Melodies of Rosh Hashana/Yom Kippur
The following are some of my absolute favourite melodies of Rosh Hashana/Yom Kippur. There are so many fabulous tunes for the synagogue at this time of the year as we focus on the themes of kingship, remembrance, the sound of the shofar and repentance. Some of these are ancient melodies, others relatively modern. I’ve curated this list over the festive period for the last four years.
Contents
· Elul/Selichot
∘ 1) El Melech Yosheiv — Trad.
∘ 2) L’chu N’ran’na — Joshua Weisser
∘ 3) Aneinu — Trad.
∘ 4) Shomer Yisrael — Samuel Alman
∘ 5) Machnisei Rachamim — Chaim Banet
∘ 6) Achat Sha’alti — Shlomo Mernick
∘ 7) Achat Sha’alti — Israel Katz
· Rosh Hashana Evening
∘ 8) Ahavat Olam — Julius Mombach
∘ 9) Uv’tsel Kanafecha — Louis Lewandowski
∘ 10) Tiku Vachodesh Shofar — Stephen Glass
∘ 11) Yigdal — Trad.
· Rosh Hashana Day
∘ 12) Eder Vahod — Trad.
∘ 13) Avinu Malkeinu — Shneur Zalman of Liadi
∘ 14) Avinu Malkeinu — Trad.
∘ 15) Avinu Malkeinu — Max Janowski
∘ 16) Avinu Malkeinu — Shlomo Kalish
∘ 17) S’u Sh’arim — Samuel Naumbourg
∘ 18) Hin’ni — Yossele Rosenblatt
∘ 19) Zochreinu — Shlomo Carlebach
∘ 20) Zochreinu — Haim Wasserzug
∘ 21) M’chalkel Chaim — Julius Mombach
∘ 22) Melech Elyon — Joshua Weisser
∘ 23) Un’tane Tokef — Nissan Blumenthal
∘ 24) Un’tane Tokef — Lionel Rosenfeld/Stephen Glass
∘ 25) Un’tane Tokef — Yair Rosenblum
∘ 26) K’vakarat — Samuel Alman
∘ 27) B’rosh Hashana — Trad.
∘ 28) B’rosh Hashana — Meir Finkelstein
∘ 29) B’rosh Hashana — Joshua Lind
∘ 30) B’rosh Hashana — Elli Yaffe
∘ 31) Ki K’shimcha — Schaposnik
∘ 32) Ein Kitzva — Reb Koifman-Yidel Idelson
∘ 33) Kedusha — Trad/Samuel Naumbourg
∘ 34) Uv’chen Yitkadash — Morris Goldstein
∘ 35) B’ein Melitz — Jeffrey Craimer
∘ 36) Chamol Al Ma’asecha — Yigal Calek
∘ 37) Chamol Al Ma’asecha — Akiva Homnick
∘ 38) Simcha L’artzecha — Shlomo Carlebach
∘ 39) Simcha L’artzecha — Reb Koifman Yidel Idelson
∘ 40) V’ye’etayu — Louis Lewandowski
∘ 41) V’ye’etayu — Vizhnitz
∘ 42) V’ye’etayu — Shlomo Carlebach
∘ 43) Horeim — Trad.
∘ 44) Ochila La’el — Hillel Paley
∘ 45) Hayom Harat Olam — Julius Mombach
∘ 46) Hayom Harat Olam — Elli Yaffe
∘ 47) Areshet S’fateinu — Trad.
∘ 48) Areshet S’fateinu — Yossele Rosenblatt
∘ 49) Zacharti Lach — Louis Lewandowski
∘ 50) Ko Amar Hashem — Chaim Banet
∘ 51) Haven Yakir Li — Samuel Malavsky
∘ 52) Haven Yakir Li — Abie Rotenberg
∘ 53) Halleluyah — David Montague Davis
∘ 54) B’sefer Chaim — Breslov
∘ 55) Ki Vi Yirbu — Yossele Rosenblatt
∘ 56) Hayom T’amtzeinu — Samuel Malavsky
∘ 57) Hayom T’amtzeinu — Imrei Shaul
∘ 58) Kaddish Shalem — Jacob Gottlieb
∘ 59) Kaddish Shalem — Imrei Shaul
∘ 60) Adon Olam — Trad.
· Yom Kippur Evening
∘ 61) Kol Nidrei — Trad.
∘ 62) Vayomer Adonai — Salomon Sulzer
∘ 63) Vayomer Adonai — Hirsch Weintraub
∘ 64) Ya’ale — Yehuda Mandel
∘ 65) Ya’ale — Meir Finkelstein
∘ 66) Han’shama Lach — Shlomo Carlebach
∘ 67) Dark’cha Eloheinu — Menachem Mendel Schneerson
∘ 68) Omnam Kein — Trad.
∘ 69) Ki Hinei KaChomer — Trad.
∘ 70) V’haviotim — Shlomo Zolty
∘ 71) Sh’ma Koleinu — Trad.
∘ 72) Ki Anu Amecha — Julius Mombach
∘ 73) Ashamnu — Trad.
∘ 74) V’al Chata’im — Louis Lewandowski
∘ 75) Rachamana — Geoffrey Shisler
· Yom Kippur Day
∘ 76) Ha’aderet V’ha’emunah — Trad.
∘ 77) El Malei Rachamim — Meir Finkelstein
∘ 78) Enosh — Louis Lewandowski
∘ 79) V’chach Haya Omer — Trad.
∘ 80) Marei Kohen — Yigal Calek
· Ne’ila
∘ 81) Ezk’ra Elohim V’ehemaya — Jeffrey Craimer
∘ 82) Ezk’ra Elohim V’ehemaya — Stephen Levey
∘ 83) L’shana Haba’a Biy’rushalayim — Trad.
1) El Melech Yosheiv — Trad.
From the Saturday night before Rosh Hashana, Ashkenazim begin saying Selichot, which include the prayer, El Melech Yosheiv.
Almighty King who sits on the throne of mercy, governs with kindness and forgives the sins of His people. He removes their sins one by one, increasing forgiveness to sinners, and pardon to transgressors. Acting righteously with all who are of flesh and spirit, not according to their wickedness does He repay them.
This beautiful melody forms one of the great emotional highlights of the holiday period, particularly during its many repetitions during Kol Nidrei and Ne’ila.
2) L’chu N’ran’na — Joshua Weisser
These are the verses at the end of the paragraph Shome’a T’fila, which relate the mighty and awesome acts of God:
For in His hand is the soul of every living thing, and the spirit of all human flesh.
We read this paragraph on Yom Kippur and every night of Selichot. Joshua Weisser’s composition combines his characteristic Eastern European chazzanut with more easily-singable sections. The melody aches with longing on the words “Righteousness and justice are the foundations of Your throne, kindness and truth precede Your Presence.”
3) Aneinu — Trad.
In the prayer of Aneinu, which we read during Selichot, we ask the Almighty directly to answer our prayers. Here is a very well known Sefardi tune being sung at the Western Wall.
4) Shomer Yisrael — Samuel Alman
Guardian of Israel, guard the remnant of Israel, and don’t let Israel perish — they who say Shema Yisrael.
This three line prayer from the middle of Tachanun is not said on Rosh Hashana or Yom Kippur itself but forms part of the regular Selichot leading up to and during the high holiday period.
Samuel Alman’s pleading, poignant melody may not have been written with this period of the year in mind, but nowadays it is most readily associated with Selichot.
5) Machnisei Rachamim — Chaim Banet
Angels of mercy! Bring our plea for compassion before the Presence of the Lord of mercy.
This prayer Machnisei Rachamim comes near the conclusion of the Selichot prayers (though not on Yom Kippur itself). A number of authorities have historically been opposed to this section of Selichot, as they object to the idea of praying to angels. Others justify the recitation of Machnisei Rachamim as merely soliciting the support of intermediaries, not relying upon them to answer our prayers.
Regardless, here is Avraham Fried performing Chaim Banet’s anthemic melody for Machnisei Rachamim.
6) Achat Sha’alti — Shlomo Mernick
We add Psalm 27 to our daily prayers from the beginning of Elul until Simchat Torah, as it contains references to Rosh Hashana (זבחי תרועה), Sukkot (כי יצפנני בסכה) and general themes of repentance. In it is this paradoxical line, in which one request quickly becomes three requests:
One thing I ask of God, only that I seek… to live in the house of God all the days of my life, to gaze upon the beauty of God, and to frequent His temple.
Though several slow, intense tunes also exist, this fast, exciting melody composed by Rabbi Shlomo Mernick, which appears on the Toronto Boys Choir’s 1974 album is the one I remember most fondly singing and dancing to at Cheder.
7) Achat Sha’alti — Israel Katz
This classic slower waltz melody was composed by Israel Katz.
Rosh Hashana Evening
8) Ahavat Olam — Julius Mombach
Though Julius Mombach’s wonderful setting of Ahavat Olam is listed under festival services, it now seems to be sung in many communities only on the high holy days, if at all.
Ahavat Olam forms the second paragraph of the evening service, and although it is read every day of the year, this tune kicks off the Rosh Hashana services in a serious yet festive mode.
[Unfortunately the original recording I linked to has been removed — this version here is lovely but rather slow. I’d recommend listening using at least 1.5x speed]
9) Uv’tsel Kanafecha — Louis Lewandowski
Uv’tsel Kanafecha appears near the end of the paragraphs preceding the Ma’ariv Amida. This beautiful prayer mentions the word peace five times and is said on every Shabbat and Yom Tov.
Shelter us in the shadow of Your wings. Because God, You are our Protector and Rescuer. Because God, You are a gracious and merciful King. Guard our going out and our coming in, for life and peace now and forever.
Here is Louis Lewandowski’s classic and beloved melody for the High Holy days.
10) Tiku Vachodesh Shofar — Stephen Glass
Blow the Shofar at the New Moon, at the appointed time for our festival. For it is a law for Israel, a day of judgement by the God of Jacob.
We always have an archetypal verse we read before the evening Amida which also forms part of the day Kiddush. Think of V’shamru on Shabbat, Vay’daber Moshe on festivals, and here Tiku Vachodesh Shofar on Rosh Hashana. This verse also appears within the Shofarot section of the Musaf Amida.
Stephen Glass’ modern fanfare with cinematic overtones brings out the sound of the shofar and the meaning of the verse.
11) Yigdal — Trad.
At the end of the Ma’ariv service, we sing this traditional tune for Yigdal, composer unknown. Absent is the regular Shabbat bouncy melody — here we have a solemn chant to close out the service and remind us of the majesty of the day.
Rosh Hashana Day
12) Eder Vahod — Trad.
This familiar tune has been used for Anim Zemirot, Ashrei, Shir Hama’alot and many other settings, but it in fact originates from the High Holy day services. Eder Vahod, a poem composed by Rabbi Shimon Hagadol in the 10th century, is one of the paragraphs inserted into the Chazzan’s repetition of Shacharit on Rosh Hashana. Ba’alei Tefila often utilise this tune for other responsive paragraphs in Shacharit and Musaf as it’s an easy tune that the congregation already know, but they can certainly feel justified adopting it given its origins.
13) Avinu Malkeinu — Shneur Zalman of Liadi
This is one of the most well known prayers of Rosh Hashana/Yom Kippur, though it is also said on fast days throughout the year. Each line of Avinu Malkeinu contains a request for compassion from “Our Father, our King”. This emotional Chabad melody is sung to the second line “Our Father, our King, we have no King except you” and is traditionally attributed to Rabbi Shneur Zalman of Liadi.
14) Avinu Malkeinu — Trad.
Though it is not only said on Rosh Hashana/Yom Kippur, this is arguably the most well known tune of the high holiday period. Avinu Malkeinu contains a whole sequence of pleas for compassion ending with the line declaring our utter helplessness before the Almighty:
Our Father, our King, be gracious to us and answer us, for we have no accomplishments; deal charitably and kindly with us and deliver us.
15) Avinu Malkeinu — Max Janowski
A staple of reform Judaism, over the last few years Max Janowski’s heart-wrenching tune for Avinu Malkeinu has become more prevalent within orthodoxy.
The music has an incredible dynamic range, building to a huge crescendo on the line “Our Father, our King, renew us for a good year” and ending softly on the petition “listen to our voice”.
There are many excellent recordings online but the most famous and arguably the most emotionally powerful is this one from Barbra Streisand.
16) Avinu Malkeinu — Shlomo Kalish
One of the central lines of Avinu Malkeinu pleads:
“Our Father, our King, open the gates of heaven to our prayers”
This theme of opening the gates of prayer appears in several places throughout the liturgy of Rosh Hashana/Yom Kippur. At the beginning of Yom Kippur Shacharit we declare “Blessed are You… Who opens for us the gates of mercy”. Near the end of N’ila (which the G’mara describes as the time when the gates of Heaven are closed), we continue to request “Open for us the gate, at the time of closing the gate” This popular Shlomo Kalish melody for Avinu Malkeinu joyously wills the gates of heaven open.
17) S’u Sh’arim — Samuel Naumbourg
In 19th century France, Samuel Naumbourg revolutionised the synagogue service with many new works. His most famous composition, S’u Sh’arim, is a setting of Psalm 24, imitating the choral marches found in grand opera.
We sing this most majestic piece of music as we take the Torah back to the ark on Rosh Hashana. The words of the psalm also appear within the Malchuyot section of the Amida (usually to another tune).
As well as being sung in shul, S’u Sh’arim is a very popular concert piece and there are many recordings online. Although the melody sounds deceptively simple, it can be quite hard to pitch accurately, and many recordings testify to this! This orchestrated version with Azi Schwartz is a fun and adventurous take on this classic piece.
18) Hin’ni — Yossele Rosenblatt
Here I am, impoverished in deeds and merit.
Hin’ni is a private meditation uttered by the Chazzan prior to commencing the Musaf service on Rosh Hashana and Yom Kippur, and is therefore one of the few prayers worded in the singular. The Chazzan asks that God receive the subsequent prayers favourably, despite any personal shortcomings they might have as an emissary for the congregation. The word Hin’ni itself references the “Here I am” said by Abraham at the binding of Isaac, and by Moses at the burning bush.
Undoubtedly the most famous adaptation of Hin’ni is by the virtuoso Chazzan, Yossele Rosenblatt. This relatively short, yet challenging composition showcases his extraordinary sweet voice, his broad range, his ability to transition into falsetto for key moments, and his characteristic “krechts”.
19) Zochreinu — Shlomo Carlebach
There are a surprising number of tunes for Zochreinu, some pleasant happy tunes, others deep with yearning. Most people probably hear the Israel Goldfarb version in shul.
Indeed I only learnt of Shlomo Carlebach’s melody a few years ago. Here it is arranged beautifully and tenderly by Yonatan Razel.
Remember us for life, King who desires life and inscribe us in the Book of Life for Your sake, Living God.
20) Zochreinu — Haim Wasserzug
This plaintive tune written by Haim Wasserzug in the late 19th century is considered the traditional melody in Nusach Anglia. This recording is from the excellent “Music of the Victorian Synagogue”.
21) M’chalkel Chaim — Julius Mombach
These words which appear in the second blessing “Gevurot” of every Amida throughout the year, acknowledge the power that God has over us. However, the themes of life and death in this blessing are particularly pertinent to this time of the year.
This melody, which alternates between threnody and majesty, was composed by Mombach specifically for the high holy days. It has become a standard in many Anglo-Jewish communities, though it is certainly less universal than it once was. I have fond memories of Rabbi Sacks זצ”ל making a point of singing this tune every year when he led Shacharit on Rosh Hashana/Yom Kippur.
22) Melech Elyon — Joshua Weisser
On the first day of Rosh Hashana the piyut Melech Elyon is added into the Chazzan’s repetition of the Musaf Amida. Each stanza ends with the words “Forever may He reign, Most high King!” (A similar piyut is inserted into the Shacharit Amida on the second day, but since each stanza there contains 8 stiches instead of the 5 here, it is near impossible to use the same melodies for both.)
This poem also contains two comparative stanzas near the end, “How long will he reign? Lowly, mortal king” for which the ark is briefly closed and then reopened, which is inevitably bungled in every shul by whomever has the honour of this Peticha!
Here is Joshua Weisser’s merry and carefree melody for Melech Elyon.
23) Un’tane Tokef — Nissan Blumenthal
This central poem of the High Holy Days “Let us relate the holiness of this day”, is a symphony in four movements, the first of which depicts the day of judgement where even the angels in heaven tremble in fear. A well-known legend from the Ohr Zarua tells that this prayer was composed by Rabbi Amnon of Mainz — this is certainly inaccurate since fragments have been found in the Cairo Geniza, though it may be responsible for its transmission and how it gained universal acceptance in the liturgy. Some have suggested the poem was originally written in Israel because the famous line “Repentance, prayer and charity avert the evil decree” accords more with a statement in the Jerusalem Talmud than the equivalent statement in the Babylonian.
Nissan Blumenthal’s composition must surely rate as one of the finest classic settings of Un’tane Tokef, with its beautiful romantic themes, stirring solo sections and elegant harmony.
24) Un’tane Tokef — Lionel Rosenfeld/Stephen Glass
This modern interpretation of Un’tane Tokef, written by Lionel Rosenfeld and Stephen Glass, incorporates a recurring pulse, a ticking clock symbolising the passage of time over the words “You record and count, you recall all the forgotten things, and you open the book of records” and later again over “You cause to pass, count, number, and review the soul of every living being”. (It also includes some of the sections from the Blumenthal, above.)
25) Un’tane Tokef — Yair Rosenblum
This recording by the IDF choir of Yair Rosenblum’s Un’tane Tokef with its superb orchestral treatment tugs at all the heart strings.
Rosenblum, a secular Israeli, composed this melody (to the words we say on Rosh Hashana/Yom Kippur) to remember the people killed during the Yom Kippur war from Kibbutz Beit Hashita. From the kibbutz world, it entered into the synagogues and is now one of the most widespread melodies used for Un’tane Tokef in Israel and all over the world.
26) K’vakarat — Samuel Alman
Whilst a great number of settings for Un’tane Tokef put K’vakarat in a minor key, Samuel Alman’s beautiful melody (here arranged by Stephen Glass) does the opposite, evoking a pastoral setting, based directly on the words:
As a shepherd inspects his flock making his sheep pass under his rod.
27) B’rosh Hashana — Trad.
On Rosh Hashana it is written, and on Yom Kippur it is sealed. This is the unsettling middle paragraph of Un’tane Tokef where God judges us and we catalogue the events and destinies of the coming year, who will live and who will die. This paragraph is the inspiration behind Leonard Cohen’s song “Who By Fire”.
This version includes the traditional congregational refrain (of unknown authorship) which repeats several times throughout the paragraph, alternating with impassioned virtuoso solo from Moshe Stern derived from the nusach.
28) B’rosh Hashana — Meir Finkelstein
This modern, harmonically vibrant yet easily singable melody by Meir Finkelstein is virtually unknown in the Orthodox service, but beloved in many Conservative synagogues. Performed here by his daughter Emily.
29) B’rosh Hashana — Joshua Lind
This familiar tune to the first line of the second paragraph of Un’tane Tokef truly tugs at the heartstrings. Like many other melodies, this refrain is designed to be repeated a number of times through the paragraph. Written by Joshua Lind in the early 20th century.
30) B’rosh Hashana — Elli Yaffe
Another modern interpretation of B’rosh Hashana, this one composed by Elli Yaffe. This sublime version runs the gamut of emotion, from delicate vunerable moments to quiet desperation to the feverish clamour at the words “Who by hunger and who by thirst, who by earthquake and who by plague”. Performed here by Simon Cohen.
31) Ki K’shimcha — Schaposnik
This lesser known tune by Schaposnik for Ki K’shimcha (the third paragraph of Un’tane Tokef) is my absolute favourite melody of Rosh Hashana/Yom Kippur. It beautifully captures the meaning of the words which relate the fragility of mankind:
Man is made from dust and to dust he will return,
he lays down his soul to bring home bread
he is like a broken shard,
like dried up grass,
like a fading flower,
like a fleeting shadow,
like a passing cloud,
like a breath of wind,
like whirling dust,
like a dream that slips away.
32) Ein Kitzva — Reb Koifman-Yidel Idelson
This rousing and regal Modzitz march has become one of the most popular melodies for Ein Kitzva, a paragraph which introduces the Mussaf Kedusha on Rosh Hashana and Yom Kippur.
Of the many fine recordings online, this polished performance by The Jerusalem Choir is an excellent choral arrangement, replete with “bom-bom-bom-boms”.
33) Kedusha — Trad/Samuel Naumbourg
This is the traditional tune for Kedusha as transcribed by Samuel Naumbourg. On Rosh Hashana this particular Kedusha is only sung at Musaf, but on Yom Kippur this extended Kedusha appears in every service.
This descending melody for Shema Yisrael is a recurring theme used many times throughout the day: for the Shema itself at Ma’ariv and Shacharit, on taking out the Torah scrolls, within the Malchuyot section of the Amida, within Mombach’s L’cha Adonai (for the high holy days), and at the close of Ne’ila.
The verse Baruch Shem K’vod Malchuto, which is read aloud (instead of whispered) on Yom Kippur, has a very similar melody, and again this tune is used many times throughout the day including three times during the Seder Ha’avoda and at Ne’ila.
34) Uv’chen Yitkadash — Morris Goldstein
Between the Musaf Kedusha and V’chol Ma’aminim we recite three paragraphs, beginning “And so may Your Name be sanctified” appealing to God’s justice by requesting that the qualities of the three patriarchs should be for our merit “when there is no one to plead for our righteousness”.
In the late 19th century, Morris Goldstein created for these verses a large-scale, complicated composition consisting of multiple sections with different textures, various tempo changes and solos for different voices. This is considered one of the most sublime pieces in the repertoire, with its lush harmony and heart achingly beautiful melodies for “Tzion, the dwelling place of Your glory” and “when there is no one to plead for our righteousness”. But it is also one of the most difficult pieces in the repertoire for a synagogue choir and is sadly rarely sung nowadays. Here is a phenomenal recording by Azi Schwartz.
35) B’ein Melitz — Jeffrey Craimer
Before V’chol Ma’aminim in the Musaf Amida, we ask God to remember Jacob’s attribute of justice so that we may in turn be dealt with justly “when there is no one to plead for our righteousness”.
Totally unlike the complexity of Morris Goldstein’s composition above is this wistful, haunting melody written by Jeffrey Craimer and performed by the Pirchei London.
36) Chamol Al Ma’asecha — Yigal Calek
After the Musaf Kedusha, we insert into the chazzan’s repetition this paragraph, which includes a beautiful line repeating the word קדש five times:
For those who sanctify You are themselves hallowed in Your holiness; becoming to the Holy One is the glory of those who are holy.
This popular tune was composed by Yigal Calek.
37) Chamol Al Ma’asecha — Akiva Homnick
This alternative, equally popular tune was composed by Akiva Homnick but made famous by Shloime Dachs.
38) Simcha L’artzecha — Shlomo Carlebach
As with many of his songs, Shlomo Carlebach’s catchy melody for Simcha L’artzecha instantly uplifts the service, and reminds us that Rosh Hashana is not only a serious day, but also one of great joy.
39) Simcha L’artzecha — Reb Koifman Yidel Idelson
This song combines words from the paragraphs “Grant honor to Your people’’ and “The righteous will see and rejoice” which appear in every Amida of Rosh Hashana and Yom Kippur.
You can feel the euphoria of the celebrating tzadikim emanating from this bouncy Modzitz march. Composed by Reb Koifman-Yidel Idelson.
40) V’ye’etayu — Louis Lewandowski
The paragraph of V’ye’etayu is an alphabetic acrostic added into the Malchuyot section of the Chazzan’s repetition, detailing how the entire world will relate to God in a utopian future.
This superb composition by Lewandowski includes celebratory passages, a romantic middle section, and a recapitulation before the final apotheosis on the words “And they will bestow on You the crown of sovereignty”.
41) V’ye’etayu — Vizhnitz
Strangely enough, this tune originated in Vizhnitz Chassidut but it has pervaded many different strands of Judaism from the dati leumi, to the conservative, reform and renewal movements.
As mentioned above, V’ye’etayu details how the entire world will relate to God in a utopian future, and builds up to its last line:
And they will bestow on You the crown of sovereignty.
Unlike other melodies, this one adds this final line as a congregational response in between every other line, which makes it quite interactive (if not rather repetitive!) The fast pace and easy melody also make this a favourite for Simchat Torah in many communities.
42) V’ye’etayu — Shlomo Carlebach
Whilst this melody has been utilised for Shabbat, Simchat Torah, L’shana Haba’a and many other words, Shlomo Carlebach created this joyous tune for the paragraph V’ye’etayu, which is added to the chazzan’s repetition on Rosh Hashana.
43) Horeim — Trad.
After Aleinu in the Rosh Hashana Musaf repetition, the Chazzan intones the prayer Heyei im Pipiyot. As he is about to quote the all important verses of Kingship, Remembrance and Shofar blasts which are the themes for the day, the repetition inserts this introductory supplication that God should grant the Chazzanim the wisdom to say the prayers correctly with understanding and sincerity. (This is later followed by Ochila, a more personal plea for God’s assistance.)
Teach them what to say,
Enlighten them how to speak,
Respond to their requests,
Inform them how to glorify…
This sombre melody is ancient and of unknown authorship. Its seriousness contrasts with some of the surrounding more joyous sections of the service, and reminds me somewhat of the theme for Eli Tzion, also in a minor key and in 3/4 time. This tune is sadly not very well known anymore, yet there are few other melodies written specifically for this section.
44) Ochila La’el — Hillel Paley
Ochila La’el is a personal prayer which the chazzan reads during the Rosh Hashana and Yom Kippur Mussaf, beseeching God to support him in conveying the following prayers. It was probably composed in the period of the Amoraim and is based on several verses from Tanach (notably Proverbs 16).
The chazzan petitions “O Lord, open my lips” because “eloquent speech comes from the Lord”. Whilst the text of our prayers are prescriptive, a chazzan must use music and feeling to express the deeper meaning of the words and to inspire his congregation, and for this he asks for heavenly assistance.
There is an old Nusach for this prayer, but it has become customary in many communities in our time to use this recent melody by Rabbi Hillel Paley, and thereby transform Ochila into a more communal request.
45) Hayom Harat Olam — Julius Mombach
Rosh Hashana is often referred to as the birthday of the world, but this doesn’t accurately describe our relationship with the day, and the expression “Happy New Year” is perhaps better reserved for January 1st. Whilst there is indeed joy, Rosh Hashana is simultaneous a day of solemnity, when every living thing is judged. This is the tone of Hayom Harat Olam, a short piyut which we recite immediately following the three sets of shofar blasts during the Musaf Amida. This poem is very old and of unknown authorship, first appearing in Rav Amram’s Siddur (from 9th century Iraq).
Many simply reuse the traditional Avinu Malkeinu tune here, which is a pity as there are many other excellent melodies written specifically for this paragraph. Julius Mombach’s melody reflects the austere and serious mood of these words, and is the most prevalent tune used in Nusach Anglia today.
46) Hayom Harat Olam — Elli Yaffe
Here is Elli Yaffe’s stunning and emotive composition for Hayom Harat Olam, which we recite each time we sound the shofar at the conclusion of the Malchuyot, the Zichronot and the Shofarot sections of the Amida.
47) Areshet S’fateinu — Trad.
During the repetition of the Musaf Amida, we sound the shofar at the conclusion of the Malchuyot, the Zichronot and the Shofarot sections. Immediately after each of those sections we sing Hayom Harat Olam followed by Areshet S’fateinu.
There are several lovely tunes, but this waltzy version is probably my favourite. A variant of this tune is also used by some for the paragraph Ata Hu Elokeinu in the Shacharit Amida. Authorship unknown.
48) Areshet S’fateinu — Yossele Rosenblatt
Yossele Rosenblatt’s composition is another very popular melody for this paragraph. Listen out for the mimetic allusion to the shofar on the word Tekiatenu.
49) Zacharti Lach — Louis Lewandowski
One of Louis Lewandowski’s most beautiful and beloved melodies. The words are from the Remembrances section of the Amida, asking for God to “remember” the earlier loyalty of the Jewish people.
I remembered for you the kindness of your youth,
the love of your bridal days,
how you followed Me into the wilderness,
in a land that was not cultivated.
50) Ko Amar Hashem — Chaim Banet
These words from the Zichronot section of the Amida, ask for God to “remember” the earlier loyalty of the Jewish people.
Thus says God, I remembered for you the kindness of your youth, the love of your bridal days, how you followed Me into the wilderness, in a land that was not cultivated.
51) Haven Yakir Li — Samuel Malavsky
Is Ephraim not My precious son, is he not a child of delight? For whenever I speak of him, I recall him even more.
These words from the Zichronot section of the Amida “remind” God of our kindness, and seek His compassion.
This is one of Samuel Malavsky’s most well known compositions, which begins and ends in supplication, but contains an almost tribal dance-like middle section. Unusually for the time, Malavsky sang together with his sons and daughters in public concerts, long before women cantors were accepted even in non-orthodox synagogues. Performed here by Goldie Malavsky and the rest of the Malavsky family.
52) Haven Yakir Li — Abie Rotenberg
Abie Rotenberg is well known the world over for his easily singable, kumzitz favourites. Here is his popular melody for Haven Yakir Li. Whilst these words from the Zichronot section of the Amida seek to “remind” God of our kindness on Rosh Hashana, for me this melody very much brings out the original context of these verses from Jeremiah 31 — a longing for the coming of the Messiah.
53) Halleluyah — David Montague Davis
The entirety of Psalm 150 is inserted into the Shofarot section of the Rosh Hashana Musaf Amida, since it explicitly mentions the shofar, along with a list of other instruments we use to praise God. David Montague Davis’ Halleluyah was originally intended for the choral wedding service, but its infectious energy makes for an equally fine addition to the Rosh Hashana service.
54) B’sefer Chaim — Breslov
Most of us are familiar with this catchy tune for B’sefer Chaim which encapsulates the joy of knowing our sins are forgiven. The original Breslov melody innovatively fuses the four supplementary lines we add to every Amida between Rosh Hashana and Yom Kippur, which all relate to the word חיים — life.
Remember us for life…
…Who remembers his creatures for life
Inscribe all the children of your covenant for a good life
In the book of life… may we be remembered and inscribed before You… for a good life and peace
55) Ki Vi Yirbu — Yossele Rosenblatt
Here is Yossele Rosenblatt’s exciting finale to the Musaf Amida, which concludes with this well known prayer repeating the word “Hayom”.
This day, may You strengthen us. Amen.
This day, may You bless us. Amen.
This day, may You make us great. Amen.
This day, may You seek our good. Amen.
This day, renew for us a good year. Amen.
This day, listen to our supplications. Amen.
This day, accept our prayers with compassion and favour. Amen.
This day, support us with Your right hand of righteousness. Amen.
56) Hayom T’amtzeinu — Samuel Malavsky
This is another classic composition by Samuel Malavsky for the end of the Musaf service, performed here with his sons and daughters. The melody contains march-like sections and a waltz, and repeats the word “Hayom” probably more than any other tune.
57) Hayom T’amtzeinu — Imrei Shaul
This Modzitz melody composed by the Imrei Shaul is infectiously cheerful. If you enjoy the “bom boms” in the Modzitz Ein Kitzva, then this is definitely the tune for you!
58) Kaddish Shalem — Jacob Gottlieb
Known by some as the chassidic kaddish or victory kaddish, this exuberant melody was written by Jacob Gottlieb. Though very popular it is far from the only final kaddish tune, and is sometimes mixed in with other melodies.
When sung at the end of Musaf on Rosh Hashana (weekday) many insert the final shofar calls in the middle of the kaddish.
Due to its sense of grandeur and finality, some sing this only at the end of Rosh Hashana Musaf, Kol Nidrei and Ne’ila (i.e. not at Yom Kippur Musaf, Shacharit etc.)
59) Kaddish Shalem — Imrei Shaul
This wonderfully bombastic Modzitz tune for the final Kaddish was composed for the high holiday services by the Imrei Shaul.
60) Adon Olam — Trad.
There are hundreds of melodies to Adon Olam, but this one is (at least in Nusach Anglia) the Rosh Hashana/Yom Kippur tune. The authorship is unknown — it is listed as Traditional in the blue book, and given its age, I was quite surprised to learn that not everyone sings (or even knows) this tune.
There is an interesting bittersweet feel to the melody as it switches between a major low part and relative minor high part. Though this recording ends on a major (tierce de Picardie) the traditional ending is on a minor chord.
The blue book specifies it should be sung slowly, which this recording upholds, though in my personal experience by the time the end of Musaf rolls around most of us end up singing it at a significantly faster lick!
Many congregations also sing this at the end of Kol Nidrei following Yigdal.
Yom Kippur Evening
61) Kol Nidrei — Trad.
The most famous Jewish prayer, Kol Nidrei is a dry text of Aramaic legalese elevated to so much more by this ancient melody. It’s hard to say just how old the music is — it draws upon various “misinai” motifs including Alenu and HaMelech.
The melody was beloved by Tolstoy, is said to have inspired one of Beethoven’s works and was adapted for cello by Max Bruch, who said “I deeply felt the outstanding beauty of these melodies and therefore I gladly spread them through my arrangement”.
Kol Nidrei was also famously used in the landmark film The Jazz Singer. Although he did end up having a small cameo in the film, Yossele Rosenblatt purportedly turned down $100,000 to play one of the lead roles and sing Kol Nidrei on ideological grounds.
Of course this poignant melody starts the Yom Kippur services for us in the zone of intense spirituality and nostalgia.
62) Vayomer Adonai — Salomon Sulzer
And Hashem said I have forgiven them as you have asked.
This verse is read near the beginning of the Kol Nidrei service. As with the preceding Kol Nidrei and V’nislach, it is traditionally recited three times. The original context to this verse relates to God’s anger following the sin of the spies. Moses invokes a version of the 13 attributes and asks that God forgive the people. Just as God forgave the people then, we hope for his forgiveness on Yom Kippur now.
Here is Salomon Sulzer’s solemn composition, an appropriate melody for sustaining the reverential mood following Kol Nidrei.
63) Vayomer Adonai — Hirsch Weintraub
Here is another suitable composition for this same prayer, by Hirsch Weintraub:
64) Ya’ale — Yehuda Mandel
Here is a recording of Yehuda Mandel’s expressive melody for Ya’ale, beautifully sung by Steve Robins.
May our supplication ascend from the evening, and may our cry come from the morning, and may our song appear until evening.
Ya’ale is sung immediately after the Amida on Kol Nidrei. Each of the 8 verses contains the three verbs יעלה ויבא ויראה referencing the prayer added to the Amida and Birkat Hamazon on Rosh Chodesh and all the festivals. The three phrases on each line end מערב מבקר עד ערב referring to the length of the fast as specified in Parshat Emor “from evening to evening”.
65) Ya’ale — Meir Finkelstein
A more modern alternative, here is Meir Finkelstein’s beautiful, expressive, melody for Ya’ale.
66) Han’shama Lach — Shlomo Carlebach
Han’shama Lach is said during Kol Nidrei (and other prayers of selichot) at the end of the paragraph Shomei Tefila, which describes God’s power and tremendous acts.
The soul is Yours, and the body is Yours, have pity on Your work.
Shlomo Carlebach’s simple yearning melody is not the only tune, but is by far the most popular.
67) Dark’cha Eloheinu — Menachem Mendel Schneerson
It is Your way, our God, to slow Your anger against the wicked and the good, and that is Your praise.
These words were written by one of the earliest poets we know of by name, Yose ben Yose. They are the refrain to a longer piyut, which most communities now omit and read only in this shortened form on Kol Nidrei night as part of the Selichot.
This Chabad melody was composed by the Lubavitcher Rebbe in 1955.
68) Omnam Kein — Trad.
One of the most well known and beloved of the Yom Kippur selichot, and perhaps the most optimistic in tone, with its repeated insistence that God forgive us. This piyut was written in 12th century England by Yom Tov of Joigny, who perished in the massacre at Clifford’s Tower. The music is a traditional melody of unknown authorship, but likely of German origin. There is nice interplay between Chazzan and congregation (or choir) as we repeat the inner rhyme of each verse, followed by a wonderful sense of community and catharsis as the entire shul belts out Salachti, “I have forgiven” over the classic 6–4 perfect cadence.
69) Ki Hinei KaChomer — Trad.
The poem, Ki Hinei KaChomer which we read on Kol Nidrei evening, depicts God as a series of different artisans, shaping us with the related medium: “like clay in the hands of the potter”, “like stone in the hand of the mason”, etc. The poem emphasises the powerlessness of man, and asks God to remember the covenant He made with us and to overlook our sins.
The piyut is undoubtedly inspired by verses in Isaiah 64 and Jeremiah 18:
We are the clay, and You are the potter; we are all the work of Your hands.
Just like clay in the hands of the potter, so are you in My hands, O House of Israel!
This is an ancient, traditional melody, and the most prevalent tune in the UK, though there exist several slight variants. It is customary to restate this tune for the two paragraphs in Ne’ila יחביאנו צל ידו and ישמיענו סלחתי giving a sense of bookending the day.
70) V’haviotim — Shlomo Zolty
Immediately prior to Sh’ma Koleinu comes a paragraph asking God to “Remember the covenant with the Patriarchs”. This paragraph concludes:
And I will bring them to My holy mountain, and make them joyful in My House of Prayer. Their burnt-offerings and sacrifices will be accepted with favour on My Altar. For My House will be called a House of Prayer for all peoples.
This extremely well known melody was composed by Shlomo Zolty, and this is the original recording with the Toronto Boys Choir. Interestingly, there is a high countermelody here that I haven’t heard anyone sing in person.
71) Sh’ma Koleinu — Trad.
The emotional apex of Yom Kippur, Sh’ma Koleinu has one of the most well-known and beloved melodies. Though we say the opening line every day in our weekday Amida, it is never filled with as much feeling as it is on Yom Kippur.
Listen to our voice, Lord our God. Spare us and have compassion on us, and in compassion and favour accept our prayer.
72) Ki Anu Amecha — Julius Mombach
The prayer Ki Anu Amecha is sung in each of the five services of Yom Kippur, and its words describe the special connection between God and the Jewish people. (There are 12 lines, I’ll just put the first two here)
For we are Your people and You are our God.
We are Your children and You are our Father.
In Anglo-Jewry this regal, joyous melody by Mombach is almost universally used. This happy tune in a major key gives a very different flavour to these prayers vs some of the other popular tunes used in other communities.
It’s not often sung as beautifully as this, and in unison almost resembles more of a football chant, which isn’t so out of place when you consider the meaning of the words — we are the loyal supporters!
73) Ashamnu — Trad.
In each of the five services of Yom Kippur we recite the Vidui confession. We enumerate our sins collectively in Ashamnu, and gently beat ourselves on the chest for each transgression listed.
When we recite the Ashamnu communally, it is sung in a most jubilant and majestic manner. This ancient “misinai” melody is similar to the one we use for the Song at the Sea, “Chazak chazak v’nitzchazek” (the chant we sing at the conclusion of a book of the Torah), and “Vayhi erev vayhi boker…” (the tune used for each of the days in the Simchat Torah reading).
Different communities seem to have slight variations, but the main features of the melody are the same. Indeed, Abraham Tzvi Idelsohn, the father of Jewish musicology found this same melody sung by Ashkenazi, Yemenite, Persian and Iraqi Jews.
Though it seems incongruous to sing about our sins so joyously, according to Rav Soloveitchik when the individual confesses he does so from a state of depression, insecurity, and despair in the wake of a sin for which he has no assurance of being acquitted. In contrast, the Jewish community confesses out of a sense of confidence and even rejoicing with the singing of the Vidui in a heartwarming melody.
74) V’al Chata’im — Louis Lewandowski
At the end of the longer form of the Vidui confession during each of the services on Yom Kippur (except Ne’ila), we confess to general sins which incur various forms of sacrifices or punishments. The custom in Nusach Anglia is to sing these lines aloud, though this is not necessarily the case in other parts of the world.
Despite the sombre and serious nature of these words, we sing in an upbeat, joyous fashion. As I mentioned last year regarding the tune for the short part of Vidui (Ashamnu), Rav Soloveitchik explains that when the individual confesses he/she does so from a state of depression, insecurity, and despair in the wake of a sin for which he/she has no assurance of being acquitted. In contrast, the Jewish community confesses out of a sense of confidence and even rejoicing with the singing of the Vidui in a heartwarming melody.
Here is Louis Lewandowski’s melody for this confession, sung by Rav Shisler.
75) Rachamana — Geoffrey Shisler
Near the end of the Selichot on Kol Nidrei (and indeed every evening we recite Selichot), we ask that God answer us according to an alphabetic listing of his many names and attributes. This prayer was later translated into Aramaic and in the Ashkenaz tradition we retain an abridged version of the Aramaic following the original Hebrew prayer.
This beautiful melody composed by Geoffrey Shisler underscores the remorseful and penitent mood we feel at this point in the service.
Yom Kippur Day
76) Ha’aderet V’ha’emunah — Trad.
This alphabetic prayer describes the many attributes belonging to God, “He Who lives forever” beginning with “strength and faithfulness” and appears in the repetition of the Shacharit Amida on Yom Kippur. It is also popularly sung in many communities on Simchat Torah.
Here is a very catchy Chabad melody which has been reimagined in a modern Israeli style. It’s guaranteed to put a smile on your face! In Chabad communities, Ha’aderet is sung every Shabbat.
Interestingly, the Lubavitcher rebbe became fond of the French national anthem during his studies at the Sorbonne, and later started a tradition of using the melody of the Marsellaise to the words of Ha’aderet. (This below is not that tune!)
77) El Malei Rachamim — Meir Finkelstein
In many communities, the synagogue is at its most full for Yizkor, the memorial services for the departed. After the personal remembrances, we read one or more paragraphs of El Malei Rachamim for victims of the Holocaust and for Israeli soldiers who died defending their country.
This stunning modern composition by Meir Finkelstein, though certainly a break with the traditional nusach, runs the whole gamut of emotions ending on a triumphant high and beautifully brings out the meaning of the words.
[Due to the way this album is broken up the final note is irritatingly on the following track]
78) Enosh — Louis Lewandowski
The exact text for the Yizkor service on Yom Kippur is different in every community. Lewandowski’s service contains these sobering verses from Psalm 103:
As for man, his days are like grass, he blooms like a flower of the field.
If a wind passes over him, he is no more, and his place no longer knows him.
But the Lord’s kindness is forever towards those who fear Him, and His righteousness is for his children’s children.
This is one of Lewandowski’s most dramatic and moving compositions. The melody begins solemnly, builds up slowly, then suddenly quietens at the words “he is no more”. A contrasting section breaks out into joyous song describing “God’s kindness”.
Even if Enosh does not form part of the Yizkor service in your synagogue, these words detail one of the main themes of Yom Kippur, which we also refer to in the final paragraph of Un’tane Tokef.
79) V’chach Haya Omer — Trad.
In the middle of Musaf, we reenact the Temple service which took place every year on Yom Kippur, when the holiest man would go into the most sacred space on the holiest day of the year. And though we no longer have the Temple, we fulfil the concept in Hosea ונשלמה פרים שפתינו — “May our lips replace the sacrificial bulls”.
It is very easy to mindlessly rush over this section, but here we have the most engaging theatrical narrative in all our prayers. Three times the High Priest offered up a sacrifice: a personal one for him and his family, for the kohanim, and for all Israel. Each time, he confessed on the sacrifice and quoted the line from Parshat Achrei Mot:
For on this day He will make atonement for you, to cleanse you of all your sins, before the Lord you will be made clean.
And the priests and the people who were standing in the Temple Courtyard when they heard the glorious and awesome Name of God pronounced from the mouth of the High Priest with holiness and with purity, they bowed, prostrated themselves, offered thanks, and fell upon their faces and said, “Blessed is His Name, His glorious Kingdom is forever and ever.”
We in turn reenact this.
Surprisingly I couldn’t find a performance of how I’ve always heard this sung in the UK every year, so here is my quick attempt to record it. The melody mixes the Aleinu tune, the general nusach of the day and its own specific themes, and includes some responsive singing between the Chazan and the congregation. We end with Baruch Shem sung aloud (instead of its usual whisper) to a melody which parallels the Shema tune from Naumbourg.
80) Marei Kohen — Yigal Calek
During the repetition of the Musaf Amida, we retell the Temple service that occurred on Yom Kippur, the many rituals which the High Priest would go through (and which he might not survive), culminating with him emerging from the inner sanctum. At this point in the service we break into joyous song proclaiming,
How truly glorious was the High Priest as he left the Holy of Holies, peacefully, unharmed.
The ritual in the Holy of Holies mirrors in many ways the experience of the Jewish people on Mount Sinai, with the High Priest representing Moses (whose face literally shone after spending an extended time with God). Indeed for one of the verses we sing:
Like the sight of the sun’s rays on the earth, was the appearance of the High Priest.
Yigal Calek’s melody for Marei Kohen has become quite ubiquitous, but for good reason! After going through all the technical details of the day, this euphoric chorus marks the high point of the Musaf service.
[A quick footnote: Recently there has been a trend to sing this song throughout the year e.g. at weddings. For me this melody is thoroughly particular to Yom Kippur, so personally I’m not a huge fan of this, but each to their own!]
Ne’ila
81) Ezk’ra Elohim V’ehemaya — Jeffrey Craimer
Near the end of Ne’ila, after an entire day of penitential prayer comes a most interesting and beautiful piyut. Ez’kra Elohim, a poem by Amittai ben Shephatiah and inspired by a line from Psalm 77, laments the destruction of Jerusalem and pleads that God will have mercy on the Jewish people.
I remember God, and I moan when I see every city built on its site and the city of God, Jerusalem, is humbled to the bottom of the pit. And yet we cleave to God, and our eyes look to God.
The poem references the 13 attributes of God, and surprisingly, asks the attribute of Divine Mercy to intercede for us. Indeed, Rav Soloveitchik called this “a deviation from legitimate Halachic prayer”. Some have suggested that after we have spent so much time reciting the 13 attributes, we take this one rare opportunity to embrace and address God’s compassion directly.
Jeffrey Craimer’s tear-jerker of a melody originally appeared on a little known EP with the Pirchei London but has since gone on to become a highlight of Ne’ila in many shuls all over the world. This here is the original heartrending performance by Chazan Pesach Segal.
82) Ezk’ra Elohim V’ehemaya — Stephen Levey
This beautiful elegiac melody from Stephen Levey faithfully brings out the meaning of the powerful words of this poem.
83) L’shana Haba’a Biy’rushalayim — Trad.
Along with the solemnity of the day of Yom Kippur, there is also great joy. Yom Kippur is called the one of the two happiest days of the year in the Mishna, it is the day when our sins are forgiven.
At the conclusion of Ne’ila (though some have moved it to Ma’ariv for logistical reasons), we sound the Shofar to announce the Jubilee “proclaiming freedom throughout the land for all its inhabitants”. And instead of rushing to immediately break our fast, we burst into the same joyous song we sing at the end of the Pesach seder לשנה הבאה בירושלים “Next year in Jerusalem!”
