In other words, the formula is restricted to those vows which concern only the relation of man to his conscience or to his Heavenly Judge see especially Tos. In the opinion of Jewish teachers, therefore, the object of the "Kol Nidre" in declaring oaths null and void is to give protection from divine punishment in case of violation of the vow.
No vow, promise, or oath, however, which concerns another person, a court of justice, or a community is implied in the "Kol Nidre. Libowitz, "Leon Modena," p. Yielding to the numerous accusations and complaints brought against the "Kol Nidre" in the course of centuries, the rabbinical conference held at Brunswick in decided unanimously that the formula was not essential, and that the members of the convention should exert their influence toward securing its speedy abolition "Protocolle der Ersten Rabbiner Versammlung," p.
At other times and places during the nineteenth century emphasis was frequently laid upon the fact that "in the 'Kol Nidre' only those vows and obligations are implied which are voluntarily assumed, and which are, so to speak, taken before God, thus being exclusively religious in content; but that those obligations are in no wise included which refer to other persons or to non-religious relations" "Allg.
The decision of the conference was accepted by many congregations of western Europe and in all the American Reform congregations, which while retaining the melody substituted for the formula a German hymn or a Hebrew psalm, or changed the old text to the words, "May all the vows arise to thee which the sons of Israel vow unto thee, O Lord,.
Naturally there were many Orthodox opponents of this innovation, among whom M. Lehmann, editor of the "Israelit," was especially prominent see ib. The principal factor which preserved the great religious authority of the "Kol Nidre" well into the nineteenth century, and which continually raises up new defenders for it, is doubtless its plaintive and appealing melody, which made a deep impression even on Lenau see his remarks in "Der Israelit," , No.
Even more famous than the formula itself is the melody traditionally attached to its rendition. This is deservedly so much prized that even where Reform has abolished the recital of the Chaldaic text, the air is often preserved, either in association with some other passage— e. And yet there are probably no two synagogues in which the melody is chanted note for note absolutely the same. So marked is the variation in the details of the melody that a critical examination of the variants shows an approach toward agreement in the essentials of the first strain only, with transformations of the greatest diversity in the remaining strains.
On a critical investigation on comparative lines, the structure of "Kol Nidre" is seen to be built upon a very simple groundwork, the melody being essentially an intermingling of simple cantillation with rich figuration. The very opening of "Kol Nidre" is what the masters of the Catholic plain-song term a "pneuma," or soul breath. Breslaur draws attention to the similarity of these strains with the first five bars of Beethoven's C sharp minor quartet, op.
The pneuma given in the Sarum and Ratisbon antiphonaries or Catholic ritual music-books as a typical passage in the first Gregorian mode or the notes in the natural scale running from "d" to "d" ["re" to "re"] , almost exactly outlines the figure which prevails throughout the Hebrew air, in all its variants, and reproduces one favorite strain with still closer agreement.
The original pattern of these phrases seems to be the strain of melody so frequently repeated in the modern versions of "Kol Nidre" at the introduction of each clause. Such a pattern phrase, indeed, is, in the less elaborated Italian tradition Consolo, Nos. Gall, by which such typical passages were evolved, influenced all music in those French and German lands where the melody of "Kol Nidre" took shape.
Thus, then, a typical phrase in the most familiar Gregorian mode, such as was daily in the ears of the Rhenish Jews, in secular as well as in ecclesiastical music, was centuries ago deemed suitable for the recitation of the Absolution of Vows, and to it was afterward prefixed an introductory intonation dependent on the taste and capacity of the officiant.
Kol Nidrei combines syllabic chanting one note per syllable with melismatic passages one syllable extended over many notes. By the time the melody began to be notated, somewhere in the late 18th century, significant differences in placement of text, order of tunes, and particular patterns of individual melismas had appeared. Notwithstanding these variations, each setting was recognizable as Kol Nidrei , and each one began with the distinctive intervals that mark its haunting opening.
Listen to this rare recording circa of Richard Tucker singing the version with which most Ashkenazim are familiar. The melodies of the Sephardim Jews who originated in the Iberian peninsula are quite different and tend to be more like chant. According to Dr. Edelman, these melodies vary widely because the Sephardim have lived on many different continents and have been exposed to a diversity of cultural influences.
As we enter this period of repentance and self-reflection, may the words and melodies of our High Holiday services lead to a deeply spiritual understanding of our lives, our relationships, and our deeds. Affiliate Hat ReformJudaism.
But the forced converts remained secretly faithful to their ancestral religion, and when Yom Kippur came, they would observe it surreptitiously. This, Bloch suggests, is the reason that Kol Nidre is recited before the prayers of Yom Kippur proper begin.
Bloch further argues that Jews suffered similar persecution in the Byzantine Empire and utilized Kol Nidre in the same fashion, as also did the Marranos who secretly practiced Judaism after being forcibly converted by the Spanish Inquisition In any case, there is a very long history in Jewish writings, going back to ancient rabbinic literature, of explaining innovations and peculiarities in worship and ritual in terms of persecutions at the hands of a variety of enemies.
Whatever the merits or demerits of any particular theory of this type, the overall effect has generally been further to endear the prayer in question to the Jewish people. The plaintive melody of Kol Nidre has been scarcely less important than the martyrdom tradition as a factor protecting the embattled formula against its critics and enemies.
Indeed, the music itself has been associated by popular tradition with persecution and martyrdom. For this notion there is no historical basis whatsoever, yet the myth dies hard. The history of the Kol Nidre music is as obscure as that of the words; and, as with the text, there are a number of versions. To name only the best-known, there is the familiar Ashkenazic melody and the two current Sephardic melodies: one for the Western and the other for the Oriental communities, both based on the mode of Selihot prayers of penitence and both quite different from the Ashkenazic.
The procedure, still current, of chanting the Kol Nidre formula three times is recorded in Mahzor Vitry , a 12th-century record of the liturgical practices of Old-French Jewry.
Each of the repetitions was intended to convey particular thoughts and emotions, and it is probable that the early Hazzanim improvised in order to express these ideas.
In the course of time, certain melodies must themselves have become traditional. For example, we know that in the early 15th century R. Jacob Moelin Maharil , the father of the Ashkenazic mode of worship, had his own special melody for Kol Nidre.
And so well entrenched was the melody used in Prague at the end of the 16th century that the codifier R. But they [i. Many times have I attempted to correct the wording and teach my improved version to the Hazzanim ; but they were unable to incorporate the changes in the course of their chanting because they are too attached to the old melody which fits the familiar text.
Since Kol Nidre is neither a prayer nor a hymn, it is difficult from a purely liturgical standpoint to understand why such an elaborate chant should have been provided for it in the first instance.
The great Jewish musicologist, A. Idel-sohn, conjectured that the Hazzanim were obliged to improvise a melody because of certain legalistic and practical considerations: they had to begin Kol Nidre while it was still daylight and prolong its recitation until sunset; moreover, in order to enable the late-comers among the congregation to hear Kol Nidre, they would have to repeat it several times.
In the course of time, an elaborate melody evolved. The Kol Nidre chant has captivated Christians as well as Jews. The setting of the Kol Nidre service has perhaps been no less instrumental than the melody in establishing its wide appeal. The details vary from one regional or local rite to another, but the general pattern is similar.
In every case, Kol Nidre is recited as a prelude to Yom Kippur. The reason is that the Talmud prohibits the asking for absolution of vows on a Sabbath or Festival unless the vows directly concern these holy days. Thus, by virtue of a minor point of law, Kol Nidre received the prominent position it holds at the very inauguration of the most sacred day of the Jewish year. This happy accident entailed yet another which served to enhance the power of the ritual—the wearing of the Tallit.
The fringed prayer-shawl is not worn at night and would ordinarily play no role at the evening service which ushers in the Day of Atonement. Since, however, the service on this occasion begins before sunset, it is permissible—and customary in nearly all communities—for men to wrap themselves in the full regalia of prayer.
The white parokhet curtain is drawn, revealing the massed scrolls of the Torah, which are likewise vested in white—the traditional color for the Days of Awe, symbolizing the themes of purity and atonement as well as the confidence of the penitent.
One, or, more commonly, a number of scrolls is removed; tradition requires that at least one scroll must be left in the Ark at all times. In many congregations, the scrolls are carried by the communal elders, led by the Hazzan and Rabbi, in solemn procession through the crowded synagogue—often to the accompaniment of chants deriving from the Kabbalistic tradition. The scrolls are usually kissed and embraced by the worshippers; pious Jews ask forgiveness for their neglect of the Torah throughout the year past and resolve to show greater devotion in the future.
When the procession returns to the Bimah , some communities restore the scrolls to the Ark immediately but most retain two of them to be held by distinguished members of the congregation who stand at either side of the Hazzan until the Kol Nidre rite is completed.
The climax of the entire ceremonial is reached with the chanting of the Kol Nidre formula proper. In all but a few obsolete rites, the ancient words for reasons already mentioned are recited three times. Will kol nidre continue to retain its force in the generations to come?
Sep 7, pm. Family Service for Yom Kippur. Yom Kippur Family Service. Young ish. By Jesse Ulrich. By Kara Baskin. Plus Kids. Jew ish. By Judy Bolton-Fasman. From Camp Friends to Mahjong Mates. Baked Olive Oil Mini Doughnuts. By Penny Schwartz forKveller.
Celebrating the Holiday of Lights Together. Hanukkah Matching Game for Kids. The Languages We Speak. A Pull Back, a Leap Ahead. Nov 17, pm. Alexander Muss Information Session. Drawn to Action: The Art of Dr. The Holocaust: A Maritime History. Dec 2, pm.
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