About Shabbat Shira
Porgy & Bess | 1935
Song and music are — and always have been —
central to our tradition. The last thing Moses
did before his death was teach the Jewish people
a song. Jewish history is not so much read as it is
sung. “There is a map of holy words, and it is
written in melodies and songs,” says former UK
Chief Rabbi Jonathan Sacks. Both Torah and
Haftarah readings contain the spontaneous and
exultant song of the Jewish people and their
leaders when, facing overwhelming odds
centuries apart, they miraculously overcome
them. Appropriately, this Shabbat is Shabbat
Shira, the Sabbath of Song.
A musical by George (Yaakov) and Ira (Israel) Gershwin
Our Shabbat Shira
by Cantor Lichterman
So much goes into Shabbat Shira planning and
staging each year. Although ideas come to me
constantly, I usually begin thinking after the
High Holy Days about the overall experience I
wish to create. Then, I create and assemble the
material necessary to achieve that goal.
Our annual congregational Shabbat Shira
celebration seeks to connect us through new and
inspirational music with our prayers. It helps
highlight the beauty of our liturgy and the
vitality of its ever-evolving and expanding
musical traditions.
Although the “decor” is somewhat different, and
our regular Shabbat proceedings slightly
“modified,” Shabbat Shira is neither a concert
nor a “Friday Night Live” experience. Rather, it
is a Shabbat morning of inspired song, heartfelt
prayer, and a celebration of life.
Leonard Bernstein said, “Life without music is
unthinkable, music without life is academic; that
is why my contact with music is a total
embrace.” The Chassidic Masters said, “Music
opens G-d’s soul.”
May we all be inspired this morning to reach
new levels of spirituality and Kavanah.
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Ira and George collaborated in composing and writing
Porgy & Bess, a 20th-century opera masterpiece and
repertoire standard. It includes numbers such as
“Summertime,” “I Got Plenty o’ Nuttin’,” and “It Ain’t
Necessarily So.”
George’s first hit song was “Swanee,” performed by Al
Jolson. In 1924, he wrote his first major classical work, his
masterpiece, “Rhapsody in Blue,” which brought jazz into
the classical repertoire, followed by “An American in
Paris.”
In 1932, Ira was the first lyricist ever awarded the Pulitzer
Prize. He also collaborated with Harold Arlen, Jerome
Kern, and others in such numbers like “My One and
Only” and “Crazy for You.”
It Ain’t Necessarily So
Music by George Gershwin and lyrics by Ira Gershwin
It ain’t necessarily so
It ain’t necessarily so
The things that you’re liable
To read in the Bible,
It ain’t necessarily so.
Did You Know?
Johann Sebastian Bach’s stature as a composer of
extraordinary genius and influence is beyond
question. Imagine: 180 years ago, his music languished in
obscurity. It is through Felix Mendelssohn’s efforts in
making Bach’s works accessible to the public that they are
recognized as “summits of musical expression.” It was
Mendelssohn’s great aunt Sarah Itzig Levy and his
grandmother Bella Salomon who gave a 15-year-old Felix
the gift of Bach’s “St. Matthew Passion,” which “ignited
his passion.” He re-edited it and, for the first time in 100
years, presented it in 1829 to the German public. This led
to the worldwide revival of the genius of J.S. Bach.
So it is, on a far smaller scale, but equally significant,
with Jewish music. The influence of Zamir Chorale of
Boston (founded in 1969 and which mentors future
leaders in Jewish choral music), among others, has
been a catalyst in reviving and strengthening Jewish
music. cont’d
Did You Know? cont’d
Younger generations are being shaped with a love and appreciation for Jewish
values, tradition and the beauty of our musical heritage.
HaZamir: The International Jewish High School choir is a network of 35
chapters across the USA and Israel. It “transcends boundaries, giving
teenagers a valuable opportunity to forge bonds and unite in a common goal:
music.” Many have gone on to form classical choirs, acappella groups, enter the Rabbinate, Cantorate, and
more. Today, more than 50 Jewish college acappella groups drive the revival and expansion of Jewish music.
Over the Rainbow
Music by Harold Arlen and lyrics by E.Y. Harburg
Somewhere over the rainbow way up high
There’s a land that I heard of once in a lullaby.
Somewhere over the rainbow skies are blue
And the dreams that you dare to dream really
do come true.
Someday I’ll wish upon a star
And wake up where the clouds are far
Behind me.
Where troubles melt like lemon drops
Away above the chimney tops
That’s where you’ll find me.
Somewhere over the rainbow bluebirds fly
Birds fly over the rainbow.
Why then, oh, why can’t I?
If happy little bluebirds fly
Beyond the rainbow.
Why, oh, why can’t I?
Samuel Malavsky
Cantor Samuel Malavsky (1894-1985) was
renowned as a composer and arranger who
often concertized with his two sons and four
daughters, billed “the Malavsky family
choir.” Two sisters, Goldie & Gittel,
performed as the Marlin Sisters, recording
with stars like Eddie Fisher. Today, many
Malavsky compositions are synagogue and
concert standards.
“Over the Rainbow” (usually titled “Somewhere Over
the Rainbow”) was written for the movie Wizard of Oz
(1939) and was sung by Judy Garland, acting as Dorothy
Gale. It won the Academy Award for Best Original
Song. During World War 2, it was adopted, together
with Irving Berlin’s “White Christmas,” as a symbol of
the U.S.A. The song is #1 on the “Songs of the Century”
list compiled by the Recording Industry Association of
America and the authoritative National Endowment for
the Arts.
Harold Arlen (1905-86) was born Hyman Arluck and
was the son of a Lithuanian immigrant cantor. He
composed more than 500 songs, writing for the Harlem
Cotton Club, Broadway, Hollywood, and more. In 1938
he teamed up with Yip Harburg under contract to Metro
Gooldwyn Mayer, to co-create the Wizard of Oz.
E.Y. Harburg (1896-1981) was born Isidore Hochberg
and was a prodigious lyricist. Known as Yip, he teamed
up with many composers (“Brother, Can You Spare a
Dime?” to the tune of a Yiddish lullaby; “It’s Only a
Paper Moon;” “Over the Rainbow”) to create social
commentary, promote gender equality, and criticize
religion through his insightful word-smithing. He and Ira
Gershwin met while in high school and remained best
friends throughout their lives.
Hu Eloheinu
Hu Eloheinu, hu avinu, hu malkeinu,
hu moshi-einu,
V’hu yashmi-einu b’rachamav
Sheinit l’einei kol chai, lihyot lachem Leilohim,
Ani Adonai Elohechem.
Uv’divrei kod’shecha katuv leimor:
Yimloch Adonai l’olam, Elohayich tziyon
l’dor vador, Haleluyah!
K’vodo
K’vodo malei olam, m’shar’tav sho-alim ze laze,
Ayei m’kom k’vodo, l’umatam baruch yomeiru.
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Below is an exact reproduction of the Torah column from which the “Shira” — the “Song of the Sea” — is chanted,
except that, for our convenience, vowel and trope (cantillation) is added! We join with the ba’al koreiy in singing the
highlighted phrases, either from the Hebrew or the transliterated text on the left.
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