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Cantor Meyer Kanewsky's 1919 performance of the last part of Parshat Haketoret, a passage often read after the morning service in Judaism.
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A hazzan (//; Hebrew: [χaˈzan]) or chazzan (Hebrew: חַזָּן ḥazzān, plural ḥazzānim; Yiddish khazn; Ladino hassan) is a Jewish musician or precentor trained in the vocal arts who helps lead the congregation in songful prayer. In English, this prayer leader is often referred to as cantor, a term also used in Christianity.
The person leading the congregation in public prayers is called the sh'liaḥ tzibbur (Hebrew for "emissary of the congregation"). Jewish law restricts this role to adult Jews. In theory, any lay person can be a sh'liaḥ tzibbur; most synagogue-attending Jews will serve in this role every now and again. Someone with good Hebrew pronunciation is preferred. In practice, those with the best voice and the most knowledge of the prayers serve most often. As public worship was developed in the Geonic period and as the knowledge of the Hebrew language declined, singing gradually superseded the didactic and hortatory element in the worship in the synagogue. Thus, while the idea of a cantor as a paid professional does not exist in classical rabbinic sources, the office of the hazzan increased in importance with the centuries, evolving a specialized skill set and becoming a career in itself.
Even in the earliest times the chief qualifications demanded of the hazzan, in addition to knowledge of Biblical and liturgical literature as well as the prayer motifs (known as steiger), were a pleasant voice and an artistic delivery; for the sake of these, many faults were willingly overlooked. The hazzan was required to possess a pleasing appearance, to be married, and to have a flowing beard. Sometimes, according to Isaac of Vienna (13th century), a young hazzan having only a slight growth of beard was tolerated. Maimonides decided that the hazzan who recited the prayers on an ordinary Sabbath and on weekdays need not possess an appearance pleasing to everybody; he might even have a reputation not wholly spotless, provided he was living a life morally free from reproach at the time of his appointment.
But all these moderations of the rule disappeared on holidays; then an especially worthy hazzan was demanded, one whose life was absolutely irreproachable, who was generally popular, and who was endowed with an expressive delivery. Even a person who had ever litigated in a non-Jewish court, instead of a Jewish court, could not act as hazzan on those days, unless he had previously done penance. However many authorities were lenient in this regard, and as long as a cantor was "merutzeh l'kehal," desired by the congregation, he was permitted to lead the prayers even on the holiest of days.
Today, a hazzan, particularly in more formal (usually not Orthodox) synagogues, is likely to have academic credentials—most often a degree in music or in sacred music, sometimes a degree in music education or in Jewish religious education or a related discipline. The doctor of music degree is sometimes awarded to honour a hazzan.
The role of hazzanim as a respected full-time profession has become a reality in recent centuries. In the last two centuries Jews in a number of European communities, notably Germany and Britain, came to view professionally trained hazzanim as clergy and the hazzan as the deputy rabbi. After the enlightenment, when European nations gave full citizenship and civil rights to Jews, professionally trained hazzanim were accepted by the secular governments as clergy in the same way as rabbis.
In a paradoxical turn of events, the United States government recognized cantors as the first Jewish clergy, even before rabbis were recognized: as a congregation could be organized and led by a committee of Jewish laypersons, who would not have the expertise in liturgy a hazzan would have, newly forming congregations in the late 19th and early 20th centuries sometimes hired a hazzan for a synagogue (and made sure that a kosher butcher was established in the neighborhood) for some time before setting about hiring a rabbi, seeing the hazzan (and the butcher) as a more immediate need. The hazzan therefore solemnized marriages and otherwise represented the congregation in the eyes of civil authorities.
In the United States there are three main organizations for professionally trained hazzanim, one from each of the major Jewish denominations:
Many members of the Cantors Assembly are trained at the H. L. Miller Cantorial School and College of Jewish Music at the Jewish Theological Seminary of America. Many members of the American Conference of Cantors are trained at the Debbie Friedman School of Sacred Music at Hebrew Union College—Jewish Institute of Religion, School of Sacred Music (New York) Reform. Both of these programs offer a five-year training program. Members of the Cantorial Council can train at the Philip and Sarah Belz School of Jewish Music at Yeshiva University in New York City.
ALEPH, the movement for Jewish Renewal, includes a cantorial training program as part of its ordination program.
Full cantorial training is also offered by the Cantorial School of the Academy for Jewish Religion (California) in Los Angeles, the Cantorial Program at the similarly named Academy for Jewish Religion in New York, and the School of Jewish Music at Hebrew College. These institutions are unaffiliated with any particular Jewish denomination.
The curricula for students in these programs generally include, but are not limited to:
Although traditionally a hazzan was always a man, today a woman can be a hazzan (also called a cantor) in most streams of non-Orthodox Judaism. Julie Rosewald, called “Cantor Soprano” by her congregation, was America’s first female cantor (though she was born in Germany), serving San Francisco’s Temple Emanu-El from 1884 until 1893, although she was not ordained. Barbara Ostfeld became the first female cantor to be ordained in Reform Judaism in 1975, and Erica Lippitz and Marla Rosenfeld Barugel became the first female cantors in Conservative Judaism in 1987. The Cantors Assembly, a professional organization of cantors associated with Conservative Judaism, did not allow women to join until 1990. Sharon Hordes became the first cantor (female or otherwise) in Reconstructionist Judaism in 2002. Avitall Gerstetter, who lived in Germany, became the first female cantor in Jewish Renewal (and the first female cantor in Germany) in 2002. Susan Wehle became the first American female cantor in Jewish Renewal in 2006, serving until her death in 2009. The first American women to be ordained as cantors in Jewish Renewal after Susan Wehle's ordination were Michal Rubin and Abbe Lyons, both ordained on January 10, 2010. In 2001 Deborah Davis became the first cantor (female or otherwise) in Humanistic Judaism; however, Humanistic Judaism has since stopped graduating cantors.
The period between the two world wars is often referred to as the "golden age" of hazzanut (cantorial performance). The greats include Zavel Kwartin (1874–1953), Moritz Henle (1850–1925), Joseph "Yossele" Rosenblatt (1882–1933), Gershon Sirota (1874–1943), and Leib Glantz.
In the post–World War II period, prominent cantors were Moshe Koussevitzky, David Werdyger, Frank Birnbaum, Richard Tucker and Abraham Lopes Cardozo (1914–2006). Operatic tenor Jan Peerce, whose cantorial recordings were highly regarded, was never a cantor by profession but often served as one during the high holidays.
Popular contemporary cantors include Shmuel Barzilai, Naftali Hershtik, Yitzchak Meir Helfgot, Chazzan Avraham Aharon Weingarten, Ari Klein, Yaakov Lemmer, Joseph Malovany, Benzion Miller, Jacob (Jack) Mendelson, Aaron Bensoussan, Aaron Aderet, Alberto Mizrahi, Yaakov Yoseph Stark, Jochen (Yaacov) Fahlenkamp, and Eli Weinberg.