The Sounds of Samaritan Music
The Music of the Forefathers and the Roots of
the People of Israel
The Samaritan Singers Ensembles of
Of Gerizim Mountain and Holon in the Holy land
Written by: Benyamin Tsedaka
In 1975,
when the composer K. Penderetzki was asked to write a symphony for the
central celebration of the 200th anniversary of the United States,
he decided to base his work on “Paradise Lost” by John Milton. He began
to search for special tones to represent the creation of the world. He
felt the appropriate region to find these tones would be the Middle East
and particularly, the land of Israel. With the help of colleagues in Israel,
he met with representatives of the various Jewish communities in Israel.
Finally, a friend of his, Mr. Hanoch Ron, a music critic at one of the
largest newspapers in Israel, brought him to the Samaritans, descendants
of the ancient nation that has never left the land of Israel. The Samaritan
Singers performed the Song of the Sea for him, the song of Miriam the Prophetess,
sister of Moses, sung by the children of Israel when they crossed the Red
Sea. It took less than two minutes for Penderetzkito
jump up from his seat in enthusiasm, crying out like Archimedes “Eureka!
I’ve found it!” The US bicentennial celebrations were indeed opened to
the sound of Samaritan notes.
Samaritan
music has been studied by musicologists since the beginning of this century.
R. Lachman of Vienna and A.Z. Idelson of Jerusalem were the first to make
recordings of it. In the 1950’s and 1960’s this was also done by Geshuri,
Valbeh, Hoffman, Katz and Herzog. However, the great wave of interest in
Samaritan music was sparked off by Penderetzi and his successor today is
the well known Israeli composer Noam Sherif, who uses many Samaritan sounds
in his works, such as in Tehila LeYerushalayim (Prayer for Jerusalem) and
Mechayei Hametim (Resurrection). Concert halls in the US, Europe and Israel
have opened their gates wide to concerts of Samaritan music, with independent
performances by the Samaritan Singers
as
well as appearances in programs of ancient and contemporary song and music.
The
uniqueness of Samaritan music is evident from the fact that musicology
has found no other music similar to it among known music of the world.
The leanings of Samaritan music towards the sources of ancient Israelite
music has given it its own unique nature. For scholars, this music is a
clear echo of ancient music which no longer exists. This is particularly
interesting in view of the fact that the Samaritans in Israel lived for
shorter or longer periods of time under many changing rulers and with the
many different peoples who lived in the country, and yet no hint of foreign
influence has been found in this music. There is no similarity between
this music and Eastern, Western, Christian or Asian music. Professional
listeners will be filled with great excitement when they hear the first
notes of these unique sounds.
Vocal Music
Samaritan
music is vocal music, unaccompanied by instruments, handed down over the
one hundred and thirty generations of the ancient Israelite-Samaritan people
in the land of Israel. It has been passed on in two ways:
-
Through
formal study, with every Samaritan boy and girl studying for about an hour
a day with Samaritan teachers at the Community Center when they come home
from their regular school. They learn reading, liturgy and poetry in ancient
Hebrew and in the Aramaic dialect still used today by the Samaritans.
-
By Participation
in prayer services at the Samaritan synagogue every Sabbath and festival.
Thus
the musical tradition is preserved, with its thousand different songs and
melodies, some of which are sung in prayer services and secular ceremonies,
on Sabbath and festivals and on joyous as well as sorrowful occasions.
Some of the songs are handed down directly, a clear echo of ancient Israelite
song, some were written by Samaritan composers in the latter half of the
first millennium and some in the first half of the second millennium era.
Samaritan
music is in part composed of variations and coloratura phrases which cannot
be followed by the written musical score, but in part has a rhythmic unity,
which facilitates writing musical scores and musical arrangements for it.
Musicologists have indeed tried their hands at this with varying degrees
of success.
Nonetheless,
the uniqueness of Samaritan music still stands out. The performances of
the Samaritan Singers emphasize the three most striking features:
1.LEFT
AND RIGHT SINGING: Those who pray in the synagogue, which faces east, are
divided into two groups. Members of the first group are known as Rightists,
and sit on the right side of the synagogue. Members of the second group
are called Leftists and sit on the left side of the synagogue hall. There
are prayer hymns with 22 stanzas, the same number as the letters of the
Hebrew alphabet, and each verse has four short lines. The Rightists begin
to sing the first verse and when they get to the beginning of the third
line, the Leftists begin to sing the second verse. In this way all congregants
continue singing to the end of the hymn, each side singing its own verses.
The Rightists sing the odd-numbered stanzas while the Leftists sing the
even-numbered ones. The cantor of the synagogue always joins the Rightists.
2.TRILLS-
ADDING SYLLABLES NOT IN THE TEXT: This is also a characteristic unique
to Samaritan music. The singers sing a given version but to embellish the
song, they add many phrases not among the syllables comprising the words
of the given text. In this manner two words can at times be sung for over
two minutes, by adding a variety of syllables and trills which are not
part of the text. For example, the word “kamu” from the verse: “the depths
have covered them: they sank into the bottom like stone.” (Exodus 15:5)
or in ancient Hebrew, “yaradu bammasalot kamu aaben”, is sung just like
this: kaaawaanuwwa’awwa’aaawwanuwwa’aamu’oooau’aoo’unwoo’aoo.
3.SINGING
A GIVEN TEXT WITH A VARIETY OF MELODIES: There are many texts which are
sung with different melodies according to occasion – secular, Sabbath,
festival or pilgrimage. Thus, for example, the Song of the Day can be performed
with more than ten different melodies.
Closing the Circle
The
enormous interest of scholars brought about the formation of the Samaritan
Singers, a group which began in 1980 to go out into the world and participate
in concerts and music festivals in Israel, Europe and the United States,
including the annual Musica Sacra International Festival held in Europe
and Fifth World’s Symposium of Choral Music held in Rotterdam, The Netherlands
[1999]. After an appearance in Marktoberdorf near Munich, Germany [1992],
a musicologist approached the leader of the group and introduced herself
as a member of a scientific team of musicologists from diverse countries.
With tears in her eyes from the powerful emotion she felt, she recounted
that for years the research team had been trying to formulate the common
music of the future from known forms of music. To her great surprise, the
ancient sounds that she heard in the Samaritan Singers, as learned from
130 generations of their forefathers in the land of Israel, were very similar
to the common sounds which the research team had arrived at.
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2."ELAEE
THAR GARIZEM"-"The god of mount Gerizim and the master of the world "
3.
"EH ABRAHAM"- "Hooo Abraham and his righteousness "
4.
"ELA RAB U LIT KABATE"-"The greatest god who is none as him"
5.
"LEHELUWEM ASHLEMET" -"The glory is for god"
6.
"MILGU LAHAZA RABA"
Further information
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we hope you enjoy it as much as we do. If you looking for the Samaritan
Singers CD, information where and when the Samaritan Singers are performing
or would like to engage their music, please let us know through our e-mail
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