Jewish Post, Indianapolis, Marion County, 22 May 2002 — Page 10

NAT 6 Mav 22. 2002

As I Heard It Secunda works inspire awe

By MORTON GOLD In retrospect the decades between the years 1950 and 1980 may one day be regarded by

musicologists as the golden age of music written for the Jewish community in the United States. Many of the finest creations by Jewish composers saw the light of day during that time. Cantors and choir leaders did what they ought to be doing, namely commissioning, teaching and performing music for the synagogue and concert hall. During the national conventions of Reform and Conservative cantors, new music — whether vocal or instrumental — was regularly performed and thus brought to the attention of those who were then the major forces of musical influence. Looking back in my own case, it seems to have been no accident that four of my six oratorios were commissioned and performed during that time; and this was no unusual occurrence. One of the greats of Jewish music, Sholom Secunda, created two Friday evening services during that time. One of them, "Welcoming The Sabbath," ("Kabbalnl Slmbbat") with Richard Tucker is now available as a CD. (Please listen to the last selection, Shabbat Shalom in particular, and realize that you are singing it incorrectly!) This is surely one of the most beautiful and idiomatic services of its kind. Secunda, of course is not regarded as a serious composer, probably because of the dozens (hundreds?) of songs he produced for shows on the Yiddish stage for more than 30 years. Some feel the same way about George Gershwin. Despite such works as "Porgy and Bess," the Piano Concerto and "Cuban Overture," he is thought of as a mere "tunesmith." Charitably, these critics are uninformed and their opinions ill advised. Secunda, however created a second Friday evening service. This one was commissioned by Hazzan Saul Meisals

and the Temple On-The-Heights of Cleveland, Ohio. The major difference between these two services is that the cantorial part of the former is a virtuoso vehicle whereas in the latter the cantor s part is more integrated with the choir, while still calling for an individual with a superb voice and ability as a musician. This newer service is musical without being operatic or overembellished. Both works use organ accompaniment and Mr. Secunda ably conducts both works. While the former is available as a CD, the second, to my knowledge is available only as a cassette. Please do not inquire from me where one might obtain it. The copy I listened to was kindly sent to me by Mrs. Meisals, the cantor's widow. I am certainly most grateful to her. (As I recall, she is an excellent pianist and arranger in her own right.) One might inquire of any reputable dealer or by writing to the Temple On- The-Heights. In this second serv ice, there are 12 selections. The first selection is a setting of the Ma Tovu. After a brilliant flourish superbly planed by the unnamed organist, the choir proclaims the opening phrase. Saul Meisals, the cantor of the temple, had a magnificent lyric baritone, a voice that was always secure and sweet. It was a delight to hear him sing the solo part, not only in the first piece but throughout the service. The choral interlude (Va-ani Eshtachave) is a wonderful phrase that leads to a fugal phrase. The choir at the temple was strong in every vocal part. I never did get to see Mr. Secunda cqnduct but he must have been a superb conductor, as able as he was as a composer. If the Kabbalat Shabbat is the kind of service that any shul Yid would appreciate, this service is as much for the really knowledgeable musician as it is for the knowledgeable worshipper. Both works ought to be required listening for anyone who wants to gain an insight as to what constitutes good music of a traditional nature for the modem synagogue, not only what is possible but even desirable. The truth is this kind of music (and level of performance) is today a threatened and endangered species. The Mizmor Shir is a joy to hear. It is not catchy so much as it is lovely. The Lecho Dodi (all the diction is Ashkenaz) is a

beautiful as well as musical setting of the text. We do not hear a childish type of appealing tune that is all too common nowadays. The Uri Uri is particularly impressive. The interplay between cantor and choir is masterfully done. The Mizmor Shir Leyom Hashabbos (Ps. 92) follows. Listening to this setting one can readily understand that Secunda was once an accomplished child cantor. That he was a successful composer of numerous hits is (or ought to be) common knowledge. That he was also a composer of idiomatic as well as really musical pieces such as this, effective, brilliant and showy without being overly theatrical is surely not known. The fine shmeckers listen to this setting. Meisals is superb and kudos to the organist and the marvelous choir. This is what music for the synagogue is or ought to be about. The Ahavas Olam follows. For those who figured all they needed to know about Secunda was the truncated version of his Shabbat Shalom, let them listen to this setting. Secunda, surely was a composer of stature. What an ending. One anticipated a powerful Amen, but he did the very opposite which leads to a highly original setting of the Sh'ma, one that is original harmonically as well as melodically. For this setting alone he should have been admitted to heaven. This is music, this is what no one knows or even cares about today. One can only listen to this in awe. I knew and loved the Kabbalat Shabbat Service. Beautiful as that is, by comparison, that is cholent. This is haute cuisine. The second side of this incredible cassette begins with a setting of V'shomru. The quiet ending is really effective here. The Kaddish with its pleading chromatic harmony is most moving. The phrase Tushb'choso Vnechemoso is particularly lovely. I was unprepared for the original chromatic harmony employed in the "May the Words." This setting is moving and expressive beyond whatever words I can use to describe it. The Mogon Ovos that follows gives the cantor an opportunity to sing a variety of florid passages (chazzones) while still not ignoring the choir at the same time. There is one phrase that was so beautiful and melo-

dious that one can really scream why is this not sung anymore? Indeed, why is this service not sung? Surely there must be a Conservative or Reform temple with a musical cantor and choir that is capable of doing justice to this magnificent music. Surely by composing this service Secunda has placed himself squarely as the successor to Dunajewiski and the late 19th century Russian school of liturgical composers. The Kiddish follows. The music up to K'vono Vocharto is in my opinion not really as good as the material that precedes and follows it. However, once K'Vonu Vocharto is reached we are once more on solid musical ground. This is really one beautiful phrase, memorable, serene and worthy of this service. What a beautiful voice and performance by Meisals here! The concluding selection Shehoshol Om Shelo is, well, so good, that in all modesty I sincerely regret that I did not write it! I do not recall ever hearing this service before. It came as both surprise and revelation to me. I fully expected another virtuoso cantorial vehicle with many charming tunes. I heard none of that. What I did hear was some of the finest music in traditional style ever composed

for the synagogue. If this was Secunda's swan song, it was music that should have established him as one of the most significant composers of music for the synagogue. These days one is not accustomed to listening to music like this for a variety of reasons. This music is not congregational, overtly appealing or filled with tunes catchy or simplistic. It calls for a really fine cantor with a lyric baritone, which Saul Meisals had. His voice and musicianship were a match for the many demands the composer made on it. The choir parts calls for a significant and experienced groups of musician-singers under the leadership of a gifted conductor with the assistance of a first rate organist. (How does the musical apparatus of your synagogue measure up here?) If you want to hear great music for the synagogue, then listen to this. I humbly pay my posthumous tribute to Secunda. I must also acknowledge the vocal as well as musical abilities of cantor Saul Meisals. Each did great honor to his respective craft. Dr. Gold may be reached at: 12 Avenue B, Rutland, Vermont 05701-4503 or by e-mail at: [email protected])

Misconceptions Bris is dad’s job

By RABBI REUVEN BULKA Misconception: Having a professional mohel perform the brit milah is altogether proper. This statement is based on

the assumption that since circumcision is an intricate procedure demanding expertise, it is better that one who is experienced in doing circumcisions actually perform the brit milah. This is part of an ongoing trend concerning many areas of

Jewish life that have fallen into the hands of professionals, areas that are the province of parents. In reality, the obligation of circumcision rests with the child's father. It is the father who must circumcise the child, as much as he is obligated to raise the child, educate the child, and ever, provide the educational training needed to make a living. The ideal would be if the father actually performed the circumcision. However, since many fathers are not able to perform this delicate procedure, they ask a professional, called a mohel, to do the job for them. But, prior to the circumcision, it is imperative that the father appoint the mohel to act in his stead, to do that which the father ought to do.