Days of Awe: Music for the Jewish High Holy Days; Part 2

Lewis Lewandowsky was a major composer of the early 19th century reform movement. He pioneered and championed the role of the choir, Zuccotti Park. I remember for the speaks of the relationship between God and the Jewish people, Lewandowski quiet choral arrangement evokes an introspective mood. The same mood is captured in Vaja Gain, written some 100 years later by Leo Rosenbluth. Verheugen is part of the Haski Venu Prayer. The sound of Virgine is so specific that it can be used appropriately only on the high holy days. It's the music that creates the sense of specific time and purpose. First, we'll hear Zohar de La performed a cappella by Cantor Blumenthal and the Choir of the Netherlands Jewish Main Synagogue of Amsterdam, followed by Vaja Gain of Leo Rosenbluth, performed by the Chamber Choir of the Royal Conservatory of Stockholm, conducted by Erick Erickson. Or you may go there for

any cause. Oh, love. So they. So. You is more. Oh.

Oh. Oh, really? Oh, uh. Walls. Bullimore. Oh, yes. Also.

Oh. Oh, he was lucky because he's. Many. Oh. Oh, yeah. And.

So. O o o o o o o. No. Oh, oh. Oh, my. Oh. Oh.

More from. They.

Like Leo Rosenbluth, who we just heard, and many other Canters, Benji Schiller is also a composer. The goal in my composition is to find a level of difficulty and style that both is accessible and understandable, but maintains the integrity that I feel Jewish music should always maintain.

The Viennetta you comes at the point in the service where both in Rosh Hashanah and Yom Kippur were ending the service and we end on a high. All the world shall come to serve. You will God and bless your glorious name. They shall come from the ends of the Earth to praise you. New York for me. Sarkozy. Run by the.

Oh, oh oh oh oh from the. Oh. He made this move quickly called.

Oh, oh oh oh oh oh oh oh oh, you

oh. Oh. We need. Maybe from. Cantor Benji Allen Schiller singing her setting of Tallou, accompanied

by Joyce Rosenzweig. Rosh Hashanah, the Jewish New Year for Jews throughout the world, the music of Rosh Hashanah heightens emotions, spirituality and reverence for God. What I sense is that in this period of time approaching the 21st century, we are in a period of searching for who we are and our music reflects that. We are in a transition period and Jewish music and in American Jewish life, and that we're not exactly sure what form I should take. And the music reflects this searching and this diversity. You're listening to days of your music for the Jewish High Holy Days, written and produced by Judy Fertig, engineered by Gregory Keller. The executive producer was Michael Crane. The shofar was blown by BW Deong and by Rabbi Arnold M.

Fertig. Funds for the production of this program come in part from the Jacob and Rose Olum Foundation. Support for the national distribution of days of oil comes from the American Public Radio Program Fund, whose contributors include the Ford Foundation. I'm Gregory Keillor on Rosh Hashanah. It's customary to say Lassana Tova tickety boo. May you be inscribed for a good and sweet year. API, American Public Radio. You're listening to Days of Awe ;Music for the Jewish High Holy Days, written and

produced by Judy Fertig, engineered by Gregory Keeler. The executive producer was Michael Crane. The shofar was blown by BW Deong and by Rabbi Arnold Comforting. I'm Gregory Keeler. As the saying goes, Lassana Tova Tigertail, who may we all be inscribed for a good and sweet year.