of Yamim Noraim and Neilah, 'Vehakohanim' of the Avodah Service on Yom Kippur and more. Their dissemination among Ashkenazi Jewry is attributed to Rabbi Yaacov Molin (known as The Maharil) of 14th century Mainz, a major halachic authority and himself a chazzan.

The tune for the Kaddish before Geshem is similar in its melodic material and structure to the tune of the Kaddish before Mussaf on Rosh Hashanah (even some hints to Neilah are present). The musicologist A. Z. Idelsohn suggests that originally there was one tune used for both occasions and later it branched out as two separate melodies.

Few cantorial compositions convey so beautifully the Piyut (liturgical poem) 'Zechor Av' - 'Remember the Patriarch' as the setting by the famous Yossele Rosenblatt (1882-1933) for the first three stanzas.

The first stanza, appeals to Hashem to remember the merit of our patriarch Abraham 'who was drawn behind you like water'. Rosenblatt utilizes the suppliant Ahava Rabah mode, (a mode is a musical scale that bears a distinctive colour or flavour due to the specific intervals between its notes). The elegant way in which the musical theme is developed is a classic example of the traditional chazzanic utterance ('zogechts' in Yiddish).

The next stanza invokes G-d to remember 'the one born with the tidings of 'Let some water be brought'. This is a reference to Isaac, whose birth was prophesied to Abraham when he offered his hospitality (some water) to the three angels. Here Rosenblatt moves to the brighter major scale to depict the happiness of receiving the good tidings.
 
The third paragraph pleads, 'Remember the one who carried his staff' referring to Jacob who crossed the Jordan with his staff on his way to Laban. Here the heartfelt melody aptly expresses the phrase 'he dedicated his heart and rolled a stone off a well of water'. This refers to Jacob's dedication and determination in his faith which enabled him to remove single handedly a very heavy stone from the top of a well in order to water Rachel's sheep.

You can hear Rosenlatt's own rendition at the Florida Atlantic University website, in their Judaic Sound Archives where you can listen to about 150 of Rosenblatt's recordings and here is the link: http://faujsa.fau.edu/jsa/search_LP.php?artisttext=rosenblatt&artist=contains&titletext=&title=contains&selectgenre=&selectlanguage=&musiconly=&id=&select=titlea&fetch=25&pagenum=2

(a rare recording on this website is a Rosenblatt rendition of 'E-l Mole Rachamim'  (memorial prayer) for the victims of the 'Titanic' (anshei Titanic shenitbeu bayom)

A further Yamim Noraim 'touch' is the use of the High Holydays tune for the Mussaf Kedusha, something I've learned from my teacher Cantor Naftali Herstik. Then we finish with the last Kadish Titkabel again with the same beautiful lilting Yamim Noraim melody thus bringing the 'Yemei Din' - Days of Judgment to an exhilarating conclusion.