{"id":88283,"date":"2021-02-03T19:06:04","date_gmt":"2021-02-03T17:06:04","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=88283"},"modified":"2021-02-03T19:06:04","modified_gmt":"2021-02-03T17:06:04","slug":"the-universal-synagogue","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/the-universal-synagogue\/","title":{"rendered":"The Universal Synagogue"},"content":{"rendered":"
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 <\/p>\n

Louis Lewandowski (1821-1894), \u201cMan, his days are like those of grass\u201d\u00a0<\/span><\/p>\n

Lewandowski (1821-1894) is one of the most important of the composers of synagogue music in Germany, and his works are the basis of the cantorial repertoire to this day. He is from the generation after Salomon Sulzer, and even learned from him in Vienna. He was a classical composer in every way: he studied at the Academy of the Arts in Berlin, and published his creations in scores for choir, soloist-<\/span>chazzan<\/span><\/i>, and most with organ accompaniment.\u00a0<\/span><\/p>\n

Berlin was the center of his activity, and he intended his compositions both for the Reform and the more traditional synagogues. His polyphonic writing testifies to his comprehensive training as a composer, possessing influences from the choral works of Mendelssohn, which we have had occasion to discuss here. In addition, he was very connected also to Eastern European <\/span>chazzanut<\/span><\/i> (cantorial style), and on several occasions included in his compositions the modes, scales, and vocal ornaments of the very best of those traditions.\u00a0<\/span><\/p>\n

\u201cMan, his days are like those of grass\u201d (Ps 103:15) is one of his best-known works: it demonstrates the synthesis that the composer creates between Jewish texts and classical musical composition of the day. This is a work for choir only – no solo cantor – with a significant organ introduction. The pronunciation is according to the Ashkenazi tradition. The minor key, somewhat dark and monotonic, gives the piece the tempo and harmonies of a funeral procession. The structure is a classic A-B-A form. Verse 16 makes up the central section, and it has a bright, and major mode character, in contrast to the opening verse. The transitional part, that brings the piece back to the opening melody (with the words \u201cits own place no longer knows it\u201d) sounds as if it were composed by Mendelssohn himself.\u00a0<\/span><\/p>\n

In the accompanying video, the part of the organ is played warmly by a brass quintet. The very touching \u201c<\/span>Enosh<\/span><\/i> (O Man),\u201d with its universal appeal, represented well the message of classical Reform Judaism in Europe, until the rise of the Nazis. Today, there is a yearly festival in Berlin in memory of Lewandowski, showcasing the best of the choirs and ensembles, some from Israel.<\/span><\/p>\n

Louis Lewandowski, Enosh Ps.103 \/ 2015
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