Sephardic
Songs for All
2000 / CD included
Excerpt from the foreword of Sephardic songs for
all
The year 1992 marked the quincentennial of the expulsion of the Jewish
people from Spain. The world paid tribute to the Sefaradim (Hebrew, Jews
of Spanish origin), those silent wanderers who, expelled from their land,
held tightly to their cultural heritage, disregarding the many adverse
circumstances that befell them along the way. The commemorations of 1992
gave impetus to a reawakening of the interest by international Jewry for
the Sephardic culture. Sephardic songs for all is a modest contribution
geared towards satisfying and stimulating that interest.
Purpose and methodology
This songbook is not a musicological work in the strictest sense of the
word. It provides amateurs and professionals alike with songs that everyone
can sing. With this objective in mind, I have included selections with
a short, melodic range and simple rhythmical patterns. Since this work
is aimed towards Westerners, microtonal intervals, especially common in
Oriental music, have been avoided. Also, I tried to simplify embellishments
wherever they were not an intrinsic part of the melody in question. The
metronomic and expression markings are optional. They have been added
to help the reader get a better feel for the nature of the songs.
Sephardic music was conceived to be performed a capella, that is, without instrumental accompaniment. Yet, chords have been included here for rehearsal purposes or in case accompaniment is desired. Percussion is strongly encouraged. While this songbook does not include any rhythmical motifs, ideas can be obtained from the accompanying CD.
The Hazzan will find melodies that he/she can introduce during religious services and that are, by and large, eminently participatory. Music teachers may be interested in Judeo-Spanish songs to enhance their repertoire for Shabbat or other significant events, such as commemorations of the Shoa. Musicians of all backgrounds will be exposed to melodies of rare beauty and exciting rhythms that are largely unknown to the outside world and can be arranged successfully for a variety of musical ensembles. The refrains of all songs are indicated in a different font so that even the youngest can participate. Since some of the melodies can be sung to a different text, I have noted them with their counterparts in the table of contents. Hence, a song that shares a common melody is written in italics to the side of a song that was originally composed to that tune.
Translations and explanations
A short explanation of each song precedes the musical manuscripts. A more
comprehensive version of the lyrics is provided at the end of the songbook.
Complete Hebrew and Ladino texts are also included. However, due to space
and layout limitations, shortened versions of lengthier texts were sometimes
necessary. For example, the Sephardic versions of “Adon ’Olam”
and “Igdal” substitute words or include extra verses not found
among Ashkenazic sources.
Oral tradition is the main vehicle for the dissemination of the Judeo-Spanish repertoire. This process has contributed to disparities in the outcome of the texts. Therefore, we find many versions of a particular poem. Frequently, the content of the different stanzas do not follow the main theme of the text. They are, rather, individual couplets often borrowed from another song. We have provided the most complete versions at our disposal but because of the length of some of the ballads and/or the numerous versions in existence, we chose to print those that are the best known among the Sefardim.
Sources
Sephardic songs for all is a cross section of the rich repertoire to which
I have been exposed since my childhood at family reunions and through
commercial recordings. Most of the Moroccan and Iraqi liturgical examples
follow the versions of Rabbi M. Edery and Hazzan G. Mordecai. Other selections
are first hand notations from various informants living in Argentina,
the United States, Canada and Israel who shared with me their musical
traditions.
While working on the lyrics and the musical transcriptions, I have consulted the Antología de Liturgia Judeo-España and Chants Judeo-Espagnols by I. Levy, El Legado Sefaradí by W. Samelson, Chants Séphardis by L. Algazil, Coplas Sefardies by A. Hemsi, Romances de Tetuán by A. de Larrea Palacín, 40 Canciones Sefardís by M. García Morante and Sephardic Songs of Praise by A. Lopez Cardozo, among other sources. For those readers interested in further exploring the Sephardic repertoire, a complete biography as well as suggested reading list is included at the end of the book.
CREDITS
Natasha Jitomirskaia
MezzoSoprano, Piano, Piano arrangements
Irene Failenbogen
Soprano
Hazzan Raphael Frieder
Baritone
Toby Rotman
Flute
Carl Tretter
Violin
Nicholas Fobe
Viola
John Kaboff
Cello
Jerry Schwartz
Clarinet
Ramón Tasat
Director, Voice, Guitar, Vocal and Instrumental arrangements
Executive producer: Ramón Tasat
Associate producer: Natasha Jitomirskaia
Recorded at Gizmo Recording Company and Hyperstudio
Mixed by Gantt Mann Kushner & Ramón Tasat
Digital editing & mastering by Bill Wolf at Wolf Productions Inc.
Cover design: Bussolati Associates Inc. & Robert B. Lovato
Photography: Steven Speliotis
Duplication: Sound Recorders Inc., Austin, Texas