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Volochisk, in Volhynia, the Ukraine, and came to Palestine in 1921. The song refers to the shomrim—the guards who stood watch on kibbutzim during the night to protect the sleeping residents against the everpresent danger of raids by marauding Arab attackers. The melody of Bagalil is by Kiev-born Nahum Nardi [Narudetzky] (1901–77), one of the illustrious and prolific songwriters and composers in the yishuv. Following his settlement in Palestine, in 1923, he became fascinated with its indigenous Near Eastern modes and musical flavors, which he incorporated into his numerous songs as well as larger compositions. His long-standing artistic collaboration with the Palestinian-born Yemenite Jewish singer Bracha Zefira (also his wife) influenced the oriental Jewish character of many of his songs—some of whose eventual popularity accorded them the status of folksongs. The genesis of Bagalil dates to the mid-1930s, when Nardi and Zefira were attracted to a shepherd’s tune they heard being played by an Arab villager on his flute as they walked through the Arab village of Sumail, near Tel Aviv. Realizing its potential for their song recitals, they adapted it to a text by Avraham Broides that had been published in a local newspaper. Mattityahu Shelem [Weiner] (1904–75), who was born in Zamosc, Russian Poland, and settled in Palestine in 1922, wrote the words as well as the melody of Hazzor’im b’dim’a. The song relates a passage from Psalms (126:5) to the emerging signs of the pioneers’ agricultural success. Shir lanamal, another of Zeira’s well-known songs, was written in 1936 to celebrate the building of the new port at the ancient site of Jaffa, adjacent to Tel Aviv. The spontaneity and freshness of these arrangements show Helfman in his most transparent artistic element— preserving and emphasizing the natural euphoria and optimistic spirit of the songs through judicious manipulation, without obscuring their innocence or folk character. As a group, they provide an example of Helfman’s ability to apply inventive—and even restrained polyphonic—treatment to simple melodies. At the same time, the playful imagination in the accompaniments elevate the songs from simple folk monody to an unpretentious artistic plane, highlighting their Near Eastern and Mediterranean elements. The published version of Ḥag habikkurim also included a suggested choreography by Katya Delakova, specifically geared to untrained dancers, reflecting the early idealism of the new state and depicting the pilgrims from the four corners of the Land of Israel as they offered the bikkurim—among them, orange and grape harvesters from Judea, fishermen from Galilee, and wheat growers from Emek (the Jesreel Valley). Helfman envisioned that individual casts would also create their own movements according to their abilities. While Delakova’s choreography was, as its introduction emphasizes, more a matter of movement than actual dance, it provides a useful context for the songs, and in conjunction with the narration it sets up a framework for our understanding of the role and significance of the songs within the pageant. THE HOLY ARK—ARON HAKKODESH The section of the synagogue service that includes the biblical readings—the Torah and haftara portions (assigned readings from various books of the Prophets)—together with the surrounding introductory and concluding liturgy based on biblical and medieval sources, is known as the Torah Service. On Sabbath, Festival, and High Holy Day morning services, this Torah Service is more elaborate and extensive than on other occasions where there are biblical readings. With its degree of formality and even minor pageantry, together with its musical parameter, this liturgy constitutes a central and, in some aesthetic respects, a self-contained feature of those holy day morning services. The biblical cantillation systems according to which the Torah and haftara readings are intoned represent the oldest layers of fixed synagogue musical tradition, with possible roots in antiquity, although those systems 8.559440 24 Helfman_LinerNts 9440.indd 24 12/5/05 1:03:58 PM
vary to different degrees among the established rites (Ashkenazi, Sephardi, Yemenite, Persian, etc.). But the surrounding texts, unlike many other portions of the regular liturgy, have no specific canonized prayer modes (nusaḥ hat’filla), fixed melodies, or modalities attached to them, and they are thus an invitation for free musical interpretation and expression—whether in solo cantorial renditions, formal choral settings, congregational tunes, or a combination of all three forms. In the modern era, beginning in Europe at least as early as the second quarter of the 19th century, these prayer texts—which form and accompany the seder hotzat hatora (the order of service for removing the sacred scrolls from the ark) and the seder hakhnasat hatora (returning them to the ark), and their respective processionals among the congregation—have acquired hundreds of melodies as well as formal musical settings in a wide variety of styles; and they have been addressed by virtually every synagogue composer in each era, geographical area, and tradition of worship. In America, however, until the 1930s, composers and cantor-composers treated sections of these texts for the most part individually rather than as components of a larger single musical piece. context to become a concert rendition, especially in this orchestrated version. (In principle, the orchestration is merely an expansion of the organ part; and a handful of adventurous nonorthodox congregations have even experimented with orchestrated services.) At the same time, however, these settings—which are, by the composer’s intention, also separable from the whole as independent renditions—were composed with the equal expectation of functional use in synagogue services. Indeed, some of them are among standard repertoires in American synagogues to this day—including traditionally oriented synagogues, where they are sung successfully a cappella. Adonai, adonai, which mirrors the formal structure and flavor of earlier classical European settings of this text—most notably, that of Avraham Moshe Bernstein (1866– 1932)—without compromise to artistic originality, is undoubtedly the best-known movement of The Holy Ark. It remains, along with Bernstein’s composition, one of the most frequently sung musical versions of this prayer in America, and it can be considered a classic of the American Synagogue. —Neil W. Levin The Holy Ark—Aron Hakkodesh, a formal multimovement setting of major parts of the Torah Service as a cohesive yet heterogenous and kaleidoscopic artistic expression, is one of Helfman’s most important and most enduring liturgical works. Completed in 1950, it emphasizes the dramatic elements both of the individual constituent texts and of the overall mood of this section of the Sabbath or Festival morning worship. Infused with biblical cantillation motifs (overtly, for example, in the opening setting, Ein kamokha—not included on this CD—or in Vay’hi binso’a), restrained and stylized cantorial idioms in the solo vocal lines, some actual melodic references (in particular, Va’ani t’fillati, which the composer labeled “after an old melody”), and an abundance of purely original material—all treated with harmonic imagination and fresh choral techniques—it falls partly under the rubric of sacred art music. The work as a whole thus can be viewed as exceeding the functional boundaries of the synagogue worship Texts and Translations DI NAYE HAGODE Text: Itzik Fefer Sung in Yiddish Translation: Eliyahu Mishulovin [1] NARRATOR: This is the story of a city in desolation. A city of ghostly shadows, where once Jews lived and prayed and worked. This is the story of a fateful evening, of unspeakable days when Jews were huddled in the frightful subcellars of the ghetto to read again the Haggada, the ancient recital of the struggle for freedom. And when the brutal hordes of the enemy came into the ghetto with their tanks and their poison gases to exterminate them, the Jews left off reading the Haggada and rose and met the enemy empty-handed but head-on, writing a new Haggada in their blood. This is the story of a city. This is the story of a fateful night. This is the story of the New Haggada. 25 8.559440 Helfman_LinerNts 9440.indd 25 12/5/05 1:03:58 PM
Page 2 and 3: A MESSAGE FROM THE MILKEN ARCHIVE F
Page 4 and 5: About the Composer Helfman became a
Page 6 and 7: In 1938, a year after he assumed di
Page 8 and 9: opened in the summer of 1948 and wa
Page 10 and 11: city on September 29, 1939, followi
Page 12 and 13: The Tłomackie Synagogue in Warsaw,
Page 14 and 15: cultural figures such as Fefer, lit
Page 16 and 17: admirer, visited the Soviet Union i
Page 18 and 19: The prophet Elijah, who will arrive
Page 20 and 21: the children, and partly out of a d
Page 22 and 23: y drawing inspiration from the musi
Page 26 and 27: Ma nishtano halaylo haze mikol hale
Page 28 and 29: [19] SHFOYKH KHAMOSKHO (Pour Out Yo
Page 30 and 31: About the Performers Folksinger, ac
Page 32 and 33: Credits MAX HELFMAN (1901-1963) Di
Page 34 and 35: Helfman with students at the Brande
Page 36: p Playing Time 72:12 &© 2006 Milke

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