Tag: High Holy Days

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Books High Holy Days Machzor Mishkan haNefesh

What Should a Prayer Book Look Like?

I grew up using a Holy Day prayer book called The Union Prayer Book II, Revised Edition. It was small, black, and either dull or appropriately understated in appearance, depending on your perspective. Even its name was remarkably prosaic. It didn’t tell you that it was a High Holy Day prayer book, only that it was the other prayer book, the UPB I being the edition for Shabbat.

If it’s what you grow up with, it is what you think is right, the way things should be. The English was a bit flowery, there wasn’t a lot of Hebrew, and it included instructions to the congregation of when to stand and when to sit, like stage directions in a script.

Holding a new prayer book in your hands is a revelation. After years of reading out of the same book, it starts to feel like an old friend. We encounter the new prayer book and think, “Are prayer books supposed to/allowed to look like that?”

Prayer books are a snapshot of the Jewish community: its theology, its social dynamics, its aesthetics; each prayer book is a portrait of our people in a different place and time. None are the same, because we, as a people, are an evolving religious community.

Sometimes we forget that prayer books themselves were once an innovation. There were no prayer books before the Middle Ages. In the early rabbinic period, there was much greater fluidity and spontaneity in the language of prayer than we have today. Prayer books helped to freeze the language of prayer.

The printing press changed everything. Jews were among the best customers of these new printed books, and by the late Middle Ages, Jews everywhere could pray with a book in their hands.

Even today, it is the publisher who decides what goes into a prayer book, and what it should look like. Which brings us to the Central Conference of American Rabbis, the Reform movement, and the aesthetics of Mishkan Hanefesh.

The first thing you will notice is that Mishkan Hanefesh is not one prayer book, it is two. The Rosh Hashanah book has a gold cover, and the Yom Kippur book has a silver cover. I think the gold represents the theme of God’s sovereignty, which is reaffirmed on Rosh Hashanah, the birthday of the world. Silver suggests the white of Yom Kippur, the cleansing of sins, the purification of the soul.

Inside, the pages themselves are set off by colors. Traditional texts and translations appear on white pages, usually on the right side of a two-page spread. Grey pages (on the left side) offer alternative prayers, sometimes creative meditations on the theme of the traditional text, sometimes poetry that speaks to the theme, even “counter-texts” that speak for those who struggle with the traditional text.

Then there are the blue pages, meant for study and reflection. These pages, interspersed throughout the prayer book, invite the worshipper to take detours, to go deeper, to spend time in thought, not in recitation.

Of course, technological advances make all of this possible, but the application of publishing tools is done in a way to invite a more spiritual, and a more flexible experience both for the worshipper and for the worshipping community. No two congregations are likely to have identical experiences with Mishkan Hanefesh, and from year to year, we will find new riches in its pages.

Mishkan Hanefesh has done away with stage directions. Every congregation has its own customs, and the prayer book no longer tells us what to do. That can be unsettling, but also liberating. It empowers us to think about our ritual more consciously.

Finally, Mishkan Hanefesh just looks different. The Hebrew typeface is original, and was created expressly for this Machzor. It is elegant but not ornate; it rests easy on the eyes.

And, then, there is the art work. Yes, this prayer book has art! Clearly, representational art would be a distraction from the deeper themes of prayer. The art is abstract, suggestive, inspired by the prayers it accompanies, but not explicitly interpreting them. That is left up to us. The artist, Joel Shapiro, worked in the medium of woodcuts. You can see the grain of the wood, the rough edges of the cut, the simple primal shapes, all of which direct us back to a confrontation with our own raw self.

Welcome to Mishkan Hanefesh, your new sanctuary of the soul.

— 

Rabbi Larry Milder serves Congregation Beth Emek in Pleasanton, CA.
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High Holy Days Machzor Mishkan haNefesh

HaBocheir B’shirei Zimra: The Ones Who Choose Song

We cantors had this crazy idea – well, I had this crazy idea: a new machzor deserved new music.  The process of creating a new machzor transformed the conversations about the narrative of the High Holy Days; that conversation should extend to the message and experience of its music as well.  So two years ago, we convened a group of cantorial colleagues to study Mishkah HaNefesh, to delve into its new texts, layouts, and flow of prayer and song.  This was truly an inspired combination of cantors with different backgrounds, experiences and talents; our study and dialogue was of great depth and excitement as we considered our current musical repertoire for the High Holy Days, where we wanted either a new musical expression of a familiar text or deliberating about what we would aspire to have for some brand new text.

The journey has been amazing.  We approached a cohort of composers from the Reform Jewish world, our friends and colleagues who are members of either the American Conference of Cantors or the Guild of Temple Musicians, with a bold invitation – to donate their time and talent to us through the gift of a musical composition to be part of what we hoped would be a ground-breaking anthology of new High Holy Day music.  Their generosity of spirit was overwhelming.  Our committee then proceeded to commission each composer with a text and genre of musical direction, specifically chosen for each composer.  And so, Shirei Mishkan HaNefesh was born, the newest music created by those who are called to express our deepest hopes and aspirations through music, the musical threads of Mishkan HaNefesh.

In the ensuing months, we spent time in dialogue with each composer as their creative juices flowed.  Together, we tweaked and refined each draft of the composition, bringing the text to life through the musical notes and voices; this partnership helped to create the extraordinary musical expression that we envisioned and hoped for.

Fast forward to our recent ACC-GTM convention in Fort Lauderdale – the first copies of Shirei Mishkan HaNefesh arrived!  In keeping with the goal of honoring the generous contributions of the composers, the volume also contains short statements from each composer about their musical inspiration for their composition.  We chose to present the entirety of its contents to the convention participants in order for everyone to have a more concrete experience of the music, and enable all of us to determine the ways we would use pieces in our services.

Of course, that presentation required rehearsal and preparation.  What an experience it was, to sing and hear the notes come off the page, springing to life as we began to sing. The resonance of the piano, the soaring voice of each cantor, the blending of choral voices, the rising and expansion of sound and word: we had seen it on paper, heard it in our heads, yet the layers of sound and the diversity of expression were so much more moving than I even anticipated.  As the Editorial Chair of the project, I had the opportunity to write some introductory words to the volume.  Experiencing the music coming to life, I feel even more confident in the hopes I expressed there, that these beautiful musical expressions of our sacred texts will inspire all those who hear them, helping them enter into the Mishkan of prayer in the Days of Awe, with a sense of fulfillment and peace.

—

Cantor Susan Caro serves Northern Virgina Hebrew Congregation in Reston, Virginia.  She is also the Editorial Chair of Shirei Mishkan HaNefesh.

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High Holy Days Machzor Mishkan haNefesh

Sing Unto Adonai A New Song

Shiru l’Adonai Shir Chadash­–Sing unto Adonai a new song. As worship leaders and worshipers, how many times have we heard this charge from psalm 96? It is a wonderful reminder of the interplay between scripture and liturgy, and their fundamental difference. Scripture does not change. Indeed, even the would-be “mistakes” of the Torah are not corrected. Rather, alongside them in our chumashim we see how certain words really should be spelled and/or vocalized. Liturgy on the other hand has long been fluid–ever changing to match the new hopes, desires, frustrations, and morals of humankind’s maturation. Singing to God a new song is to constantly find new ways to express our evolving expression to God. As a result, change in liturgy and the music therein has been constant not only in our movement, but also in other Jewish movements and in other religions generally. As we pray together each week, we attempt to transform ourselves so that we can meet the moral and spiritual challenges each changing day brings.

One exception to this constant, gradual change is the liturgy and music of our High Holy Day worship. Like a massive ship, the services for the Days of Awe carry many more of our congregants, and meet far less frequently than our Shabbat services. While the liturgy and music of the High Holy Days we know today is quite different from that of even 50 years ago, they are still progressing at a much slower pace. Therefore, change to this grand liturgy is more jarring and difficult when it comes, even when that change is long overdue. But as the High Holy Day liturgy helps us make cheshbon nefesh–accounting for our souls–it is of utmost importance to keep these prayers and their musical expression up to date with humanity’s ever changing moral, spiritual and aesthetic requirements.

What could fill cantors and synagogue musicians with more purpose and joy than to literally follow the psalmist’s urge to sing a new song unto God? Shirei Mishkan Hanefesh, the musical companion to our new machzor, Mishkan Hanefesh, attempts to fulfill the monumental task of creating new melodies to express our liturgy during the yamim noraim. Indeed, the beauty of this new music is that it will make more of our liturgy accessible to our congregations. The goal of introducing these new settings, however, is not to replace the older ones, but to live alongside them so that they add to the richness of our prayer. While liturgy changes, scripture’s grounding constancy reminds us that we must walk a careful path between change and tradition. Carefully updated liturgy and music for our High Holy Days bring our penitential prayers fuller expression, but they cannot effectively do so without the same attentiveness to the established prayers and music that have carried us thus far.

Cantor Daniel Mutlu serves Congregation Beth Israel in Houston, Texas.  Cantor Mutlu was also on the editorial committee for Shirei Mishkan HaNefesh. 

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High Holy Days Machzor Mishkan haNefesh

The Book With No Music

In September of 2014 a children’s book was published called “The Book with No Pictures.” At first glance, the book probably should have been a flop, but it certainly wasn’t. From the time that publishers could mass produce books with artwork, there probably hasn’t been a book for young children on the market that hasn’t had some kind of pictures. Walk into a children’s bookstore today and it is hard to find anything that in addition to colorful artwork, does not feature some accompanying CD, sound effect buttons, pop-ups, textures, toys, celebrity characters, or other gimmicks to help entice children to engage with books and their families to purchase them. But this book, in addition to having no pictures or characters whatsoever, has no story line and is simply a bunch of hilarious nonsense words and phrases for the reader to say: words like “Blork,” “Bluuurf,” and “Glibbity Globbity.” So how could it have been possible for a silly children’s book of this kind to become a New York Times #1 bestseller?

A video was circulated on the internet featuring the author of the book, B.J. Novak, an actor and stand-up comedian, reading his book to a group of children. The video featured their hilarious reactions to his reading, thereby proving that a children’s book does not need any pictures at all to be successful. The video went viral, garnering millions of views and the book became an instant bestseller. So what was the key to B.J. Novak’s remarkable success? Was it a clever viral marketing campaign? That surely didn’t hurt. Was it B.J. Novak’s celebrity status? I don’t think so. Was it the content? Probably not. Or could it have been because the book was developed to highlight the relationship between the reader of the book and the audience, and the storytelling, rather than placing too much emphasis upon the contents of the book? Now we could be on to something.

The CCAR’s new High Holy Day machzor, Mishkan HaNefesh, took countless hours of time, thought, and resources to develop. The process involved many of our leading rabbinical minds, cantorial voices, and lay leaders collaborating over the course of many years. Because of this, many of us believe that these books have the capacity to shape an entire era of worship and religious thought, so it is particularly important what content is ultimately included in the book. And yet for the large percentage of Jews that only attends a Reform worship service once or twice upon the High Holidays, regardless of what language is used, what commentary is offered, or how the fonts or paginations appear, the prayers on the page may often seem nearly as foreign and nonsensical to the average Jew as the words in B.J. Novak’s book. This is similar to the idea in Dr. Ron Wolfson’s premise of Relational Judaism, where he argues that instead of investing in programming, congregations should strive to invest in building lasting relationships with congregants. We now have an opportunity to highlight the relationship between the readers of the machzor and their congregations. Now that Mishkan HaNefesh is published, we can focus more upon the relationships that are forged between congregants, clergy, and liturgy through the telling of the story.

Just as we publish new prayer books with new language to relate to each generation of worshippers, so too is music for worship continually evolving. This is why the making of new music for Mishkan HaNefesh is so important and why Shirei Mishkan HaNefesh, the musical companion to Mishkan HaNefesh, is such a timely publication. Shirei Mishkan HaNefesh is a compilation of High Holy Day music assembled by the American Conference of Cantors from a wide variety of styles and sources that allows for contemporary Jewish composers to give voice to liturgy from our new machzor in innovative, rich, and meaningful ways. The book includes twenty-five exciting new musical settings of liturgy for Mishkan HaNefesh from the Reform movement’s greatest musical artists, including many accomplished cantors and singer-songwriters.

Even Avinu Malkeinu by Max Janowski was met with skepticism and resistance by discerning musical directors of congregations during Janowski’s generation who preferred a more sophisticated musical approach. Yet hardly anyone today could imagine his beautiful and timeless melody being controversial at all. Some of today’s musical innovators have the potential to become standard repertoire for congregations across all movements, but the music needs to be published, shared, and experienced at congregations in order to stand the test of time. Shirei Mishkan HaNefesh offers congregations the opportunity to give new voices a chance to make their way into the lexicon of High Holiday worship. We have read many of the same prayers again and again for generations. Today we have the opportunity to try to retell the same story, only with new voices.

The Torah provides thirteen chapters of vivid detail on the physical description and construction of the Mishkan, and yet there is no account of the kind of music that might have accompanied its sacred rites – not until the Mishnah was published many generations later. We can only imagine what the worship might have sounded like. The Torah, like all ancient oral traditions, was passed down musically, and yet we did not bother to write down the musical patterns until centuries afterwards when cantillation systems were eventually codified and notated. The Torah is our most sacred book, but like Mishkan HaNefesh, it is a book with no music.

This image reminds me of when I met the head of the cantorial school at Hebrew Union College for the first time. On his ornate music stand in his office I found a very distinguished-looking book titled, “All I Know About Cantoring – By Cantor Israel Goldstein.” I opened the book and laughed out loud when I discovered that every single page of it was blank – a gag gift given to him by a friend. It was hilarious and memorable gift, but upon reflection, music can function a bit like that – it can be the sounds that can fill the pages of a blank book, the midrashic stories that can fill in the gaps between the story lines of Torah, or the images that can be evoked in the minds of children who hear a book read to them that has no pictures.

With the publication of Shirei Mishkan HaNefesh, the American Conference of Cantors tries to help us hear how we can retell our same age-old story in new and engaging ways. Not all books need to have pictures or music in them, but many congregations may wish to use this beautiful book as another useful tool for forging relationships between congregants, clergy, and liturgy for this generation and generations to come.

———

Cantor Dan Singer is the Senior Cantor at Stephen Wise Free Synagogue in Manhattan. 

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High Holy Days Machzor Mishkan haNefesh

Introducing Shirei Mishkan HaNefesh: New Music for the High Holy Days

I remember the first moments that I sat in the sanctuary at Temple Beth El of Great Neck and heard my cantor, Barbara Ostfeld, sing the majestic Avinu Malkeinu of Max Janowski for the first time.  With the organ and the choir joining her, I felt the emotion well up inside of me as I realized the impact that this incredible music had on me. I had those same feelings the first time I sang Kol Nidre as a Student Cantor, and of course Max Helfman’s Shema Koleinu at my first full time pulpit.

I still feel the emotion of the music of the High Holy Days each and every time I put on my white robe and stand before the Kahal to intone the majestic and powerful music of the Days of Awe.  It is why I am so proud to have been part of a project to bring new powerful and emotional music to the Reform movement helping to bring to life the beautiful poetry in our new machzor.

After nearly two years of work, the American Conference of Cantors, in partnership with CCAR Press, is proud to present to our movement this book of new compositions for High Holy Day worship.   This book brings musical life to many of the magical new texts found in Mishkan HaNefesh while also bringing musical voice to other traditional texts found in the machzor.  All of us have our favorite melodies for Avinu Malkeynu, or Shema Koleinu….I know that I do.  However, the music contained in Shirei Mishkan HaNefesh provides beautiful alternatives and an opportunity to introduce new musical memories to our communities.  Like the new machzor, Mishkan HaNefesh, the music contained in this volume underscores the central value of Teshuvah, accompanying our journey during the Days of Awe, as together we seek repentance, new direction, and a sense of return to God and the Jewish people.

While I would never try to replace the melodies that are part of my life and my inner soul, I am so excited to join these new and exciting melodies to them thus enriching the musical life of the Jewish people for decades to come.

I look forward to sharing these new melodies with my community this coming High Holy Days and hope you will as well.

———

Cantor Steven Weiss is the project director for Shirei Mishkan HaNefesh and the Vice-President of the American Conference of Cantors.  He also serves Congregation Sha’aray Shalom in Hingham, MA. 

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High Holy Days Machzor Mishkan haNefesh

It Is Up to Us: An Alternative Aleinu in Mishkan HaNefesh

There I was, standing next to the Palestinian man when I said “Thank God I’m not like you.” But it felt wrong and degrading.  While it was a part of the traditional Aleinu I had been saying for years, I had spent all day with this man and others, along with my fellow HUC students (back in 2004), trying to build bridges of understanding between our two peoples. After a day of discussing and debating, and most importantly, just hanging out, we invited this group of interested but reserved Palestinians to join us in maariv (our evening prayer service). The fact that many of them understood Hebrew gave me a new perspective when going through our prayers, especially when we got to Aleinu.

I’ve always had trouble with the traditional words of Aleinu. And a look at Mishkan T’filah, with the 3 other alternatives, suggests I’m not the only one. It was written in a time when one of the few ways Jews could fight back against persecution and discrimination was liturgically.  It helped us to feel better about our lot by thanking God for not making us like them. But times are different now.  We are one of the most successful minorities on the planet. And while there are still trouble spots and incidents, the perspective and tone of the traditional Aleinu, even before it was acutely raised in my consciousness during services following our mock “peace talks,” troubled me.

After all, there are a number of examples of Reform liturgists crafting or re-writing prayers to maintain their basic structure and context, but to reshape their phrasing.  For example, in nissim b’chol yom, we no longer say “Thank you for not making me a slave” but “Thank you for making me free.”  We no longer say “Thank you for not making me a woman” but “Thank you for making me a man/woman.”  They are positive reframing of negative statements. Certainly the Aleinu could take this same approach: thank God for who we are as Jews, rather than for not being like everyone else.

The trouble with the existing alternative Aleinus was they were fairly awkward to say.  We instinctively wanted to use the traditional chanted melody (i.e. Sulzer), but the words didn’t quite fit.  Plus, there were times when the community was saying the traditional version, and I wanted to say an alternative, and the auditory dissonance was too much for me.  So, I set about writing a new alternative, which both fit to the traditional melody and proclaimed my thanks for our unique role in the world.

Medwin-Alternative-Aleinu-MhNAs I see it, two of the most important roles Jews play are: (1) as stewards and guardians of the Earth, as seen in the Garden of Eden and the midrash which has God giving Adam a tour of the whole world and ends with “take care of the Earth, for if it is destroyed, there is no one after you to repair it.”  And (2) as messengers of the teachings and morals of Torah to the world.  Additionally, while we are a unique people, the reality is that our destiny is intertwined with the other peoples of the world.  For example, global climate change doesn’t just effect some people; it effects all of us.  We live scattered around the world, our lives intertwined with others.

And so, when the editors of the new machzor, Mishkan HaNefesh, wanted to include my alternative Aleinu, paired with a new translation by Rabbi Shelly Marder, I was both honored and humbled. Symbolically it is very powerful, since Aleinu as a prayer began in High Holy Day liturgy, and from there made its way into the daily service.  To have my Aleinu be a part of something so powerful and reflective of the current state of Jewish life, is such a blessing.  In this new machzor there is truly something for everyone, and I pray that my alternative Aleinu can be that something for many Jews, for years to come.

Rabbi Dan Medwin is the Publishing Technology Manager at CCAR. 

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High Holy Days Machzor Mishkan haNefesh Rabbis

Inside Mishkan HaNefesh: Doing it Right or Doing it Well?

At one point in the Harry Potter series, Dumbledore lets Harry know that there will come a time when he has to choose between what is right and what looks easy.  The point he is making is that Voldemort chose the easy over the right; of course Harry should do the opposite.  The right choice is clearly the moral one.

When it comes to the creation of Mishkan HaNefesh, the editors were instructed by Rabbi Larry Hoffman to consider a different choice, but one that will have its detractors on either side.  In short, when it comes to relevant liturgy we have to choose between doing it right or doing it well.  As explained in his piece in the summer 2013 CCAR Journal, rightness is about following the rules.  Doing it well is responding to the experience of the worshiper.  Of course, the alterations from the rules need not be radical.  We don’t need to declare Et laasot l’adonai and for the sake of God overturn everything, but we must practice common sense.

I thought of this as I remembered looking at the traditional Yom Kippur liturgy and omitting countless repetitions of the Thirteen Midot.  Now, I think the Thirteen Midot are about as fundamental a text to the Days of Awe as anything.  I am just okay not having it repeat more than five or six times in a given day.

What are some more subtle examples of how the editors omitted sometimes important prayers in order to privilege more important pieces?  Understanding that there is a limit to how much any given volume can contain, as well as our commitment to an integrated theology along with two-page spreads, the choices were not easy but they were necessary.  So for instance, the Torah services in Mishkan HaNefesh omit some verses such as Ki Mitzion.  We have nothing against this declaration.  We just needed to cut somewhere.  The same was true of Gates of Repentance.  They cut out Genesis 21.  We were not prepared to lose that again.

We also don’t have the full traditional verses of the Sh’ma everytime.  There are many beautiful piyyutim that are not included.  The Torah and Haftarah portions feature very limited commentary.  We would like to offer more in a supplemental book.

Not including things is not easy.  We take comfort in knowing that many congregations will avail themselves of screen technology, if not today then in the future, and omissions can be corrected on the screens, or with the old standby, handouts.  It is not ideal but then we could only produce a sacred tool to help present effective and meaningful worship.  There will never be a “just add water” prayer book.

An old sermon title has a great name: “Steering or Drifting, Which?” The editors of Mishkan HaNefesh wrestled with a different but potent dilemma, “Doing it Right or Doing it Well, Which?”  It is an art, not a science, and we are humbled by the task.

Edwin Goldberg, D.H.L., is the senior rabbi of Temple Sholom of Chicago and is one of the editors of Mishkan HaNefesh, the new CCAR machzor.

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Books High Holy Days Machzor Mishkan haNefesh

Inside Mishkan HaNefesh: A Letter to My Younger Self

What follows is a hypothetical letter written after this coming Yom Kippur to myself.

Dear Myself from Three Months Ago,

As I munch my Yom Kippur break-the-fast madeleine, I recall the past ten days with joy that so much about praying with the new machzor went well.  But I also feel some regret, and a bit of the subjunctive mood sits in.  If only I had known three months ago, when preparing for the Days of Awe, what I now have discovered having used it.  So I am writing this to you in hopes that, through some wrinkle in the space-time continuum, you get this before it is too late and can prepare properly.

Here are Ten Things, in no particular order, I wish I had known about Mishkan HaNefesh before these High Holy Days:

  • The Hashkiveinu in the evening services restores Shomreinu to Malkeinu. After all this is the time of year for the sovereign side of God to be highlighted.
  • The Kaddish restores the High Holy Day ul-eila mikol. It’s the same matter of privileging the transcendent as above.
  • The Uvchein restores the image of the Sparks of David, not as a literal progenitor of the Messiah but a symbol of messianic hope.
  • The Kaddish Yatom inclues now kol yoshvei teiveil, in keeping with our historic Reform value of universalism and in recognition of the worth of all humanity.
  • HaMelech HaYosheiv is now correctly HaMelech Yosheiv, the proper phrasing for the High Holy Days.
  • Page 207 of Yom Kippur has Leonard Cohen’s Who By Fire as a commentary to Unetaneh Tokef.
  • Page 243 of Rosh Hashanah adds to the Akedah verses about Abraham’s brother’s great progeny back in the old country. This is another test of Abraham’s faith.  He sacrificed everything for one son, whereas Nahor stayed put and was blessed with so many.
  • There is a great midrash (Pesikta drav Kahana 24:1) on Cain repenting and receiving a reduction in punishment from God.
  • Page 607 of Yom Kippur features a great transition from Yizkor to N’ilah:

Set me as a seal (chotam) upon your heart, for love is strong as death.  Song of Songs 8:6.  Love stronger than death leads to the “seal” motif of N’ilah.

  • The Prayer for Our Country for Canada contains French.

Bonus Insight: The Al Cheyts are different than in GOR.  Wish I had known that!

Rabbi Edwin Goldberg is the rabbi of  Temple Sholom of Chicago and is one of the editors of Mishkan HaNefesh. 

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High Holy Days Machzor Mishkan haNefesh

Why Is the Shofar Service in Three Sections in Mishkan HaNefesh?

With Mishkan HaNefesh now close to being published, the decision regarding the Shofar sections made by the editors many years ago, and piloted for many a season, is naturally coming under review by colleagues.  The responses range from, “So excited” to “Wait, what is going on with the shofar service?”  It therefore seemed like a good time to review why we made this choice and why it has been so popular in the piloting – and why you should be excited about it.

As you will see when you open Mishkan HaNefesh, each service has a certain theme that we focus on throughout the liturgy.  The point is not to reduce a complex, theologically rich and poetically vibrant worship service to a slogan.  We do wish to privilege a certain message, however, because there are certain themes that ground the worship service.  As an example, if you can reduce a sermon to one essential sentence (which many homiletics professors suggest) that does not mean the rest of the sermon is redundant verbiage.IMG_2402

Early on in the creation of the machzor, the editors looked at Rosh HaShanah morning and decided that there is a particular symbolic act that permeates the whole morning.  Like synecdoche in literature, the one thing represents something far greater.  For us – and quite possible for you – that is the sounding of the shofar.  But it is more than the sound; it is the liturgy surrounding the shofar sounding.  And more in particular, it is the tripartite themes of malchyuot (Sovereignty), zichronot (Remembrance) and shofarot.

Reform Judaism did away with the musaf service on Rosh HaShanah (and everywhere else) long ago but kept the practice of the three shofar sections.  The editors of Mishkan HaNefesh realized that these themes and the sounding of the shofar could be developed and dramatized in a pervasive way by splitting the three sections into three different places in the worship service, each positioned in some logical place.  After experimentation during the piloting phase, we settled on the following: malchuyot would come in the Amidah, following the M’loch declaration.  Zichronot would follow the scriptural readings, including God remembering Sarah and Hannah.  And Shofarot would precede the closing prayers and the redemptive message of the second part of the Aleinu – l’taken olam b’malkhut Shadai.

Dividing the shofar sections means the congregation can spend more time with each theme.  Chevruta, musical selections, min-sermons, iyyunim, much can be innovated.  Or not.  The choice is up to the worship leaders.  One could even decide to feature the three sections one after the other if preferred.

When the editors first introduced this model of separating the three sections of the Shofar liturgy and blasts, it was admittedly met with some skepticism.  Because we were in the early piloting phase at that point, we decided to give it a try and evaluate after the piloting.  The feedback was so overwhelmingly positive about the way in which it impacted on the overall feel, flow, and meaningfulness of the service, even from those who had been the most resistant, that we chose to maintain this innovation.

Mishkan HaNefesh is not so easy for worship leaders not because it restricts choice.  Quite the contrary.  Because there are so many choices. Depending on the choices you make, these three shofar sections can become high points throughout the Rosh HaShanah morning service.

You should know that, in addition to the three shofar sections, the shofar also can be sounded earlier in the service as well as the night before.  These are possible soundings to once again focus on the prime imagery of the day.  Like the rest of the book, the idea is not to do everything.  Rather it is to decide what matters most for you and your congregation and employ the machzor in that endeavor.

Rabbi Edwin Goldberg is the senior rabbi of Temple Sholom in Chicago, and part of the editorial team of Mishkan HaNefesh.

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Machzor Mishkan haNefesh Rabbis

Mishkan HaNefesh: A Gateway to Spirituality

Last week at Temple Israel in New York City, we received a very special, exciting package in the mail.  We opened the box—and there were our advance copies of the new CCAR machzor, Mishkan HaNefesh.  We of course were very excited to receive the copies, and began treating the copies as if they were precious jewels.

Cantor Irena Altshul and I went right into the sanctuary, where we spent a surrealistic, profoundly moving hour and a half standing at the bimah in our main sanctuary, reading, praying, singing, holding and touching, dreaming, and getting very excited about this forthcoming Rosh Hashanah and Yom Kippur nearly half a year away.  We felt blessed.

We would encourage other clergy to do the same.  The time we spent praying with these new  books not only inspired us and reinvigorated our spirits for the upcoming High Holy Days, but also strengthened us, individually and as a team, and helped us to focus on the preparation that lies ahead.  Reading the books is no doubt a meaningful experience, but to actually pray with them right away enabled our souls to soar.

We can’t wait to receive the full shipment upon publication, and then to help others realize our new CCAR Machzor as a gateway to spirituality in the deepest sense. This was far beyond the draft copies we’d experimented with.  We know that the beautiful and profound alternative readings and interpretations, along with the fully transliterated liturgy will make a profound difference during each Service.  With this difference, all of our congregants will be able to have access to the Divine, to t’filah and the experience of worship, and to the essential spirit of what it means to be witness to our tradition.

We know that making this change to Mishkan HaNefesh is a crucial part of enriching their experiences at services and allow us to touch the Holy and for us to be touched and transformed by the Holy.  This new machzor will help us all to create and enrich each kehillah kedosha. For many, Yamim Noraim will never be the same!

We also encourage you to check out the resources that CCAR has provided online: https://www.ccarpress.org/content.asp?tid=349#mh_resources

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Rabbi David Gelfand serves Temple Israel in New York City