1920 Chazzan HAZZANUT POSTER Vienna SYNAGOGUE Jewish LEWANDOWSKI SULZER FRIEDMAN

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285686516647 1920 Chazzan HAZZANUT POSTER Vienna SYNAGOGUE Jewish LEWANDOWSKI SULZER FRIEDMAN. DESCRIPTIONHere for sale is an EXTREMELY RARE ca 100 years old advertising POSTER , Annoncing the forthcoming HAZZANUT - CHAZZANUT CONCERT in the SYNAGOGUE of VIENNA - AUSTRIA by YESHAYAHU GUTMAN , the CHIEF CANTOR  ( Hazzan or Chazzan ) of the Jewish Sephardi Congregation of VIENNA . Estimated year ca 1920's. GUTMAN was presenting recitatives by  LEWANDOWSKI , SULZER , FRIEDMANN among others. I wasn't able to find any additional information regarding GUTMAN. Original poster.  9 x 14 ".  Very good condition for age . Clean. One central fold. Tiny crerases in margins.  ( Pls look at scan for accurate AS IS images ) . Will be sent inside a protective rigid packaging .    AUTHENTICITY : This is an ORIGINAL vintage ca 1920's POSTER . NOT a recent reproduction or a recent reprint or recent edition  , It holds life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.   PAYMENTS : Payment method accepted : Paypal & All credit cards . SHIPPMENT : SHIPP worldwide via registered airmail $ 25  . Will be sent inside a protective rigid packaging . Handling around 5-10 days after payment. A hazzan or chazzan (Hebrew: חַזָּן‎ ħazzān, Modern Hebrew hazan, Yiddish khazn) is a Jewish cantor, a musician trained in the vocal arts who helps lead the congregation in songful prayer.[1] There are many rules relating to how a cantor should lead services, but the idea of a cantor as a paid professional does not exist in classical rabbinic sources. The Jewish prayer services have their own entry; the prayers in these services are collected in a prayerbook known as the siddur. The person leading the congregation in public prayers is called the sheliach tzibbur (Hebrew for "emissary of the congregation"). Traditional Jewish law restricts the role to Jewish males over the age of 13; but today all types of Judaism except for Orthodox Judaism allow women over the age of 12 to have this role as well. Conservative Judaism, Reform Judaism, Reconstructionist Judaism, Jewish Renewal, and Humanistic Judaism ordain both men and women cantors and rabbis as full clergy. See also: Cantor in Reform Judaism. In theory, any lay person can be a sheliach tzibbur; most synagogue attending Jews will serve in this role every now and again. In practice, those with the best voice and the most knowledge of the prayers serve much more often Growing importance The office of the hazzan increased in importance with the centuries. As public worship was developed in the Geonic period, and as the knowledge of the Hebrew language declined, singing gradually superseded the didactic and hortatory element in the worship in the synagogue. Qualifications Even in the oldest times the chief qualifications demanded of the hazzan, in addition to knowledge of Biblical and liturgical literature as well as the prayer motifs (known as "steiger"), were a pleasant voice and an artistic delivery; for the sake of these, many faults were willingly overlooked. The hazzan was required to possess a pleasing appearance, to be married, and to have a flowing beard. Sometimes, according to Isaac of Vienna (13th century), a young hazzan having only a slight growth of beard was tolerated. Maimonides decided that the hazzan who recited the prayers on an ordinary Sabbath and on week-days need not possess an appearance pleasing to everybody; he might even have a reputation not wholly spotless, provided he was living a life morally free from reproach at the time of his appointment. But all these moderations of the rule disappeared on holidays; then an especially worthy hazzan was demanded, one whose life was absolutely irreproachable, who was generally popular, and who was endowed with an expressive delivery. Even a person who had once litigated in a non-Jewish court, instead of to a Jewish court, in a disputed question could not act as hazzan on those days, unless he had previously done penance.[2] However many authorities were lenient in this regard and as long as a cantor was "merutzeh l'kehal" desired by the congregation, he was permitted to lead the prayers even on the holiest of days. Today, a hazzan, particularly in more formal (usually not Orthodox) synagogues, is likely to have academic credentials, most often a degree in Music or in Sacred Music, sometimes a degree in Music Education or in Jewish Religious Education or a related discipline. The Doctor of Music degree is sometimes awarded to honour a hazzan. Although traditionally a hazzan was always a man, today a woman can be a hazzan (also called a cantor) in all types of Judaism except for Orthodox Judaism. Barbara Ostfeld-Horowitz became the first female cantor in Reform Judaism in 1975 [1], and Erica Lipitz and Marla Rosenfeld Barugel became the first female cantors in Conservative Judaism in 1987; they were ordained at the same time [2]. Sharon Hordes became the first cantor of either sex (and therefore, since she was female, the first female cantor) in Reconstructionist Judaism in 2002 [3]. Avitall Gerstetter, who lives in Germany, became the first female cantor in Jewish Renewal in 2002. Susan Wehle became the first American female cantor in Jewish Renewal in 2006; however she died in 2009 [4]. Three female Jewish Renewal cantors have been ordained after Susan Wehle's ordination- a German woman (born in Holland) named Yalda Rebling who was ordained in 2007 [5], an American woman named Michal Rubin who was ordained in 2010, and an American woman named Abbe Lyons who was ordained in 2010 [6]. In 2001 Deborah Davis became the first cantor of either sex (and therefore, since she was female, the first female cantor) in Humanistic Judaism; however, Humanistic Judaism has since stopped graduating cantors [7]. As of 2007, the Hebrew Union College-Jewish Institute of Religion, which is the main seminary for Reform Judaism, had ordained 184 women cantors.[3] Professional status The role of hazzanim (Hebrew plural of hazzan) as a respected full-time profession has become a reality in recent centuries. In the last two centuries Jews in a number of European communities, notably Germany and Britain, came to view professionally trained hazzanimas clergy and the hazzan as the deputy rabbi. After the enlightenment, when European nations gave full citizenship and civil rights to Jews, professionally trained hazzanimwere accepted by the secular governments as clergy in the same way that rabbis were accepted as clergy. In an interesting turn of events, the United States government recognized cantors as the first Jewish clergy, even before rabbis were recognized - as a congregation could be organized and led by a committee of Jewish "laymen," who would not have the expertise in liturgy a hazzan would have, newly forming congregations in the late 1800s and early 1900s sometimes hired a hazzan for a synagogue (and made sure that a kosher butcher was established in the neighborhood) for some time before setting about hiring a rabbi, seeing the hazzan (and the butcher) as a more immediate need. The hazzan therefore solemnized marriages and otherwise represented the congregation in the eyes of civil authorities. In the United States, many hazzanim supplement their ministry by also earning certification as and working as mohels, for bris ceremonies. In the USA there are three major organizations for professionally trained hazzanim, one from each of the major Jewish denominations. American Conference of Cantors - Reform Judaism[4] Cantors Assembly - Conservative Judaism[5] Cantorial Council of America - Orthodox Judaism[6] Many members of the Cantors Assembly are trained at the Jewish Theological Seminary of America's H.L. Miller Cantorial School and College of Jewish Music. Many members of the American Conference of Cantors are trained at the School of Sacred Music at Hebrew Union College - Jewish Institute of Religion, School of Sacred Music (New York) Reform. Both of these programs offer a five year training program. Members of the Cantorial Council can train at the Philip and Sarah Belz School of Jewish Music at Yeshiva University in New York City. The curriculum for students in these programs generally include, but are not limited to: Hebrew: modern, Biblical (Torah), and liturgical (Siddur) Learning nusach (liturgical tradition) Learning the laws and traditions pertaining to Jewish prayer service The history and content of the siddur Music theory, sight-reading sheet music Learning an instrument, usually a piano or guitarSinging technique Cantillation - tropes for the liturgical chanting of biblical books Choral Conducting Jewish history Tanakh (Hebrew Bible, or Old Testament) Jewish music history Pastoral care and counseling Theology Golden age The period between the two World Wars is often referred to as the "golden age" of hazzanut (cantorial performance). The greats include Zavel Kwartin (1874-1953), Moritz Henle (1850-1925), Joseph "Yossele" Rosenblatt (1882-1933), Gershon Sirota (1874-1943), and Leib Glantz. In the Post World War II period, prominent cantors were Moshe Koussevitzky, David Werdyger, Richard Tucker and Abraham Lopes Cardozo (1914-2006). Operatic tenor Jan Peerce, whose cantorial recordings were highly regarded, was never a cantor by profession but he often cantored during the high holidays. Popular contemporary cantors include Naftali Hershtik, Joseph Malovany, Shmuel Barzilai, Yitzchok Meir Helfgot, and Benzion Miller. See also Chazante Rabbi Judaism Siddur Jewish services Syrian Cantors Academy for Jewish Religion The Reform Jewish Cantorate during the 19th Century   **** 1860 – November 1938 by Yaacov M  Koren, (Korn) Introduction Until today, to the best of my recollection, the Jews of Vienna are not mentioned in any community Holocaust Memorial book, although it was one of the largest and most important communities in Europe to be destroyed in the Holocaust. In memory of the Cantors of Vienna, of whom my father Usher Korn Z”L was one, and in memory of his Cantorial teachers, led by the outstanding Cantor Emanuel Frankel H”YD, I felt it right to record some of the material that I have in my possession on the subject. I will briefly review the world of Chazanut in Vienna during this period as well as the centrality of Judaism in Europe, a world that was cut off because of the Holocaust and never recovered in that city. In those glorious days at the beginning of last century, this was the third largest community in Europe. It was a model of organisation in which there were ninety beautiful synagogues as well as dozens of study houses, and Chassidic courts. In this orderly community there were rabbis, teachers and fine institutions. However, as has been said Chazanut, Jewish liturgical music, had a particularly special status there. There were many reasons that brought about the prominence and importance of Chazanut in the Jewish life of Vienna, and for its senior and influential position in the world of Chazanut from the mid-nineteenth century until November 1938, Kristallnacht. They are mainly as follows: Its geographic location, and the attractiveness of Vienna in central Europe, (but close to the east), which influenced Jews to live in the city and to join the community, and there were many factors, especially socio-economic ones, which meant the possibility of better Jewish life. The fact that the community was very mixed. It was largely, composed of those who had been naturalised recently and had come from the periphery of Austro-Hungary and Eastern Europe. They were already lovers of Chazanut, and they integrated into the organized community. It was a large community that developed over fifty years to become the third largest in Europe. The influence of the activities of Cantor-composer Solomon Sulzer in Vienna (1804-1889), and his students, who integrated the Eastern European Chazanut with that of Central Europe. Sulzer created a new and attractive style, and influenced by him, Vienna became the centre of Chazanut, the place to which many European Chazanim – including from Eastern Europe – came to learn from him and his students. The standard of music, especially opera, in the city meant that the opportunities to study music and singing at the highest level, with the finest singing teachers, was very attractive to young Chazanim The respected status of Chazanim as the recorders of the performers of respectful prayer in the synagogue (promoted by Sulzer and his followers). Good, orderly working conditions and a well- organised hierarchy Owing to the large Jewish population there were many synagogues for the choirs, singers, and conductors of choirs. There was a huge community (approximately 220,000 Jews in 1920, 11% of whom lived in Vienna). Before the Holocaust, the city had about 50 synagogues, and roughly a further 100 smaller places of worship. The community and synagogues employed more than 200 Chazanim, of various grades: Chief Cantor (“Ober Kantor”), Cantor, Second Cantor, as well as professional choristers who trained to become Cantors. Most synagogues had choirs, led by famous conductors and composers. The Community Board kept watch to ensure that the prayer rites accorded with agreed Orthodox practice (in Vienna Reform was not permitted, as it was in Germany and Hungary), the duration of the service, its accuracy and so on. The Status of the Cantor in the synagogue in Vienna The Cantor held a senior status in the religious life of the community. The majority of Jews in the city came from the Austro-Hungarian Empire, Eastern Europe, Galicia, Hungary, Slovakia, Czechoslovakia, Moravia, the Carpathian region, Romania, Bukovina, as well as the established Viennese etc. The city had a combination of modernisers, Orthodox, and Charedim, and the Chief Rabbinate produced a modern style of Orthodox prayer (a “reform” compromise agreement had already been rejected by the community in the nineteenth century). There was an independent Charedi community in the city which did not compromise with the community, whose members were mainly immigrants from Hungary. It is no wonder that in the city there was the greatest concentration of Chazanim in their generation. Some had already come to Vienna, in the 19th century to study with Sulzer (like Cantor Pinchas Minkowski from Kherson, Joshua Abras from Odessa and Baruch Leib Rosovsky the famous Cantor from Riga). Salomon Sulzer As pointed out earlier, the Cantors who gathered, in the city came largely from the Austro-Hungarian Empire and Eastern Europe. Here, in accordance with local custom and, community practices, they were obligated to restrain themselves, and not to indulge in free Cantorial improvisation. The Jewish press in Vienna, published advertisements for communities, especially in Central Europe and the Austro-Hungarian kingdom, offering jobs for cantors, stating the necessary qualification to serve as Cantor in Vienna. Cantors’ Association In 1881 (5771), an organization of Chazanim of the Austro-Hungarian Empire was founded by Solomon Sulzer. It was a valuable, professional organization which produced a newspaper that dealt with professional issues relating to Chazanim, subjects relating to Judaism and organizational matters. The editor of the newspaper was Cantor Jacob Bauer who himself had a huge knowledge of Chazanut and music.  After the paper ceased activity in 1908 many issues relating to the Cantorial world were raised in the newspaper Die Warheit. Bauer served as cantor in the ‘Turkish’ synagogue which was comprised of immigrants from Spain. They participated in the revival of their traditional Nusach, and made adjustments acceptable to Vienna while preserving Spanish traditions, (with choir conductor and Cantor Isidore Levitt). The honorary chairman of the organization was Solomon Sulzer, and its first president was Cantor Joseph Singer, Sulzer’s successor in the Seittenstetten synagogue. Cantor Josef Singer In the twenties Cantor Isidore Levitt was elected president of the organization (the honorary chairman was Cantor Jacob Bauer), and from 1930 the position was held by Cantor Leib Miller, one of the leading composers and cantors. The permanent President of the organization was the famous cantor, Emanuel Frenkel. These were the last to hold these roles in the organization whose operation ceased on Kristallnacht in November 1938, when synagogues were destroyed and the religious life of the community was devastated. Synagogues in Vienna From 1860, when emigration of Jews from the Empire to Vienna became possible, the numbers of Jews grew in large numbers and at the beginning of the First World War (1910-1914) they constituted approximately 10% of the city. They were mostly concentrated in the second district, where they had a prominent presence. In this district they built several synagogues during the last 30 years of the nineteenth century and they erected synagogues in almost all the districts of the city. Until the Holocaust there were dozens of synagogues and dozens of houses of prayer “Kloizim” (prayer rooms) and minyanim. In the first district, the first and most important synagogue in the city was built in 1826 in Seittenstetten Street. This was a ‘Cathedral synagogue’ which also served as a community centre, the place of the Rabbanut and where the chief rabbis work to this day. The Temple on Seitenstattingasse Solomon Sulzer worked here, followed by his pupil, the Hungarian born Cantor Joseph Singer, who died in 1912. After him was Chazan Dan (Don) Fuchs, cantor and opera singer, (1871 – 1928), who is remembered for his powerful voice. At the end of World War he moved to the United States. Next was Cantor Moritz Bernard Kaufmann, born in Kiev in 1878. He was a soloist in the choir of the Synagogue in his city, and on the initiative of Baron Rip he went to Lemburg to study Opera. Following a career as an operatic tenor in Lemberg and Prague, he turned to Chazanut in Prague, and was asked by the community to serve as a cantor in Vienna in the Ottakring Synagogue and then he was appointed to the post of chief cantor in the “Stadt Temple” (City Hall). He was a combination of perfect musician, with an outstanding tenor voice and he was an exceptional Chazan. Sadly he died before the age of fifty on Passover eve in 1927. After him they appointed as chief cantors, Joseph Heinrich Fischer (born in Hungary) in 1886, Mathias (Matityahu) Matyas who died in Theresienstadt. The Chazan Sheni was Marcus Balaban who was also taken to Theresienstadt. From 1894, and for forty years unt ilhis retirement in 1934, the choir conductor was Joseph Tzilnik. He conducted great choirs of men and boys, until he retired in 1934. A competition was held and he was replaced by Kurt Fuchsgelb, a talented young man, born in 1907, a musician, and well-known violinist. The Synagogue was partially destroyed on Kristallnacht 9-10 November 1938, but because of its location between the crowded houses in the first district, it was not burned like the rest of the city’s synagogue. The synagogue was renovated, restored and rededicated in 1946, and Cantor Shmuel Barzilai currently serves as Chazan. The synagogue operates a small choir. The Vienna Great Synagogue on Leopoldstrasse The ‘Vienna Great Synagogue’ was established in the second district in “Leopoldstadt”. It was built in 1858 on Tempelgasse 2 and known as the “Leopoldstadter” Temple. This great and splendid Synagogue was the largest in Vienna, containing 2294 seats and 1500 standing places. It was built in a Moorish style by the architect Ludwig von Forster who also built the “Dohany” Synagogue in Budapest in a similar style. The rabbis of the “Leopoldstadter” synagogue were Adolf Jellinek, Moritz Gudemann, Adolph Schmiedl, Max Grunwald, and Israel Taglicht. They were all prominent preachers and scholars. The Synagogue also contained the communal library which published a wealth of books, and also contained many rare volumes. The Mikveh (ritual bath) was there as well as a communal hall and lodgings for the people who worked in the community. The Synagogue was badly damaged by a fire that broke out in the summer of 1917, after the prayer for the Jewish soldiers who were there. The restoration of the building continued until 1921. The synagogue resumed its activities with the assistance of a special fund held in the community with the help of a special community budget. Famous Cantors also officiated in this synagogue. The first, from 1867, was Joseph Goldstein, one of the leading cantors in Vienna of that generation, who was born in Hungary, 1836. He was the composer of a collection of ‘old style’ cantorial pieces called “Songs of Yeshurun”. He died in 1899. He was followed as Chief Cantor by Bella Benjamin Gutmann, a native of Hungary, who only served there for a short time before he became ill and died. After him Joseph Morgenstern, a native of Uman Ukraine, was appointed. He served as chief cantor in the Leopoldstadt synagogue, for 12 years, from 1911, and became known as one of the important Chazanim. In 1927 Gershon Margulis, from a family of rabbis and cantors, was appointed chief cantor. He was born in Lithuania, (from 1912 he served as a cantor in Vienna), and Leo Funke, (Finkelstein) – who died in the Holocaust – served as his deputy. He was also a veteran and experienced Chazan. Funke was appointed chief cantor after Gershon Margulis left for London, after Kristallnacht. Cantor Gershon Margulis                                                                                  Cantor Bella Guttman   Cantor Joseph Goldstein   Leo Funke at ceremony to honour Herzl This synagogue employed a professional choir. From the end of the nineteenth and in the early twentieth centuries Julius Hyman served as choir conductor and his, son Rudolf, was a member of the choir. In 1904, when his father died he succeeded him in conducting the choir, (Rudolf Hyman perished in the Holocaust, in Auschwitz). This synagogue, was a source of pride to the Jews of Vienna, most of whom lived in the second district. It was notable for its beauty and its size and it became the ‘Great Synagogue’ in the city. Most of the large community events including concerts with huge audiences and the greatest cantors were held there. On Kristallnacht (November 9, 1938), the synagogue was destroyed, together with the other synagogues in Vienna. Invitation to the 50th Jubilee of the establishment of the Leopoldstadt Temple Chief Rabbi Max Grunwald Rabbi Moritz Gudeman In the Second District – where majority of the Jews of Vienna lived – there were other important synagogues, as well as dozens of Batei Midrash, Shtibles and Kloizim. One of the most important of which was the “Shifschul”. Shifschul – exterior Shifschul – interior The main, staunchly Orthodox Synagogue in Vienna was the congregation “Adat Yisrael” at 8, Grosse Schiffgasse.  It was built in the style of the synagogues of Eastern Europe, and contained 500 seats for men and 250 for women. It functioned as an independent community and comprised a seminary, a bakery for Matzot, a kosher butcher, as well as offices and various other shops. This community consisted of mostly Orthodox Jews from Hungary, and they maintained independent institutions. They sought to maintain their autonomy in religious life and kept themselves separate from the other religious communities. The leaders of the community were Rabbis Sigmund Fürst, and Joseph Baumgarten, from Hungary. Most members of this community in the twentieth century identified with Agudath Israel, and there was constant confrontation with the Vienna community which was dominated in the early thirties by a Zionist coalition. This had been introduced earlier by the leading Rabbi, the great Zionist leader, Rabbi Zvi Peretz Chayot (Chajes). Rabbi Zvi Peretz Chayot (Chajes) In the twentieth century, Cantor Leibush Miller, (whose first job in Vienna this was), was followed by Abraham (Armin) Brown, (Avrohom Braun) who took up the post in 1922. The Chazan Sheni was N. Konstadt. The synagogue was burned down on “Kristallnacht”. The Polish Synagogue, ‘Beth Israel’ was located on 29 Leopoldgasse. It was founded in 1892 by immigrants from Galicia and Poland who lived in the second district. Prior to that a Polish community was located on 65 Oberen Donau Street, where they had a prayer house led by Rabbi Eliezer Horowitz. Polish Schul – interior The Polish Schul – exterior The Viennese architect – a Jew, Wilhelm Stiassny, designed a synagogue in the Eastern style, with a huge dome. It was a beautiful building with 450 seats for men and 250 seats for women. The Rabbi of the synagogue from 1895 was Rabbi Meir Meirson, an outstanding scholar who served as Av Bet Din of the Vienna community. In the thirties when he retired, Rabbi Joseph Babad ?”?? was appointed as Rav of the Synagogue. He was also a fine scholar and served as Av Bet Din. He perished in the Holocaust. In 1893 Meir Schor, son of Cantor Avraham Schor was appointed Cantor. Before his appointment in Vienna he served as a cantor in Galicia and Hungary in Groswardein, (today Oradea, in Romania). He served as cantor until his death in 1913.  Aaron Turner conducted the choir in the “Polish” Synagogue. Meir Schor composed Cantorial works with the title “Praise and Song”(“Halel Ve Zimra”). He served as Acting President of the Cantors Association in Hungary and Austria, and he recorded several records of Cantorial music in 1905. Cantor Mayer Schorr On the eve of World War I he became cantor in this synagogue, where they prayed in the Polish style. Cantor Emanuel Frankel, a native of Romania, a Rabbi, a graduate student of Pressburg Yeshiva and pupil of Yossele Rosenblatt, occupied the premier place in the world of Chazanut in this synagogue. Frankel, together with his large Choir conducted by the composer Joseph Millet, served as an attraction and provided a wonderful experience for worshippers in Vienna who came from all parts of the city to hear them. Cantor Emmanuel Frankel Joseph Millet In the summer of 1928, on Shabbat Nachamu, Emanuel Frankel hosted his teacher Yossele Rosenblatt in the synagogue, where Rosenblatt led the Sabbath prayers accompanied by the choir. This was an exciting experience never forgotten by the city’s Jews. Abraham David Feuer and Shalom Weintraub both served as Chazan Sheni. In this synagogue the worshippers were generally “eastern” European religious Zionists. This Synagogue was burned down on Kristallnacht, and Cantor Frankel was murdered in the Holocaust in Latvia with his wife and daughter. The Turkish Schul The Synagogue of the Sephardic community in Vienna, the “Turkish Shul” was established in 1887, in the second district, at 22 Zirkusgasse. It was a beautiful building designed in the Spanish-style, light and with motifs of the “Alhambra”, as befits the Spanish community, old and proud, which saw itself as the elite of Judaism. This synagogue contained 314 seats. On its side galleries there were 110 more seats and it also had 250 standing places. On its first floor there was a heated prayer hall for use in the winter which contained 110 seats. The Synagogue rose to a height of 12 meters. The Synagogue was covered in marble, with decorative panels in various colours, as well as gold ornaments. This community which was called the “Turkish Jewish community” was a separate autonomous community in Vienna. It was given this power of autonomy in the eighteenth century (in 1736), by Emperor Charles VI. They were subjects of the Ottoman Empire, settled in Vienna at that time, whose members were rich merchants whose businesses served the Ottoman Habsburg kingdom.. As a consequence the synagogue was called “the Turkish synagogue.” Prior to the establishment of this synagogue, this community used other places of worship, also in the second district. The style of prayers in this community followed the Sephardi Nusach, and because of demand by its young members – at the end of the nineteenth century – they began to use a professional choir, like their compatriots, the Ashkenazim, (following Sulzer). In the process they adapted the Spanish-oriental traditional melodies to Sulzer’ musical style. This was carried out under the direction of the conductor – Chazan, Isidor Levitt, (born in Vienna in 1864 and graduate of the Vienna Conservatory, pupil of Sulzer and Goldstein), and in whose collection “Shir Hakavod” he set out the Nusach of this community, in collaboration with the community’s cantor Jacob Bauer, (who was previously a cantor in Graz). They had great success, and all members of the community accepted the change in a positive way, so that the prayers in the synagogue became a place of great interest for lovers of Chazanut in the city. It is interesting that this was carried out by a choral conductor, and cantor, who were both Ashkenazim. Cantor Isidore Levitt Cantor Jacob Bauer The Turkish Synagogue This distinguished community, with Rabbis Dr Michael Papo, (d. 1918) and his son Dr Manfred Papo, were the last religious leaders of this noble and dignified community. The Synagogue was damaged on Kristallnacht and finally destroyed in the bombing during the war. The choir leader and Cantor Bauer died in Vienna during the Nazi occupation. Another important synagogue in the second district, was on “6 Pazmanitengasse.” It was established by a community that had existed since 1878. The synagogue was built between 1911-1913 by architect Ignaz Reiser, and contained 500 seats for men and 400 for women. It was built in the Neo-classical style, and was a corner building between 2 streets. This Orthodox synagogue was called “Eshel Avraham.” In the twenties and thirties the Rabbi was Dr. Tzvi Taubes and the Chazan was Cantor Leib Miller, who was born in Moravia.  He was amongst the leading cantors and composers of his time, and he also served as Chairman of the Cantors’ Organization of Austria. He trained many students, who studied with him at his Cantorial school. His Cantorial compositions are still found today in the repertoire of Chazanim. He came from Vienna to Israel before the Holocaust, and served as chief cantor at the Great Synagogue in Haifa, d. 1947.  The Chazan Sheni was Armin Shtift and the choir conductor was B. Hirschman. The synagogue was destroyed “Kristallnacht”. The Synagogue on Pazmanitegasse Chazan Leibush Miller As already noted, in the majority of city districts all the synagogues were all destroyed on “Kristallnacht.” I will mention here some of them briefly. In the third District: there was a synagogue at “Viaduktgasse 13” that was founded in 1870. The Cantor was Salamon Levy from 1907. When he retired in 1937 he was replaced by S. Krigsman. The Rav of the synagogue was, Professor Dr Kalman Kupfer, and the choir conductor was Tabakin. The chapel in the third district, at 15 Ardberg Street, was founded in 1884. The Rav was Dr Bernard Templer, and the Chazan G. Schmidt. There was a Synagogue, “Beit Aharon”, in the Fifth District, at 1 Siebenbrunngasse. It was built in 1908. Its Rav was Dr. Meir Gabriel Mehrer, its chief cantor Israel Katz, and Hazan Alois Eherental. Cantor Israel Katz The Synagogue at 3 Schmalzhofgasse, in the Sixth District, was built in the neo-Gothic style in 1883, (in the area of “Maria Hilf” and “Neubau”). The Rav of the community was Dr. Jacob Drobinsky, the Chief Cantor, Artur Levin, and Chazan, Isidor Glick. In 1938 Cantor Roth served here as chief cantor. It contained 322 seats for men and 236 seats for women. The synagogue in the Sixth District was at 42 Stumpergasse. The Rabbi was Morris Flesch, and the Cantor Abraham Fishmann. This synagogue was Chareidi-Orthodox, in the Kehillat Adat Yisrael style, which was influenced by Rabbi Moses David Flesch??”? who perished in the Holocaust. In the Eighth District the synagogue was at 12 Neudeggergasse. It was built at the beginning of the previous century in the Gothic style. The Rav was Dr Moritz Bauer, the chief cantor Jacob Landau, and the deputy Chazan Joseph Grob. This Synagogue was famous from 1903 to 1908 when Cantor Zawel Kwartin, one of the greatest of cantors, officiated there. While he was there he made his first recordings with his choir. The Synagogue in the Ninth District was called “Chewra Beit Hatfillah.” It was founded in 1889 on 21 Mullnergasse, also in Gothic style, and it contained approximately 580 seats for men and women (separated). The Rav was Dr Arthur Zacharias Schwarz, the Chief Cantor Samuel Fustolob, who was an important Chazan who worked amongst the Chazanim the city. He participated in Cantorial concerts and evenings held in Vienna at that time. The Chazan Sheni was Salamon Lovensohn, and the choir conductor was Dimitrofsky. From 1913 – 1921 the Chazan in this synagogue was Zvi (Hermann) Meirowitz who moved to London where he served as the secretary to the English Cantors’ Association. After Kristallnacht he worked to help Chazanim from Vienna to make their way to England, a task at which he achieved some success. The Synagogue “Adat Yeshurun” at 5 Pluggasse in the 9th District was established in 1899. The Rav was S. Benedek, and the Cantor Joseph Schiffman. The tenth District Synagogue, Beit Knesset, “Israel” was on 27 Humboldgasse. There was also a school there. It contained 428 seats, with an additional hall which could be connected to another main hall containing 277 seats. The synagogue was built in Gothic style in 1875 by architect Jacob Gartner, who designed and built four synagogues in Vienna. At the end of last century was its preacher was Dr Hauser and the Chazan was M. G. Allenberg.  After him Solomon Hirsch served as cantor. The Synagogue on Humboldgasse In 1889 the rabbi of the synagogue was Dr David Levy and the Chazan was Seligman. From 1930 Professor Dr Albert Abraham Weiner, who carried the title of Community Rav, served there as Rabbi. The Cantors were Simon Weiss, First Chazan, and Abraham Joseph Schlesinger. It should be noted that Rabbi Dr Weiner came to Israel in 1939, after the destruction of the synagogue on “Kristallnacht” and established a synagogue and community of Jews from Vienna in Tel Aviv as “Sh’eerith Ya’akov.” Asher(otto) Korn was the Chazan of this community in Tel Aviv. He was also amongst the Chazanim of Vienna and amongst the pupils of Emanuel Frenkel. The Synagogue in the 10th District on Humboldgasse The Synagogue in the 11th district, Simmering, was at 7 Braunbergasse. It was founded in 1904. The Synagogue in the 13th district, Hitzing, was on 22 Eitelberggasse. It was built in 1926 with modern straight lines. Its Rav was Izhak Peer Pirchik Rabbi Dr Moses Lewin, the Chief Cantor Salomon Einhorn and the second Chazan was F. Stern.  The conductor of the choir was Isidor Perzik , who immigrated to Israel before the Holocaust, lived in Tel Aviv and was known as the composer Yitzhak Peer. The Synagogue, “Emunat Avot” was in the 14th district, at 21 Storchenggasse. The Rav was Aaron Weiss, and the Cantor, Maurice Schwartz. In the 15th district, the Synagogue was at 22 Turnergasse. It was built in 1872. In 1933 its Rabbi was Dr Israel Taglicht, who was subsequently appointed chief rabbi in Vienna. The Chazan was M. Taschslitzky, and the choir conductor until 1934, was Kurt Fucksgelb. He was a well-known musician, a violinist with the Viennese Philharmonic, one of the leading conductors of choirs in synagogues in Vienna. Rabbi Israel Taglicht The Synagogue in the 16th district at 8 Hubergasse was built in 1889. Its Rabbi was Dr J. M. Bach, and the chief cantor was Rudolf Kogan. Also there was Chazan Moritz Moshe Harendorf HY”D [who was murdered in Auschwitz], and the choir conductor was Joseph Perl. The 18th district Synagogue at 39 Schopenhauerstrasse was built in 1889. Its senior Rabbi was Dr David Feuchtwang, one of the leading rabbis of Vienna. He was a Zionist and supporter of the Mizrachi Movement. He was Chief Rabbi of Vienna from 1925 to 1938. The Chief Chazan was David Gross, who had previously served as Chazan in Hungary. In 1938 he returned to Bratislava and perished in the Holocaust with his wife and daughters. His son is a musician and conductor of choirs, Allei Geffen. He survived and immigrated to Israel. The choir conductor of the synagogue, in which there were both adults and children, Israel Brandmann. Brandman immigrated to Israel, where he was a choral conductor and an active musician. The Synagogue at 3 Dolingergasse, in the 19th district was built in 1897. Its Rav was Dr Arnold Frankfurter. The Chief Chazan was David Bohomolny, and he was followed by Cantor Joseph Feuer, (1910-2002). He moved to the U.S. after Kristallnacht, where he served as cantor for many years. The Synagogue in the twentieth district was at 11 Kluckygasse. It was founded in 1873 and contained 560 separate seats for men and women. The Rabbi was Dr Benjamin Murmelstein, and the Chief Cantor Shmuel Landerer. The alternate Chazan was Jacob Roth. This Shul was also known as the “Brigittenauer Israel Temple verein.” In the first decade of the twentieth century the Chazan here was the well-known Cantor Joseph Basser, a native of Krakow. He was followed in the early twenties by the chief cantor Israel Alter, one of the leading cantors of that generation and composer of many Cantorial composition that have been sung by Chazanim ever since. From here he moved to Hanover, Germany, and with the rise of the Nazis in Germany he moved to South Africa. The community Orthodox synagogue, “B’nai B’rith” in the 20th District at 4 Kaselgasseh, was inaugurated in 1931, when it moved from its original site in Karainstrasse. Shlomo Salomon Kreutstein served there as Chazan, where there was also a choir. Cantor Kreutstein survived and went on to become a famous Chazan in the USA where he made a number of recordings. The Synagogue in the 21st District was at 12 Holzmeistergasse. Its Rav was Rabbi Dr Moritz Moshe Rosenman, its chief cantor Shmuel Teige, and Chazan Yunis Ivanschitz. Rabbi Dr Rosenman came to Israel before the Holocaust, and established a synagogue for immigrants from Vienna called “Habaim Yeshresh” in Tel Aviv. The Chazan was Benjamin Ungar who also served as Chief Chazan in Israel. Benjamin Ungar was brought up in Vienna and he served as a chorister in Emmanuel Frenkel’s choir in the 4th District. The house of prayer “Tefillat Yeshurun,” at 14 Sebastian-Kneippgasse was founded in 1914. Its chief cantor was Jacob Wharmann. As already mentioned there were dozens more places of worship in the city which were served by even more Rabbis and Cantors. It should be noted the community would open temporary places of worship during the High Holydays and festivals in halls and schools and rented halls of hotels, to enable services to all community. For this they turned to even more rabbis, cantors, and choirs. Community newspapers, provided details of these temporary places of worship, the cost of tickets and times of services.   Choirs and Choir Conductors                                                                                                                    The changes introduced by Solomon Sulzer to the style of prayer in Vienna related also to the choir. Until his time the choir consisted of a group of children and a few singers. In his compositions he added Bass singers. His choral works were based on four voices. Louis Lewandowski in Berlin had introduced choirs into the Synagogue so that towards the end of the nineteenth century choirs were an integral part of an established community and synagogue. By the end of the nineteenth century in Vienna most synagogues had choirs under the baton of professional choral conductors, as befitted Viennese musical tradition. Choristers in the synagogues belonged to a community or synagogue and were carefully selected. They were required to have a knowledge of music and they received a fair wage. Some also worked in other communal occupations. From these choirs there sprang Chazanim and conductors. They acquired knowledge and experience in the choirs, and from meetings with cantors and conductors. I shall now mention a number of choral conductors in the synagogues of Vienna. In the city Synagogue in Seitenstetten Joseph Zelnik served as conductor in the twenties and thirties until 1934. This professional choir also included a children’s choir. In the Great Synagogue in Tempelgasse Julius Hyman served as conductor at the end of the nineteenth century. When he died he was replaced by his son Rudolf Hyman who had been a member of the choir. He remained conductor of this professional choir until there were no more synagogues in Vienna in November 1938. Rudolf Hyman, his wife and son perished in the Holocaust Isaiah Verstendig served as choral chorister in that choir. Much later he served as conductor of choirs in synagogues in Tel Aviv. Isidore Levitt, the Chazan, musician and journalist, worked in the Turkish Synagogue for decades. (See earlier for more information about his compositions and work.) He also served as honorary President of the Cantors’ Organization. Joseph Millett, undoubtedly the most important and prominent amongst the conductors and composers of this time in Vienna served in the Polish Synagogue. He was born in 1889 in Galicia, and was a Zionist. He composed many Cantorial compositions which were made famous by the Cantor of the synagogue, Emanuel Frenkel. Between the years 1924 –1929 he went to live in Israel. He wrote melodies for poems and prayers. In 1929 he returned to Vienna to study, and returned again to conducting. With the takeover of Austria in 1938, he was tortured by the Nazis, and then managed to get to Israel. He was employed as a choir conductor in the central synagogue in Haifa, and later in the Great Synagogue in Tel Aviv. He died there in 1947, and his works, like the hymn “MiDan V’ad B’eer Sheva,” with words by Z. Jabotinsky, “B’tseit Yisrael MiMitzrayim”, “El S’fod” with the words of poet David Shimoni, are still sung. Israel Brandman There was also the well-known conductor, Israel Brandmann, born in Russia, in 1901. He led the choir at the synagogue in the 18th District on Schopenhauer Street. Brandmann was a solo violinist, composer and musician, conductor and choir director. When he failed to obtain the prestigious appointment of conductor at the municipal Synagogue (seitensttette ), he came to Israel in 1935 and integrated into the musical life of Tel Aviv. He founded the “Workers’ Choir” in Tel Aviv, which he conducted. He also taught violinists and musicians. He composed works for choir, piano. etc., mostly Jewish and Israeli subjects. Kurt Fuchsgelb, born 1907, was among the young, talented and esteemed conductors. At the age of 25 he conducted the choir at the Synagogue in the 15th district. He acted as conductor at community events, at Cantorial concerts accompanied by violin or cello. He also served as a member of the Viennese Philharmonic Orchestra. At the age of 27 he became principal conductor at the municipal Synagogue in Seitensteten Street, considered the most prestigious position in the community. Fuchsgelb was saved and went to the USA where he developed a musical career. Other conductors were Dimitrofsky at the Synagogue in the 9th District. In the Synagogue in the 13th district there was Yitzhak Perzikk (Peer). He survived and went to live in Tel Aviv where he became a teacher to Chazanim, and a composer. Joseph Perl was conductor at the synagogue in the 16th District. In the Synagogue in the 2nd district “pazamanitten,” Hirschmann was the choir conductor. This is just a partial list of conductors in Vienna at the time. Jewish Liturgical Concerts and Events in Vienna The officers of the community and synagogues, frequently staged cultural events and amongst them were Cantorial concerts, which included the synagogue choirs and cantors who served in the many synagogues in the city. These events included cantors and choirs from communities in neighbouring countries, like, Czechoslovakia, Hungary, Poland and Germany. There were also famous cantors from countries from all over the world, such as the United States who gave performances all over Europe. They too, appeared before Jewish audiences in Vienna (e.g. Yossele Rosenblatt, Moshe Kussevitsky and the “Niggun” Choir “from “Berlin conducted by Vinaver. Sometimes Chazanim were involved in concerts of classical and Jewish music, because among the cantors there were quite a few at first-class operatic level. Their training included classical songs and operatic arias, which they usually included in their repertoire, as well as Cantorial pieces, Yiddish songs, and Hebrew songs of the young composers of the Land of Israel. The majority of the Jewish community of Vienna, and the lovers of Cantorial singing filled the synagogues and the halls. All tickets were sold prior to the performance, sometimes a considerable amount of time before the date of the event. Concerts and events were organised for regular occasions such as the days of Chanukah, Purim, Memorial days and anniversaries as well as on the initiative of organizations and impresarios. Events were also staged to raise funds for various charitable organizations, etc. They were all advertised in advance in the Jewish newspapers in Vienna, and amongst the relevant institutions and community organizations. In Vienna there were also Jewish choirs, Jewish symphony orchestras (in the thirties), who also participated in these events. Works of Jewish composers such as Engel, Acahron, Stuchevsky, and Brandmann, were played by at concerts by Jewish musicians. Chassidic music was also performed, such as on the occasion of a visit by the Modzitze Rebbe when Vienna heard him singing his own melodies, (this was in August 1933 during Shabbat prayers in the hotel where he was staying.) Here is some information, and some examples of the cantors and Jewish musical performances in Vienna in the 30’s. As has already been mentioned, Cantor Yossele Rosenblatt appeared on Shabbat Nachamu in 1928 in the Polish Synagogue of Vienna. The Cantor of that synagogue was his pupil Emmanuel Frenkel. Accompanied by the choir of the synagogue, Rosenblatt provided an extraordinary experience for the congregation. Cantor Postolov performed in June 1930 in the Milner Synagogue in the 9th District, together with the ”yiddische Gesang Verein” choir. On January 24th 1932, a concert was held in the “Great Concert Hall” for the Community Support Foundation with the participation of the pianist Professor Israelis, the famous violinist and conductor Kurt Fuchsgelb, playing selections on the violin. The second half of the concert featured the chief cantor of Congregation Brinn (Czhechslovakia) Igo (Isaac) Mann, singing operatic arias, Cantorial pieces, and Hebrew songs. A newspaper critic praised this concert. (This is the same Cantor Yitzchak Mann who was later chief cantor at Central Synagogue in Haifa). On 21st February 1932, a charity event was held at the Temple Beth Israel (the “Polish” Synagogue), for the “Talmud Torah” of the Synagogue, where there were about 200 students. This comprised of the prayers for “Purim Katan” at which the participants were the synagogue choir with its Cantor Emanuel Frankel, and visiting Chazanim, Gross, Einhorn, Weiss, funke, Bernstein and Rosenberg. The conductor was Hoenig. The programme included the Evening Service, conducted by Cantor Frankel, as well as works of Lewandowsky. Psalm 100 by Baruch Shor and “Eil Erech Apayim from Cantor Einhorn. Chazan Leo Funke sang “R’tzei,” Cantor Weiss sang “Ribono Shel Olam.” “Eshkol,” composed by Dunajewski was performed by Chazan Gross. A review of the event by the musical critics of the newspaper Die Warheit praised the high level of the cantors and the choir. On Wednesday 23rd March 1932 a liturgical concert was held in Vienna under the auspices of the Synagogue “Eshel Avraham,” with joint choirs of the community and the conductors B. Hirschmann, and H. Schor, and with the participation of violinist and conductor Kurt Fuchsgelb and the famous pianist G. Koller. The Chazanim were M. Abrahamson (Chief Chazan from Budapest) and the Vienna Chazanim S. Landerer, Gershon Margulis, Leibush Miller – all famous cantors. Aongst other pieces they sang the following works: “R’tzei, “Y’hi Ratzon”, and “Shoshanat Ya’akov” (Cantor S. Landerer), “Eil Erech Apayim” by Baruch Shor, “R’tzei” by Goetchel (Cantor Abrahamson), “Min Hameitsar” by Dunajewski, “V’te’erav”, “Uvashofar Gadol” by Leo Low, “Psalm 100″ by Lewandowsky (Cantor G. Marguelis), “Zacharti Lach” by Louis Lewandowsky, “Mimkomo” by Dunajewski, and “Rachem Na” by Leibush Miller (sung by Cantor Miller). The Honorary President of the Cantors of Austria praised the high level of the concert, but expressed regret over the absence of specific Cantorial pieces like “Y’hi Ratzon” (the blessing of the month) and “Une’taneh Tokef”, and the absence of works by Salomon Sulzer, specifically at a concert held in his city. On 12th May 1936 Cantor Moshe Kussevitsky from Warsaw appeared in the Neudeggergasse Synagogue in the 8th District. In the Friday evening service, accompanied by the choir ‘Hanigun’ under the direction of Herman Schor the programme included ‘Sefirat HaOmer,’ ‘Ahavat Olam’, and ‘Kiddush.’ This performance received rave reviews by the music critic of the newspaper Die Warheit. During Hanukkah in 1933 the Jewish newspapers in Vienna reported in detail on many Hanukkah celebrations held on behalf of various synagogues in the different districts and organizations. The participants included rabbis, various cantors, Jewish choirs, synagogue choirs, musicians, Jewish actors and so on. The Chazanim occupied a prominent place in these events participating in the lighting of the candles and also as artists and singers of Hebrew songs, songs in Yiddish, and of course Cantorial and opera pieces. It is estimated that events such as these in 1933 took place every year in Vienna on a similar scale until 1938, when the Nazis took over Austria. The Chazanim of Vienna together with those of other European communities, arranged liturgical concerts outside Vienna, at the health resorts in Austria, Czechoslovakia and Hungary. Leibush Miller had great success in Budapest. In January 1934 Cantors Tchernowski from Prague, and Israel Alter Hanover, (he had moved there from Vienna) appeared in Bohemia in the health resort, in a liturgical concert, for Jewish holiday-makers at Marianbad. Alter included his composition “Akavia ben Mahalalel,” that January 1926. A Cantorial Shabbat, with Cantor Tchernowski was held in the Great Synagogue in the resort town of Carlsbad in January 1926. Cantorial studies in Vienna As noted earlier, and for the reasons that Vienna was singled out as the musical centre of Cantorial Studies, Vienna served during the final three decades of the nineteenth century as a place of advanced studies for cantors. Many came to learn Chazanut with Sulzer, including cantors from Poland, Russia, Ukraine and the peripheries of Austria-Hungary. Goldstein, Joseph Singer, Jacob Bauer, continued to serve as teachers of Chazanut, and many came to study with them. In the newspaper Die Warheit (June 1920), Cantor Jacob Bauer published an advertisement inviting students to study all levels of Chazanut with him. He notes that so far he taught and trained about 300 cantors from Austria and its surroundings, using his “famous” methods. Among the generation of Chazanim of Vienna in the first four decades of the twentieth century, teachers included, Emanuel Frankel, who trained many students. Yehudah Leib Miller and Gershon Margolis set up a Cantorial College which they publicised in the Jewish press in the city. Advertisements appeared in the summer of 1926 which stated that the beginning of the school year would be on October 5, 1926. Subjects of study included, Cantorial singing on all levels, Nusach Hatephillah, music, Cantillation, Laws, Judaism, Hebrew and voice production etc. The school was supported by an organization headed by the Organisation of Austrian Chazanim led by Isidore Cantor Levitt, who also published a detailed article of support in the newspaper Die Warheit. The school received professional sponsorship from the Jewish Theological Seminary in Vienna. Other Cantors in the city also served as teachers, and they also trained many students, including cantors such as Shmuel Baruch Taube, Benjamin Ungar, Asher Koren etc., who were students of Cantors Frankel and Miller. Advertisement for Cantorial School of Chazan Yehudah Leib Miller in Vienna   The Origin and Style of Chazanut in Vienna The majority of Chazanim in Vienna attained their position in their synagogue after a competition, and in accordance with community practices most of them were residents of the Austro Hungarian Empire, mainly from Hungary, Bukovina, the Carpathian region and Galicia. Some of them came from Poland, Ukraine Lithuania and Russia. The number of Viennese was limited, and among them were many sons of immigrants from the periphery. They used Sulzer’s style of praying, but utilised the Eastern European Nusach to which they were accustomed. This created an interesting combination between the style of Sulzer and compositions in the Nusach and the style of Eastern Europe, (Zeidel Rovner, Goldstein, Rosenblatt, etc.) A time limit was set on the duration of the service, and there was an insistence on the non-repetition of words, a requirement that made it difficult for Chazanim of the Eastern European tradition. Although many learned from the recordings of Cantor Zawel Kwartin, who created the style of prayers accepted in Vienna, they had to be careful not to repeat the words of the prayers and to reduce the ‘crying’ that characterized his Chazanut on the records which he released later when he served as Chazan in the U.S. From the twenties onwards an accepted style crystallized in the synagogues in the cities of Central Europe. Decay and Destruction With the establishment of the Nazi regime in neighbouring Germany in 1933, the decrees against the large Jewish community in Germany, gave the Jewish community in Austria concern for the future. From the early thirties the Vienna community was reduced due to emigration, immigration laws made it difficult for immigrants of Jewish origin to settle in Austria. On Friday 12 March 1938 the Nazis invaded Austria and were accepted there with open arms by most of the population. The Anschluss was achieved, and this was beginning of the end of the Jewish community. Within a few days decrees were issued. First Jewish civil servants were dismissed, and later the “Nuremberg Laws” were enacted, at the same time physical and economic harassment of Jews took place on the initiative of Nazi movements and their various administrations. Much of community wanted to emigrate, but they found difficulties in achieving these ambitions. Community funds were confiscated and synagogue activity restricted. But the worst event of this year was Kristallnacht in November, during which 49 synagogues of the city were burned and destroyed, apart from the city synagogue in Seitenstetten Street, which was damaged and looted but not burned because of its location in the First District, and the danger a fire would have caused to its immediate vicinity. The results of the destruction of the established religious life in the city A recognisable section of the Chazanim, like many others in the community, sought refuge outside, but the gates were blocked and only a small number of the Jews were fortunate to be saved. One thing was clear; there was no chance at recovering the community. The authorities destroyed and burned synagogues in order to stop Synagogue activity. Like most of the community, the rabbis cantors, singers and choirs, and conductors just sought to remain alive. There were those who remained in the city. Some who were unable to leave, and others because they believed in miracles. A letter written in June 1939 from chief cantor Matthias to Cantor Usher Koren, who was already in Tel Aviv, described the situation in Vienna, “You are scared day and night and don’t believe in your life, Heaven save us.” He includes in his letter, which was written in Hebrew and German, out of the fear of Nazi censorship, a description of the difficult situation of religious life and destruction. The Secretary of the British Cantors’ Association, Hermann Meirowitz, formerly a cantor in Vienna,  approached the authorities in Britain and worked, with some success to obtain visas to Britain for some of the Chazanim from Vienna. Some, like Margulis, Fisher and Postolov of them actually came there. Leibush Miller went to Israel and was spared. Emanuel Frankel obtained a post in Libau in Latvia, but in 1941 the Nazis murdered him in this city. Cantor Matthias, was sent to the ghetto in Theresienstadt where he met his death as did Cantor David Gross, his wife and daughters. Cantor Leo Funke was sent to Theresienstadt, as was Cantor Balaben. From there were sent to their deaths. The choir conductor Hyman and his wife ended their lives in Auschwitz, like the remaining sixty thousand Jews who remained in the city and were liquidated in the ghettos to which they had been shipped. Choir conductors, Millet, Perzik and Brandmann came to Eretz Israel,and the conductor Fuchsgelb, survived and went  to U.S   Most cantors who left Austria were adults (over 50) they therefore had difficulty finding a regular job because of their age and because posts were already taken. Some, like Joseph Feuer, Fostolov, and Margulis were absorbed in the U.S. and others found their death in the Holocaust.   This was the end of the most important centre of Chazanut in Europe, since the community never recovered. Most of the city’s Jews who survived the Holocaust did not return. There are now close to ten thousand Jews in Vienna, most of them who did not come originally from the city, being immigrants from Eastern Europe and former USSR. The city synagogue in Seitenstetten Street is the only one remaining of beautiful synagogues of the past with permanent Chazan. There are a few other places of worship in the city.**** Louis Lewandowski (April 3, 1821 – February 4, 1894) was a Polish-Jewish and German-Jewish composer of synagogal music. Louis Lewandowski He contributed greatly to the liturgy of the Synagogue Service. His most famous works were composed during his tenure as musical director at the Neue Synagoge in Berlin and his melodies form a substantial part of synagogue services around the world today. Contents 1 Life 2 Contribution to Jewish liturgical music 3 Lewandowski's music today 4 References 5 External links Life[edit] Lewandowski was born in Wreschen, Grand Duchy of Posen, Prussia (now Września in Poland). The name Lewandowski is derived from the place name Lewandów, itself derived from the Old Polish word lewanda – 'lavender' (lawenda in modern Polish). At the age of twelve he went to Berlin to study piano and voice, and became solo soprano in the synagogue. Afterward he studied for three years under A. B. Marx and attended the school of composition of the Berlin Academy. There his teachers were Carl Friedrich Rungenhagen and Eduard Grell. Lewandowski was the first Jew to be admitted to the school at the request of Felix Mendelssohn. After graduating with high honors, he was appointed in 1840 choirmaster of the Berlin synagogue. In that capacity he rendered invaluable services in the development of music for synagogue ritual.[1][2] In 1866 he received the title of "royal musical director." Shortly afterward, he was appointed choirmaster in the Neue Synagoge, Berlin, for which he composed the entire musical service. The Neue Synagogue was what would then have been called a conservative synagogue and what now would be considered progressive. His arrangements of ancient Hebrew melodies for choir, cantor, and organ are considered masterly productions, characterized by great simplicity and a profound religious sentiment. Many of Lewandowski's pupils became prominent cantors. Lewandowski was the principal founder of the Institute for Aged and Indigent Musicians, an institution that prospered under his management.[3] Lewandowski died in Berlin in 1894. He and his wife Helene are buried in the Weißensee Cemetery. On their gravestone is inscribed: "Liebe macht das Lied unsterblich!" (Love makes the melody immortal!) A daughter, Martha (1860-1942), died in Terezin, the Nazi concentration camp, in 1942, at the age of 82. Contribution to Jewish liturgical music[edit] Lewandowski's principal works include: "Kol Rinnah u-Tefillah," for cantor; "Todah ve-Zimrah," for mixed chorus, solo, and organ; 40 psalms, for solo, chorus, and organ; symphonies, overtures, cantatas, and songs. During Lewandowski's life the issue of whether an organ should be part of a synagogue service was one of major contention. Lewandowski advocated communal singing and the organ was essential to facilitate this. Eventually organs became commonplace in synagogues around Europe, hence the popularity of "Todah ve-Zimrah". Lewandowski's writing is quite unique in that it incorporates the strict four-part harmony of church music with ancient cantorial modal melodies.[4][5]*****Salomon Sulzer (Hebrew: סלומון זולצר‎, March 30, 1804, Hohenems, Vorarlberg – January 17, 1890, Vienna) was an Austrian hazzan (cantor) and composer. Contents 1 Biography 2 Family 3 See also 4 References 5 External links Biography[edit] His family, which prior to 1813 bore the name of Levi, removed to Hohenems from Sulz in 1748. He was educated for the cantorate, studying first under the cantors of Endingen (Switzerland) and Karlsruhe, with whom he traveled extensively, and later under Salomon Eichberg, cantor at Hohenems and Düsseldorf. In 1820 Sulzer was appointed cantor at Hohenems, where he modernized the ritual, and introduced a choir. At the insistence of Rabbi Isaac Noah Mannheimer of Vienna he was called to the Austrian capital as chief cantor in 1826. There he reorganized the song service of the synagogue, retaining the traditional chants and melodies, but harmonizing them in accordance with modern views. Sulzer's "Shir Tziyyon" (2 vols., Vienna, 1840-1865) established models for the various sections of the musical service—the recitative of the cantor, the choral of the choir, and the responses of the congregation—and it contained music for Sabbaths, festivals, weddings, and funerals which has been introduced into nearly all the synagogues of the world. In the compilation of this work he was assisted by some of the best musical composers of Vienna. Sulzer published also a small volume of songs for the Sabbath-school, entitled "Duda'im"; and a number of separate compositions, both secular and sacred. His responses are tuneful, and though more melodious than the choral chant of the Catholic Church, show a strong resemblance to it. In all his compositions strict attention is paid to the Hebrew text; and a scrupulous adherence to syntactic construction is observed throughout. The collection "Zwanzig Gesänge für den Israelitischen Gottesdienst" (Vienna, 1892) was printed posthumously. In his "Denkschrift an die Wiener Cultusgemeinde" he sums up his ideas on the profession of cantor. Sulzer, who was widely famed as a singer and as an interpreter of Schubert, was a professor at the imperial conservatorium of Vienna, a knight of the Order of Francis Joseph and a maestro of the Accademia Nazionale di Santa Cecilia in Rome. Universally recognized as the regenerator of synagogal music, he has been called the "father of the modern cantorate". the Jewish Museum in Hohenems in western Austria ***** Aron Friedmann (born August 22, 1855 Shaki , Russian Empire ; died June 9, 1936 in Berlin ) was a chasan and composer of synagogal music who worked primarily in Berlin. table of contents 1 Life 2 Fonts (selection) 3 literature 4th Individual evidence Life [ edit | Edit source ] Friedmann came to Berlin in 1877 to study at the Jewish Teacher Training Institute; i.a. he was there student of the composer Louis Lewandowski . After he had received a job as Chasan at the New Synagogue in 1882 , he was able to successfully complete his studies in 1883. Friedmann continued his studies as Chasan at the College for the Science of Judaism , where he founded the Academic Association for Jewish History and Literature in his first year . It was through this association that Friedmann made the acquaintance of David Cassel and Leopold Zunz, among others . At the same time Friedmann worked between 1883 and 1892 (first as a student, later as a lecturer) at the Stern Conservatory , where he also worked with Friedrich Gernsheim . At the end of 1892 Friedmann was entrusted with a teaching position at the Royal Academy of Arts . Through music he also made the acquaintance of the composer Martin Blumner , who brought him to the Sing-Akademie , which he directed, as an important member . As a temporary chairman of the General German Cantor Association , he was a popular advisor to the Sing-Akademie. In 1884 Friedmann was promoted to "First Cantor" and in 1907 he was given the title of "Royal. Music Director ". He reached the high point of his career in 1914 when he was appointed "Oberkantor". From 1923 he gradually resigned his office and retired into private life. His treatise "Der synagogale Gesang" (1908) is one of the first works of modern research on the music of the synagogue in the Ashkenazi region. [1][8]       ebay5587
  • Condition: Used
  • Condition: Very good condition for age . Clean. One central fold. Tiny crerases in margins. ( Pls look at scan for accurate AS IS images )
  • Country/Region of Manufacture: Austria
  • Religion: Judaism

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