You know that feeling.  You turn on Jewish Rock Radio (online Jewish Music station run by Rick Recht) or go to your device, or you ask Alexa, Google, or Siri to play your music.  Maybe it is a Billy Joel song, maybe Queen, or Hercules Smith, and suddenly you are transported to the past and a beautiful memory as if it happened yesterday.  Music has the ability to create and form memories and the power to bring that memory into focus.  “Music has a prominent role in the everyday life of many people. Whether it is for recreation, distraction or mood enhancement, a lot of people listen to music from early in the morning until late at night, especially since the invention of radio and recordings. Because of its near ubiquity, music has been identified as important in the construction of autobiographical memories and thus for making judgments about oneself and others.” (Source: National Institute of Health)

For many of us that is what happens when we come to the Synagogue and hear a chanted prayer, or sing along with a congregational melody.  The prayers, and their melody may transport to a time when we were sitting in Shul and listening to another Cantor.  You can walk into any conservative shul in the world, even Israel, and you will hear a familiar melody and can participate in the service and feel comfortable when you are there.  Jewish prayer has always been associated with music.  We learn to speak through song.  Today you can probably recognize Debbie Friedman’s melody used to teach the Alef, Bet, and prior to that there were other melodies utilized to teach the Hebrew letters.

It is also the same for those of us who are Hazzanim.  I know that when I sing a traditional melody I am transported back to my synagogue, Rodeph Shalom in Bridgeport, CT.  To hear my Cantor, Y’Shaya Grama (z”l) sing the prayers again would be a gift.  There are many times I am singing on the Bima and I hear his voice in my head, and feel his presence, as if I could turn around and he would be there next to me singing the prayers in his powerful Heldon Tenor voice.  Those melodies that many of us hold on to are what bring us a sense of comfort.  They bring us those warm memories of going to Shul with our parents, our grandparents, our friends.

A great example of this strong sense of memory in the Synagogue is during the Kol Nidre.  Everyone knows the melody.  “The melody that stirs the heart of Ashkenazic Jews is of unknown origin, but is part of a body of music known as “MiSinai melodies” that emerged in Germany between the 11th and 15th centuries. “MiSinai” literally means “from Sinai.” Of course, we know that none of these tunes came from anywhere in the Middle East, but the hold they have had on Ashkenazic Jews has made them as venerated as if they “came down from the mountain.”’ (Source: Sounds of Kol Nidre).

As we look at the memories our music evokes, where does this leave room for new melodies?  If we are open to musical possibilities, new music can create new memories and help us to potentially look at a prayer in a completely different way.  That is not to say that one should compose a completely new melody for Kol Nidre, but for prayers like Sim Shalom, Oseh Shalom, and many others, those new melodies, regardless of style, can help us and the next generation to understand a prayer, or an idea in a completely new light.  What are your earliest music memories?  Or, if you’re of a certain age, remember back 50 years ago to the melodies that began in your own Synagogue.  How have they changed?  How are they the same?

We should all look forward to listening to the music of the next 50 years and beyond.  May our songs continue to blossom and grow, may our harmonies always be sweet, and may we continue to be together, L’Dor VaDor – Generation to Generation, as our music continues to make beautiful understanding and memories together as a community.

“The rhythm is gonna get you!”  Maybe, or maybe it’s the lyrics, or maybe it’s the drumbeat, but we all have that one song that speaks to us.  Music can be a powerful method of communication.  Music reaches out to our consciousness better than most other types of communication.  It is through music, that even if we do not understand the language (i.e.: Italian, French, or German in Opera or Hebrew in our prayers), the music helps to convey the meaning to our consciousness.  A Hazzan is the person in our T’fillah who takes the meaning of the Prayers and through his / her voice conveys the meaning to the consciousness of the Congregation.

“Music can be used for many purposes: entertainment, setting an environment, inducing certain moods, giving instruction, healing, and so forth. It is also a very powerful tool for personal/spiritual growth and conscious living. If inner growth is your goal, it’s essential to consciously surround yourself with music that truly supports that goal. For apart from music’s outer forms—genre, lyrics, etc.—every piece of music has more subtle and potent factors that influence us on deeper-than-conscious levels. Choosing music is therefore not so much a question of likes and dislikes, or of others’ opinions, but of what, exactly, any given piece of music actually communicates to you.” (Source: The Hidden Message of Music by Kraig Brockschmidt http://www.kraigbrockschmidt.com/the-hidden-messages-of-music/)

Throughout history there have been many songs written and sung about specific messages.  Songs about battles, songs of love, songs for peace, songs about hope, etc.  Look at many of our prayers, or think of the American National Anthem, the Canadian Anthem, or even Israel’s Anthem. Many of those messages have to do with peace (Shalom Rav; Oseh Shalom; Sim Shalom; etc.).  Regardless of the language, music helps to pass that message along to the listener, especially if the singer is conveying that message resoundingly through his / her artistry.

On May 30^th, 2019 – at Dix Hills Jewish Center (DHJC) we had our annual Cantor’s Concert.  We are living in a time fraught with violence, racism, and anti-Semitism.  The  theme for this concert was “Songs of Peace and Love”.  To help convey this important message we had four young talented Hazzanim from the Conservative Movement:  Cantor Bonnie Zakarin from Hewlett-East Rockaway Jewish Centre/Congregation Etz Chaim (HERJC); Cantor Ben Tisser from North Suburban Synagogue Beth El in Highland Park, IL; Cantor Sandy Bernstein from Temple Sholom in Greenwich, CT; and Cantor Asa Fradkin from Congregation Beth El in Bethesda, MD.  They were accompanied by the extremely talented Scott Stein on the Piano; Gaston Bernstein on Percussion; and Nathan Hevenstone (my son) on the Guitar.

Our song selections covered our Liturgy; Opera; Broadway; and even some Pop.  The focus of every piece of music was to convey to the listeners’ consciousness the themes of Love and Peace.  Through the artistry and talent of the performers we were able to take the message of love and peace to heart and pass that message along to others that we see and meet.

“Music is a fundamental channel of communication: it provides a means by which people can share emotions, intentions, and meanings. Music can exert powerful physical and behavioral effects, can produce deep and profound emotions within us, and can be used to generate infinitely subtle variations of expressiveness by skilled composers and performers, such that highly complex informational structures and contents can be communicated extremely rapidly between people. Music is something we do with and for other people.” (Source: How Do People Communicate Using Music by David J. Hargreaves, Raymond MacDonal* and Dorothy Miell – Musical Communication eds. D. E. Miell, R. MacDonald and D. J. Hargreaves – Oxford University Press [2005])

May the music of our hearts be filled with Peace and Love.  Know that in the future we will have more concerts at DHJC and I will be inviting more of my amazing colleagues to perform along with me on the “Bima”.  May the “Rhythm get us” and may our hearts continue to rise in song and glory.

“It is our duty to praise the Master of all, to ascribe greatness to the Molder of creation, for He has not made us like the nations of the lands…” (Source: S’dur Simchat Y’hoshua L’shabat V’Yom Tov, The Schottenstein Edition, pg. 122).  We say these words at the end of each and every service.  One might not recognize the words on the page, however when we say them in the Hebrew: “Aleinu L’Shabe’ach La’adon HaKol…” we are all familiar with the words.  The Aleinu is recited daily at the conclusion of Ma’ariv, Shachrit, and Minha services.  It is also a custome to recite it at a Brit Milah.

Initially the Aleinu was only part of the High Holy Day services utilized to introduce the Malchuyot Service in the Musaf Prayers.  In about 1300 C.E. it was brought into the daily services, where, along with the next paragraph of Al Kayn N’kaveh (“We hope therefore”) it became the closing prayer. The prayer was utilized as a closing prayer to be “…as a reaffirmation of the proclamation of G-d as Supreme King of the universe and of the Divine Unity.” (Source: The Encyclopedia of Jewish Prayer, Macy Nulman, pg. 24).

The authorship of the prayer is unknown, however some note Joshua, who upon the fall of the walls of Jericho penned the prayer.  Others note it  to the Amora Rav, who is the third-century Babylonian sage.  One other view of authorship is by the Men of the Greeat Assembly during the period of the Second Temple.  Regardless of authorship, the prayer is ancient in origin.

The main them of the Aleinu is G-d’s Kingdom.  “In the first part, God is praised for having singled out the people of Israel from other nations, for Israel worships the One God while others worship idols. The second paragraph expresses the fervent hope for the coming of the kingdom of God…” (source: https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/aleinu-le-shabbeah).

In the Aleinu we prostrate ourselves during the line: “Va’anachnu Cor’im umishtachavim umodim…” which can be translated as “And we bend our knees, and bow, and acknowledge our thanks…” (Source: S’dur Simchat Y’hoshua L’shabat V’Yom Tov, The Schottenstein Edition, pg. 123).  In some Synagogues Congregations open the Ark Doors for the recitation of the Aleinu.

The common melody utilized for Aleinu’s first paragraph is based upon common Ashkenazic melodic motifs.  The composer is unknown, some ascribing to Solomon Sulzer, however the melody is thought to be much older in origin.  The next section, Shehu Noteh Shamayim starts out with the same melody as the melody to the children’s song Itzy Bitzy Spider.

The Aleinu is one of the first prayers taught to students in Hebrew Schools, along with Ein Keloheinu and Adon Olam.  Here at Dix Hills Jewish Center I teach the Aleinu to students as young as the Prime Grades, which include Kindergarten through Second Grade.

A couple years back some of my students were at a weekday service with their parent, who was saying the Mourner’s Kaddish.  I was leading services and the students were singing behind me.  I asked them if they would like to lead the Aleinu and they enthusiastically said yes.  Hence was the beginning of the (Dix Hills Jewish Center) DHJC Aleinu Crew.  Now when I teach the Aleinu to students I tell them about our Aleinu Crew and that once they know the prayer they are welcome to join in leading that at all services.  I am happy to note that our Aleinu Crew at DHJC has been steadily growing.  These students lead the Aleinu at Shabbat Services, Friday Night, Shabbat Morning, and even Shabbat Afternoon when there is no Bar/Bat Mitzvah, and even on weekday evening Minyanim when they are in attendance.  After Aleinu the students participate in other prayers, V’Shamru; Ein Keloheinu, Adon Olam, and others.  This represents a great opportunity for students to not only participate and become comfortable leading prayers, but also learning how to pray.

As you come into my Synagogue (Dix Hills Jewish Center) on a Monday, Tuesday, Wednesday, or even a Thursday afternoon; you will find children in the building.  As you walk towards the Religious School wing you may hear these children vocalizing as they learn the Hebrew alphabet, repeating lines of prayers as they learn them, and chattering as they engage in activities in their classrooms.

In the Religious School our students are learning about their own Jewish Identity, not only outside of the Home, but also amongst their peers.  As an after school program, our teachers understand that not all lessons can be taught through lecture or reading.  As someone said – Learning can be fun!  In our school, some of these lessons involve arts and crafts activities.  I have fond memories, and I’m sure you do too, and learned more about the holidays in my Synagogue Religious School – whenever we worked on projects that depicted a specific holiday.  One that always has stuck out in my mind was a project we did for Purim in Dalet (4^th grade).  We were organized into groups of 4 students.  As a group, we had to decide together on a project that would show our knowledge of the Purim Story.

My group decided to write a play (not a musical!) on the Purim story.  We were going to create the sets, write a script, and put on our “play” for the class and the Rabbi.  The script was easy as we could reference the Megillah Esther – a simplified version was given to us as part of the Curriculum on the Holidays. Basically we used the text word for word, only changing it to more modern language.   The sets were created from Cardboard, paper, crayons, and other material.  The play could be no more than ten minutes since everyone in the class was presenting on the same day.   The projects would then be showcased at the early service for Purim just prior to the reading of the Megillah Esther.

During this process of creation, regardless of the project the groups chose, we learned more about Purim than we ever could by simply reading about it in a book, going to hear the Megillah Esther at Synagogue, or even learning it from our Parents or Grand-Parents.

The utilization of creativity has always been a great way to learn about our history. Building “edible dreidels” at Hanukkah, making spice bags for Havdallah, creating your own Miriam’s cup for Passover, are just a few examples of creative art projects throughout the Jewish world. Through this process our students are not only learning about the specific holiday, Shabbat, Israel, or Jewish living, but they are expressing themselves on a creative level, how they view these subjects within their lives, at that point and time.

This type of learning is referred to as Kinesthetic learning or tactile learning.  This is a learning style where learning takes place when students carry out physical activities.  Instead of listening to a lecture or watching demonstrations, the students become do-ers or active learners versus passive learners.  This style of learning is also referred to as hands-on learning.

Kinesthetic learning was defined and discussed in Howard Gardner’s Frames of Mind: The Theory of Multiple Intelligences.  In his book, Gardner notes activities – art project, dancing, even putting on plays and skits, as great ways to increase kinesthetic intelligence: “….using the body to create (or do) something.”

Even through our prayers we demonstrate Kinesthetic memory – for the Sh’ma we wrap our Tzitzit around our fingers and in the third paragraph we kiss those fringes every time we say the word tzizit.  We bow during the Bar’chu (call to worship) and also at other points in the service.  During the Torah Service – we do not just read from a book, instead we devote an entire processional and recessional to take out and read the Torah, then to return the Torah to the Ark.  All of this represents Kinesthetic Memory, which we develop in our early years through Kinesthetic learning.

One of the pleasures I have at DHJC (Dix Hills Jewish Center) is having my office in the Religious School wing.  If I am not with a student or a Congregant, I will work in my office with my door open so that I can hear the sounds of the students learning.  I can hear students reciting prayers, reading Hebrew texts, or just having discussions on Jewish topics.  It is amazing how much the students are doing and learning in just a couple of hours two times a week.

As you know, learning just doesn’t happen in the classroom.  Another great opportunity for Jewish learning within our community are the family programs we have at DHJC.  These programs are a way for the students to learn alongside their families and other families  – whether it is making Latkes for Hanukkah, or working on a Purim project, or a Shabbat encounter – these programs are an important part of the learning process and an important part of building our DHJC community.

One of these programs we are most proud of is the Class participation Shabbat services.  Throughout the year we had several of the classes take part in and even take leadership roles in Kabbalat Shabbat Services; Shabbat morning services, and Shabbat Minha services along with Havdallah.  These services are vital to the continued Jewish education.  At class Havdallah services in particular, some of our  teachers read the Torah so that they can be an example to there students.  This is a touching moment as they read from the Torah – the students are quiet and listen appreciatively as their teacher demonstrates reading from the Torah.

All this and more is done in Synagogue Religious Schools.  When you come into your Synagogue building, if you are there during Religious School hours, please stop by and observe, see how your children are learning, not only the Hebrew language, but their Jewish Values, the holidays, Shabbat, and living a Jewish life.  And when your see their teachers, or any of the teachers in the Religious School, or when you see the Education Director, remember to thank them for their hard work and dedication to our children who represent the future – L’Dor Vador.

Sh’ma Yisrael Adoshem Elokeinhu, Adoshem Echad.  These words are found in the Torah in D’varim 6:4.  Jews and non-Jews alike know this prayer.  For our young children it is one of the very first prayers taught. Did you know that the melody you are using is traditionally considered MiSinai (From Sinai) and was sung time immemorial by all the Jews beginning at Mount Sinai?  In reality, although the prayer itself is from those ancient times, the melody that is sung and taught today is less than 200 years old.  The United States of America is older!  The composer was Austrian born Hazzan Solomon Sulzer.  He composed this melody and others as part of his Shir Zion which was first published in 1840, when he was 36 years old.

During our morning service, before the Sh’ma is recited, we pray the Ahavah Rabah, which is translated as “With abundant love”.  We sing the Ahavah Rabah “…because of the verse that reads, ‘They [Your Kindnesses] are new every morning; great is Your faithfulness.’ (Source: The Encyclopedia of Jewish Prayer, Macy Nulman, pg. 11).  It’s like when someone says to you “It’s a new day!”.  In the evening service the prayer before the Sh’ma is known as the Ahavat Olam, which is translated as “With everlasting love”.  Ahavat Olam reinforces this intention in the verse “I have loved Thee with an everlasting love.” (Source: The Encyclopedia of Jewish Prayer, Macy Nulman, pg 12).

In the morning and in the evening we set up ourselves to be in the right frame of mind when saying the Sh’ma.  “The Sh’ma is an affirmation of Judaism and a declaration of faith in one G-d.  If you look around you may see people cover their eyes or lower their heads and close their eyes.  For many people this is a way to focus and listen to the simple prayer.  The obligation to recite the Sh’ma is separate from the obligation to pray and a Jew is obligated to say the Sh’ma in the morning and at night (D’varim 6:7).” (Source: https://www.jewishvirtuallibrary.org/the-shema).  When we sing the Sh’ma, starting with the Ahavah Rabah in the morning or the Ahavat Olam in the evening we utilize the melodies composed by Solomon Sulzer. Who knows if we will still be using these melodies for the next 200 years!    

The next section of the Sh’ma is the V’Ahavtah. And you shall love the L-rd “….your G-d with all your heart, with all your soul, with all your might.” (Source: Siddur Sim Shalom L’chol, pg. 33).  In this section we are taught to teach our children about our faith, about our love for G-d and about our traditions. Here you will notice a “change-up” tune and for the  V’Ahavtah we utilize Torah Trope, tying together through the melody not only all three of these prayers, but also ending with the melodic structure of chanting the Torah, thus bringing us back to the gift of the Torah to the Jewish People.  Now we are prepared to hear the words of Torah and understand them in our hearts.

As we tie the Sulzer Melody, which has become ingrained into our collective musical souls, to the familiar chanting of the Trope, we become part of a beautiful tradition that started with Revelation.  We close our eyes during the Sh’ma to help us listen, not only to our collective voices singing together, but also to hear G-d within our community.  Next time you are in Synagogue, whether during a daily Minyan, a holiday, or a Shabbat service, join us together as we sing the Ahavah Rabah / Ahavat Olam, the Sh’ma, then the V’Ahavtah.  As our voices join together and become one, we recognize that the L-rd our G-d is One.

“Master of the universe who reigned before any form was created.  At the time when His will created all things, then as “King” His Name was proclaimed…” (Source: The Schottenstein Edition Siddur for the Sabbath and Festivals, page 129).  We say these words in Hebrew at the end of our Shabbat Services on Shabbat Morning and even most Friday Evenings.

The Adon Olam is a short piyut or poetic hymn which was incorporated into the Shachrit service in the 1500s, however it has been a part of the Liturgy since the 1400s. There are several authors credited with composing the Adon Olam including Solomon ibn Gabirol, Rav Sherirah Gaon, and Rav Hai Gaon to name a few.  Adon Olam initially was used as an introduction to the morning service and also as a closing prayer.  In the Moroccan tradition it was used as a wedding song.  Not only chanted at weddings and services, Adon Olam has also been recited prior to going to sleep and even chanted at deathbeds.

“The hymn glorifies the supremacy of G-d, His omnipotence, and His providence.” (Source: The Encyclopedia of Jewish Prayer by Macy Nulman, Page 7).  There are a variety of different versions of Adon Olam.  For example, the Ashkenaz version has 10 lines or 6 stanzas, while a Sefardic version has 14 lines or 7 stanzas.  Both versions focus on the same themes of the Eternal and our faith in the providence of G-d.  Other lines connect us to the Psalms in different ways.  “Adon Olam references some of the most famous lines in Psalm 23. Where the Psalm says, ‘I fear no evil for You are with me,’ Adon Olam repeats, ‘G-d is with me, I have no fear.’ Where the psalmist exalts that ‘my cup runneth over’ Adon Olam refers to G-d as ‘my cup of life.’ (Source: Adon Olam A Short Hymn that Summarizes the Jewish Understanding of G-d, https://www.myjewishlearning.com/article/adon-olam/)

The opening word of Adon means Master or L-rd which was first Spoken by Avraham in B’reishit Chapter 15 Verse 2, “But Abram sad, ‘O L-rd G-d, what can You give me…’” (Source: Etz Hayim Torah and Commentary, Page 82).   In this section Avraham is reminded that he remains childless, even though he was promised that his children shall inherit the land that he sees, then who but Eliezer, his servant, should inherit all his wealth.  It is at that point that G-d once again re-affirms his promise to Avraham, thus re-affirming Avraham’s faith and trust.

Next to the Sh’ma the Adon Olam is one of the most well-known and beloved prayers.  Due to the nature of the piyut it can be sung to almost any melody.  To name a few more popular tunes –  Gilligan’s Island, Yankee Doodle, Take Me Out to the Ballgame, Frozen, Broadway Songs, Yiddish Songs, Patriotic Songs,  Beatles songs, Operas and so many others.  What is your favorite tune for Adom Olam?  When we have a Bar or Bat Mitzvah, many times family members will join together on the Bima and lead the Congregation in Adon Olam.  When there is no Bar or Bat Mitzvah many times students from our Religious School will join us on the Bima and lead our DHJC Community in Adon Olam.

As we join together and sing the various melodies let us take some time to ruminate upon the meaning of the words and how they can connect us, not only to each other, but to our faith in G-d.

Jewish Music has a fascinating history.  Depending on where the Jews have settled, our music has been influenced by the surrounding culture, while at the same holding onto much of our traditional melodic and liturgical practices.  One of the areas that I have begun researching is the Jews of Italy and their musical traditions.

Did you know that Jewish people have a long history in Italy originating over two thousand years ago.  The music of the Jewish people in Italy has three distinct influences: “…Italian, Ashkenazi and Sephardic traditions, with Italian musical culture and its innumerable cultural, regional and linguistic differences.” (Source: ON THE MUSIC OF THE JEWS OF ROME – Francesco Spagnolo, University of California, Berkeley) I learned on the Cantors Assembly Mission to Spain in 2016 that Sephardic Jews from Spain emigrated to Italy and Greece to escape the Inquisition.

Most of us are familiar with Italian music as Opera, sung by amazing voices with power and passion.  And so liturgical music followed with many compositions written in the Operatic style.  As Jewish music developed in Italy during the time of the Haskalah (Emancipation) in the 19^th Century, Cantors and lay composers began creating amazing choral repertoires and even adding instrumental music to the prayer experience.

The music of the Synagogue was not the only place where the Jews had their presence felt.  Jewish musicians were active during the late Renaissance / Baroque period.  After the Haskalah, Jewish performers and composers became involved with Opera and even composed operettas. Some served at court as concert masters where they entertained Dukes and their guests.

Much of the origins of the Italian music culture can be found in the works of Salamone Rossi, an Italian Jewish composer and violinist (ca. 1570 – 1630).  Rossi is unique because he not only composed and entertained for court, he also wrote Jewish liturgical compositions using popular music of his time (Baroque), and using the Hebrew language.  His music represents the blending of the Italian Musical style during that time period and the liturgical style of the Synagogue.

By the beginning of the 20^th century Jewish involvement in the Italian music scene became prominent, including musicologists, ethnomusicologists, performers, and music historians, several of whom taught in universities.  Unfortunately, by the late 1930s Mussolini’s regime enacted strong Anti-Semitic laws, which forced the Jewish presence out of the general Italian musical community.  Many of the composers of the time fled Italy and only a few of the families returned.

Though we have a lot of records of the music of the Jewish people in Italy, much of the creativity came to a sudden halt during the time of the Holocaust.  After the Holocaust there has been a reconstruction of Jewish communities and their liturgy in Italy.  Much of this was done via recordings, public performances and education.  There was a strong oral musical tradition that kept Italian Jewish Music alive during troubling times.

Much of the work created by Jewish composers, not only in Italian music but also Liturgical music was lost during this period.  Only now, through research are we finding out names of many of these composers, performers, and musicians, and their musical works.

Join My wife Kathy and myself in 2021 – June 28 – July 8 along with the Cantors Assembly through Ayelet Tours as we take a Journey to Italy.

Why is this Passover different from all other Passovers?

Maybe this should be the fifth question that we ask. Normally we are getting the house cleaned, tables set, food prepared, Afikomen Gifts, and so on. We are getting set for a Passover Seder with family and friends in attendance. We are looking forward to the telling of the story of our journey to freedom from being slaves in Egypt, and how G-d through Moses leadership leads us on that journey.

However this year we are slaves once again – not to a Tyrant like Pharoah, but instead we are slaves to a nasty Pandemic: Covid – 19. This is unlike anything we have seen in our lifetimes. Sure, SciFi Channel has plenty of fantasy shows and movies about Pandemics, but as we can see it is not like our current reality.

We should now be looking to who our Moses is? Who will take up that Mantle and help to free us from this “Slavery”. Instead of one Moses, there are several. They are the EMTs and First Responders, they work for the CDC and WHO. They are the scientists, the Doctors, the Nurses who are working tirelessly to find a cure, a vaccine, a way to stop Covid – 19 from spreading. They are those who are on the front lines who deal with the repercussions of this Pandemic.

Our Aarons and Miriams are the delivery people, mail people, workers who put their own lives on the line to make sure that those of us stuck in the Slavery of Quarantine have what we need to get by. They are the Tech Companies and their employees who keep the portals running like Zoom, Google Classroom, and others that keep us connected – if not physically, then through a virtual reality where we can see and hear each other. Though not perfect, it gives those of us in isolation the ability to connect with each other.

Like the Ancient Hebrews who crossed the Sea of Reeds to escape to Freedom, we too will have our Sea of Reeds which we will cross. And like the ancient Hebrews we will not be the same after this experience, but instead we will be stronger, we will come out of this Pandemic – reborn into a new people, a people who will have an appreciation for each other and for our lives.

May our Seders this year – albeit in isolation, though broadcast through a Virtual Medium – bring us joy, song, and an appreciation for each other.

Every High Holy Day we sing the Un’taneh Tokef Prayer as part of the Musaf Amidah.  The basic meaning of this prayer is: “Let us describe the power of the holiness of this day, for it is awesome and fearsome…You will open the Book of Remembrances, and it will be read by itself, and the signature of every person is within it…On Rosh Hashanah it will be inscribed, and on the day of the fast of Yom Kippur, it will be sealed how many will pass away, and how many will be created, who will live, and who will die…but repentance, prayer and charity nullify the harsh sentence…”

The Un’taneh Tokef Prayer was written approximately one thousand years ago.  Because of the dramatic and moving imagery it also was including during the Yom Kippur service.  This powerful prayer was intended to evoke a sense of trepidation and awe as we stand before G-d’s throne for judgment.  As if all of humanity passes before G-d like sheep beneath the staff.

Not only does this prayer describe the frailty and transience of humanity, and the fear that we should feel, it also notes G-d’s supreme mercy, noting that by changing one’s heart and life will overturn even the most severe decree of punishment.

The Un’taneh Tokef is recited prior to the Kedusha prayer focusing on Divine Judgement.  There are four paragraphs to the Un’taneh Tokef.  This them of divine decree comes in part to a Talmudic Teaching:

“On Rosh Hashana, three books are opened [in Heaven] – one for the thoroughly wicked, one for the thoroughly righteous, and one for those in-between. The thoroughly righteous are immediately inscribed clearly in the Book of Life. The thoroughly wicked are immediately inscribed clearly in the Book of Death. The fate of those in-between is postponed from Rosh Hashana until Yom Kippur, at which time those who are deserving are then inscribed in the Book of Life, those who are undeserving are then inscribed in the Book of Death.” (T.B., Rosh Hashana 16b)

As a token of this belief, the common greeting on Rosh Hashana is Leshana tovah tikatev – “May you be inscribed for a good year.”

Leonard Cohen was inspired by this prayer to create a song “Who By Fire” after singing in front of Israeli Soldiers in the Frontier in the Yom Kippur War in 1973.

The lyrics to this power song reflect Leonard Cohen’s Feeling on this powerful Prayer:

“And who by fire, who by water, who in the sunshine, who in the night time,
who by high ordeal, who by common trial, who in your merry merry month of may,
who by very slow decay, and who shall I say is calling?

And who in her lonely slip, who by barbiturate, who in these realms of love, who by something blunt,
and who by avalanche, who by powder, who for his greed, who for his hunger,and who shall I say is calling?

And who by brave assent, who by accident, who in solitude, who in this mirror,
who by his lady’s command, who by his own hand, who in mortal chains, who in power,
and who shall I say is calling?”

As we hear the sound of the Shofar and the Prayers of the High Holy Days, let us remember to reflect, not only about the people we have been over the past year, but also on how we can be better people for the next year of 5777.  From my wife Kathy, and our Sons Nathan and Aaron we want to wish all of you Leshana Tovah Tikatev – “May we all be inscribed for a good year.”

Attending a shiva call (comforting a Jewish mourner) is one of the most meaningful acts of condolence. In Judaism, we are taught that when a member of our community feels the pain of loss, we are obligated to be there to provide comfort and solace. Each shiva is different, depending on the traditions and beliefs of the mourning family and the nature of the loss. The primary purpose of entering the home of Shiva is to be a menachem avel (a comforter of the bereaved). This is a wonderful mitzvah for the person leading the service, and also gives the mourner the feeling of support and comfort.

It is for this reason a Minyan of Comfort program is being held in Dix Hills, NY. A joint project of the FJMC (Federation of Jewish Men’s Club) and the Cantors Assembly, the program is designed to provide volunteers with the needed ritual and social skills to lead a shiva service in a meaningful and comforting manner. The program addresses the different comfort levels of mourners, desired logistics to create the appropriate mood, and customs that take place at the conclusion of shiva.

I am currently teaching a program that involves attending five 1-hour classes. The course involves a discussion of customs, including students’ own experiences and understanding of the shiva experience. It is necessary to know Hebrew, as the students will be learning the prayer service. They also learn the difference between a shiva prayer service and a regular prayer service. In order to gain a better understanding of the prayers, students learn and chant nusach (proper motifs for the specific service) specifically written for the shiva minyan prayers.

I believe practice really helps in this class. It gives the student more confidence in their own ability to be a leader and to bring comfort to mourners in a meaningful way. To gain practical experience, all students are asked to stay after class for the evening prayer service so that they can practice their newly developed skills. At first they observe and listen, but the goal is by the end of the program that the student feels comfortable enough to lead. At the end of the course, the students receive a certificate of completion signed by both the president of the FJMC and the Cantors Assembly.

The program was first developed in Chicago. The idea was taken from the book “A Minyan of Comfort” by Sidney Greenburg, published in 1996. The program was piloted in the Midwest Region of the FJMC in November 2014 by the Men’s Club of Congregation Beth Shalom under the direction of Hazzan Steven Stoehr and the Men’s Club of Congregation Beth Judea under the direction of Hazzan Roger Weisberg.

I was first approached about the program by Rabbi Chuck Simon of the FJMC at a NY Region Meeting. After speaking with Rabbi Simon and current president Aaron Altman of the Dix Hills Jewish Center, I contacted Hazzan Steven Stoehr to find out more about the program and what was needed to implement it at the Dix Hills Jewish Center.

There are wonderful booklets provided for the program which are available at the FJMC Website called “Creating a Minyan of Comfort”. These booklets provide a step-by-step tool to aid the student towards the goal of becoming a lay shiva leader. At the Dix Hills Jewish Center both men and women take part in the class.