Hazzan
A hazzan (/ˈhɑːzən/;[1] Hebrew: [χaˈzan], lit. Hazan) or chazzan (Hebrew: חַזָּן, romanized: ḥazzān, plural ḥazzānim; Yiddish: חזן, romanized: khazn; Ladino: חזן, romanized: hasan) is a Jewish musician or precentor trained in the vocal arts who leads the congregation in songful prayer.[2] In English, this prayer leader is often referred to as a cantor, a term also used in Christianity.
This article is about the Jewish musician. For people named Hazan or Chazan, see Ḥazzan (surname). For the village in Iran, see Chizan. For the safety study, see Hazard analysis.The person who leads the congregation in a public prayer is called the sh'liaḥ tzibbur (Hebrew for 'emissary of the congregation'). Any person is called a sh'liach tzibbur while they are leading a prayer; the term hazzan more commonly who has special training in leading prayers, or who is appointed to lead prayers on a regular basis in a particular synagogue.[3]
Qualifications[edit]
Jewish law restricts the role of sh'liah tzibbur to adult Jews; in Orthodox Judaism, it is restricted to males. In theory, any layperson can be a sh'liaḥ tzibbur; many synagogue-attending Jews will serve in this role from time to time, especially on weekdays or during a Yortsayt. Proficiency in Hebrew pronunciation is preferred. In practice, in synagogues without an official ḥazzan, or in the absence of one, those with the best voice and the greatest knowledge of the prayers typically assume the role.
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 (Yiddish: שטײַגער, romanized: shtayger), 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,[4] to be married, and to have a flowing beard.[5] Sometimes, according to Isaac ben Moses of Vienna (13th century), a young hazzan having only a slight growth of beard was tolerated. Maimonides ruled that the hazzan who recited the prayers on an ordinary Shabbat 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.[6] 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.
History[edit]
Early sources in the Mishnah refer to a position called chazzan hakenesset, which involved leadership roles in public prayer, although not necessarily involving music or singing. Later, as public worship was developed in the Geonic period and as the knowledge of the Hebrew language declined, singing gradually superseded the role of sermons in synagogue worship, and the role of chazzan began to focus on chanting or singing of the prayers.[7] Thus, while the idea of a cantor as a paid professional does not exist in classical rabbinic sources, the office of the ḥazzan increased in importance with the centuries, evolving a specialized set of skills and becoming a career in itself.[8]
Golden age[edit]
The period between the two world wars is often referred to as the "golden age" of hazzanut (cantorial performance). The great figures of this era 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, Meir Finkelstein, Daniel Gross,[33] Azi Schwartz, Netanel Hershtik and Eli Weinberg.