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Joshua R. Jacobson

home: 617-965-2304 35 Garland Road Newton, MA 02459 Zamir@comcast.net office: Department of Music Northeastern University Boston, MA 02115 j.jacobson@neu.edu 617-373-3635 (fax: 617-373-4129)

PERSONAL born: January 9, 1948 in Boston, Mass. married: September 3, 1972 to Ronda Garber son: Benjamin C. Jacobson, born September 8, 1976 height: 5'10" weight: 165 lbs. health: excellent

EDUCATION

Doctor of Musical Arts in Choral Conducting, University of Cincinnati, College Conservatory of Music, 1984.

Master of Music in Choral Conducting, New England Conservatory of Music, 1971. Bachelor of Arts in Music cum laude, Harvard University, 1969.

Boston Latin School, 1965. Prozdor High School at Hebrew Teachers College, 1965.

Voice study with Bernard Barbeau, Janice DelSesto, Dianne Wade, Frauke Haasemann, Jeanne

Segal. Conducting workshops with Robert Shaw, Gregg Smith, Iva Dee Hiatt. Seminar in Music Administration with Ray Robinson (1983). Conducting Workshops with Robert Shaw (1976, 1977)

EMPLOYMENT

Northeastern University

Chairman of the Department of Music 1983–1992 Consultant in Music to University College since 1982 Director of Choral Activities since 1975 Faculty since 1972 (full Professor since July, 1989) Stotsky Professor of Jewish Historical and Cultural Studies (1992-1998) Chairman and Founder, Jewish Studies Committee 1992-1995 Produced several concerts for the Jewish Studies Program, including an international symposium

on the Music of Terezin in November of 1994. Facilitated an exchange program between Northeastern University and Hebrew College. Developed and initiated the Jewish Studies Program at Northeastern University, including the

minor in Jewish Studies. Quarterly guest co-host of NU/NPR radio program, A Note to You

Major works conducted include: Bach, Christ lag in Todesbanden _____, Jesu, meine Freude _____, Saint John Passion

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Bach, P. D. Q., The Seasonings Beethoven, Choral Fantasy _____, Mass in C Britten, Ceremony of Carols Bruckner, Psalm 150 Carissimi, Jonah Fauré, Requiem Gabrieli, In Ecclesiis Handel, Messiah _____, Judas Maccabaeus Haydn, Lord Nelson Mass _____, Harmoniemesse _____, Missa Brevis in F _____, The Creation Hummel, Mass in D Ives, Psalm 90 Mendelssohn, Elijah Monteverdi, Hor ch’el ciel e la terra Mozart, Vespers _____, Requiem _____, Coronation Mass _____, Credo Mass _____, Regina Coeli _____, Missa Brevis K. 194 _____, Te Deum _____, Exsultate Jubilate Orff, Carmina Burana Pinkham, Christmas Cantata _____, Wedding Cantata _____, Fanfares Poulenc, Gloria Purcell, Come, Ye Sons of Art _____, Praise the Lord, O Jerusalem Ramirez, Missa Criolla Rutter, Gloria Schubert, Mass in G _____, Mass in E-flat Schuman, A Free Song Schütz, Jauchzet dem Herren Snyder, The Three Strange Angels (premiere) Starer, A Song of Joys (premiere) Thompson, Frostiana Vivaldi, Gloria _____, Magnificat

collaboration:

Paco Peña’s Misa Flamenca with Paco Peña and ensemble (1993) Beethoven, Ninth Symphony with Tamara Brooks and the N.E. Conservatory Orchestra (1998)

Courses taught include: Music Appreciation, Choral Literature, Voice Class, Beethoven, Music of the Romantic Era, Music of the United States, Introduction to Opera, Choral Conducting, Fundamentals of Music Theory, Theory 3, Music in Popular Culture, Form and Analysis, Music and Poetry, Music of the Jewish People, Charles Ives and the Transcendentalist Philosophers, Principles of Music, Music History: Baroque, Classical and Romantic.

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Accomplishments as Department Chair include: development of an affiliation with the New England Conservatory of Music; development of a major in music with several concentrations, including Music Industry; development of new computerized labs for music theory and music synthesis; revision of curriculum, faculty loads, departmental goals, criteria and procedures for tenure and promotion, procedures for faculty evaluation.

The Zamir Chorale of Boston

Founder

Artistic Director since 1969

Major works conducted include: Avni, Ha'Ir Mesacheket Machavo'im (American premiere) Bernstein, Chichester Psalms Ben-Haim, Kabbalat Shabbat _____, Rejoice, O Barren Bloch, Sacred Service Braun, Festive Horns (American premiere) _____, LeDavid Mizmor (premiere) _____, Psalm Verses (premiere) _____, Psalms of Praise (American premiere) _____, Song of Songs Bruckner, Psalm 150 Carissimi, Jephthah Charlap, The Sacrifice of Isaac (American premiere) _____, Jephtha's Daughter (Boston premiere) _____, Pirkey Kohelet (American premiere) Copland, In the Beginning Dinerstein, Hashkivenu (premiere) Handel, Israel in Egypt _____, Judas Maccabaeus _____, Saul Hajdu, Arba Mishnayot (American premiere) Ives, Psalm 90 Mendelssohn, Elijah Milhaud, Service Sacré Osborne, Souls on Fire (premiere) Osborne, Kings and Fishermen (premiere) Osborne, Like Wildflowers Suddenly (premiere) Osborne, Prophetic Visions of Remembrance (premiere) Rasyuk, Kikkar Sedom (American premiere) Saladin, Canticum Hebraicum Schoenberg, Kol Nidre (New England premiere) Seter, Four Festive Songs (Boston premiere) _____, Festivals (Boston premiere) Starer, Ariel (New England Premiere) Stravinsky, Symphony of Psalms Thompson, The Peaceable Kingdom Whitacre, Five Hebrew Love Songs

Works commissioned and premiered include: Tzvi Avni, Three Madrigals Yehezkel Braun, Hayah Ish David Burger, Baruch El Elyon

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Charles Osborne, Like Wildflowers Suddenly Daniel Pinkham, The Rainbow Benjie-Ellen Schiller, Harninu Robert Solomon, Mima'amakim Robert Starer, Psalms of Woe and Joy Maxine Warschauer, Dreamers

Orchestral works (without chorus) conducted Ben-Haim, Suite for Orchestra, "From Israel" Haydn, Concerto for Harpsichord and Orchestra in D Osborne, Guitar Concerto (premiere) Osborne, Skywater (premiere)

Choral works prepared for other conductors include:

Beethoven, Ninth Symphony and Choral Fantasy for Daniel Barenboim and the Israel Philharmonic Orchestra (1973)

Ives, Psalm 90 for Gregg Smith Mahler, Second Symphony for Zubin Mehta and the I. P. O. (1975) Stravinsky, Symphony of Psalms for Gary Bertini and the Jerusalem Symphony (1973) and for

Tamara Brooks and the N.E. Conservatory Orchestra (1994) Verdi, Aida for Zubin Mehta and the I. P. O. (1975) Schoenberg, A Survivor from Warsaw for Piero Bellugi and the New England Conservatory

Orchestra (1986) Grieg, Peer Gynt for Piero Bellugi and the New England Conservatory Orchestra (1986) Bernstein, Chichester Psalms for Gisele Ben-Dor and the Pro Arte Orchestra (1996), and for

Stanley Sperber and the Zimriyah Jubilee Ensemble (2002), and for Jin Kim and the Hingham Symphony (2004)

Hebrew College, Newton, Massachusetts

Visiting Professor of Jewish Music and Senior Consultant, School of Jewish Music, Hebrew College, Newton, 1990–2008.

Jewish Music Institute, Acting Director, 2008-2009. School of Jewish Music, Acting Dean, 2009-2010.

Other

Managing Editor, HaZamir Publications (distributed by Transcontinental Publications, New York).

Editor, The Zamir Choral Series, Transcontinental Publications, New York. Reader, Indiana University Press, 1994. Cantor, Congregation Shaarei Tefillah, Newton, 1987–present.

Lectures and workshops for various professional organizations, synagogues and schools, including the Eastern Division conventions (1982, 1984, 1986, 1988, 1992, 1996, 1998, and 2004) and the national conventions (1991, 1995, 1997) of the American Choral Directors Association, the Jewish Cantors Ministers Association of New England, The North American Jewish Choral Festival, Hebrew College, The American Jewish Congress, national conventions of the American Conference of Cantors and the Cantors Assembly, The New England Conservatory (Pre-Symphony lectures), the Music Educators National Conference, The Cantors Institute Alumni Association, the School of Sacred Music Alumni Association, the Music Librarians Association, the American Guild of Organists, Unitarian Universalist Musicians Network national conference, Chorus America national conference (2009), Yale University Institute for Sacred Music, Harvard University Center for European Studies, UNC Chapel Hill, the Berkshire Institute for Music and Art, Brandeis University Institute for Israel Studies, Brandeis University Jewish Arts Festival.

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Guest Conducting, including: Boston Lyric Opera Company (1986, 1987) Boston Pops Orchestra (1994) The New England Conservatory Orchestra (1998) The Boston Conservatory Orchestra (1997) The Bulgarian National Symphony and Chorus (1999) The Rubin Academy Chamber Choir, Jerusalem (1987) The World Assembly of Choirs in Israel (1986, 2013) Fairmont (WV) State College Choral Festival (1992) Colorado American Choral Directors association (ACDA) honors choir (2012) Voices in Accord, Minneapolis, MN (2013)

Freelance Conducting, including:

Michael Isaacson, Guardians of the Heart (Boston premiere) for the National Convention of the American Conference of Cantors, 1986.

Samuel Adler, Stars in the Dust (premiere) for Temple Emanuel, Newton, 1988.

AWARDS, HONORS AND GRANTS

Alfred N. Patterson Foundation, 1993, 1994, 1998. Arts Lottery Grants, 1985, 1986, 1987, 1988, 1989, 1990, 1991 Benjamin Shevach Award for Distinguished Achievement in Jewish Educational Leadership (from

Hebrew College), 1994. Boston Association for the Performing Arts Silver Medallion Award, 1978 Boston Globe Foundation, 1988 Cantors Assembly, Kavod Award, 2004 Fulbright Award (Council for International Exchange of Scholars),1988-89. Lifebridge Foundation, 1994. Massachusetts Council for the Arts, 1988. Massachusetts Cultural Council, 1992, 1993, 1994. Massachusetts Foundation for the Humanities, 1994, 2001, 2002. Myrtle Wreath Award, Boston Chapter of Hadassah, 1988. National Endowment for the Arts, 1988 National Jewish Book Award Finalist, 2003 New England Foundation for the Arts, 1984, 1986, 1988. Northeastern University Development Grants, 1986, 1987, 1989, 1993, 1994. Northeastern University Division of Fine Arts Performance Grants, 1981, 1982, 1983, 1984,

1994. Phi Beta Delta Honor Society for International Scholars (inducted May 13, 1999). Selected by audition and invited to perform at the Eastern Division Convention of the American

Choral Directors Association (1986, 1988, 1990, 1992), at the national convention of the American Choral Directors Association (1995) and at Boston's FirstNight (1985, 1986, 1988, 1991, 1992).

Stotsky Professor of Jewish Historical and Cultural Studies (endowed chair from 1992 to 1998) Synagogue Council of Massachusetts “K’lal Yisrael” Award, 1992

PERFORMANCES

Appearances as conductor include: BOSTON: Symphony Hall, Jordan Hall, Music Hall (The Wang Center), The Hatch Shell, The DeCordova Museum, Sanders Theatre, Kresge Auditorium, Tsai Center U. S. A.: MacMillan Theatre (Columbia University), Woolsey Hall (Yale University), Corbett Theatre (University of Cincinnati), Merkin Hall (New York City), University of Judaism (Los Angeles), The U.S. Holocaust Museum in Washington

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ABROAD: St. Pancras Hall (London), Mann Auditorium and the Diaspora Museum (Tel Aviv), Binyenei Ha-Umah, Siebenberg Museum and Jerusalem Theatre (Jerusalem) TELEVISION: WCVB (Boston), WBZ (Boston), Israel Broadcasting System RADIO: WCRB (Boston), WBUR (Boston), WERS (Boston), WGBH (Boston), WGUC (Cincinnati), WQXR (New York), National Public Radio, Voice of America, Israel Broadcasting System

PUBLICATIONS

Articles

1. “Jewish Music vs. Jewish Worship,” The Journal of Synagogue Music, February, 1977. (download)

2. “A Guide to Choral Repertoire in Hebrew,” The Choral Journal, October, 1979. 3. “Spazziam, a balletto by Salamone Rossi,” The American Choral Review, October, 1980. 4. “Before the Concert,” The Choral Journal, April, 1981. 5. “Robert Starer. Psalms of Woe and Joy, “ (a review) Musica Judaica, Fall, 1983. 6. “Choral Music of the Eastern Mediterranean School,” D.M.A. thesis, University of

Cincinnati, 1984. 7. “Some Preliminary Notes on a Study of the Jewish Choral Movement,” The Journal of

Synagogue Music, December, 1986. (download) 8. “Debussy’s Trois Chansons,” The Choral Journal, April, 1988. 9. "The Choral Music of Salamone Rossi," The American Choral Review, October, 1988

(monograph). (download) 10. “A Possible Influence of the Traditional Chant on a Synagogue Motet by Salamone

Rossi,” Musical Judaica, Winter, 1989. (download) 11. "Choral Music for Chanukah," The Choral Journal, September, 1990. 12. “The Oldest Jewish Choir,” The Journal of Synagogue Music, December, 1990. 13. “Ta’amey HaMikra: A Closer Look,” The Journal of Synagogue Music, Fall, 1992.

(download) 14. “East Meets West: The Eastern Mediterranean School of Choral Composition,” The

Choral Journal, May, 1993. 15. “On the Trail of Beauty and Grace: Some Thoughts on Standards,” The Choral Journal,

September, 1994. 16. “The Cantillation of the Decalogue,” The Journal of Synagogue Music, Spring, 1995. 17. “Music in the Holocaust,” The Choral Journal, December, 1995. 18. “Jewish Music in the Curriculum,” Association for Jewish Studies Newsletter, Fall, 1995. 19. “Franz Schubert and the Vienna Synagogue.” The Choral Journal, August, 1997. 20. “What is Jewish Liturgical Music?” The Choral Journal, September, 1997. 21. “We Hung up Our Harps: Rabbinic Restrictions on Music,” The Journal of Synagogue

Music, 25:2 (April, 1998), pp. 33-53. 22. “Jewish Choral Music in America,” The International Choral Bulletin, 17:4 (July, 1998),

pp. 9-11. 23. “Sacred Bridges,” The Choral Journal, October, 2000. 24. “Musing about Jewish Music,” The Choral Journal, 41:8 (March, 2001), pp. 35-36. 25. “Tsen Brider: A Jewish Requiem.” The Musical Quarterly 84:3 pp. 452-474. (download) 26. “What Is Jewish Music?” The Orff Echo 33:3 (Spring, 2001), pp. 24-26. (download) 27. “Explorations in Jewish Music.” Religious Studies News/Spotlight on Teaching. 16/2

(Spring, 2001), pp. 7, 12. 28. “Women in Jewish Music.” The Journal of Synagogue Music. Winter, 2001 (vol. 28, no. 1).

pp. 52-62. (download) 29. “The Synagogue Choir.” CCAR Journal. Winter, 2002. 57-68. 30. “Ellen Koskoff’s Music in Lubavicher Life” (a review). Shofar 21:1 (Fall, 2002)160-162.

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31. “Don Harran’s Salamone Rossi: A Jewish Musician in Late Renaissance Mantua.” (a review) AJS Review (The Journal of the Association for Jewish Studies) 26/1 (April, 2002) 152-155.

32. “Arnold Schoenberg and Ahad Ha’Am.” The Journal of Synagogue Music 29:1 (Summer/Falll, 2003) 31-40. (download)

33. “Music of the Holocaust.” In Encyclopedia of Genocide and Crimes Against Humanity (Editor in Chief: Dinah L. Shelton) Detroit: Macmillan (Thomson Gale), 2004, pp. 717-719.

34. “Victor Tunkel’s Music of the Hebrew Bible—The Western Ashkenazic Tradition.” (a review) The Journal of Synagogue Music 31:1 (Falll, 2006) 233-235.

35. “Sholom Kalib’s The Musical Tradition of the Eastern European Synagogue” (a review). CCAR Journal (Fall, 2007).

36. “Choir.” In Encyclopedia Judaica (second edition) Detroit: Macmillan (Thomson Gale), 2006.

37. “Approaches to Teaching Sacred Music in a Secular Context” (co-authored with Robert Eaton, Catherine Connor-Moran, Anthony Leach and Thomas Lloyd). The Choral Journal 47:9 (March, 2007) 41-48.

38. “The Collection of Abraham Zvi Idelsohn.” (a review) Yearbook for Traditional Music 39 (2007) pp.

39. “Jewish Music: What’s That?” in Studies in Jewish Civilization 19: “I Will Sing and Make Music”: Jewish Music and Musicians Throughout the Ages. Edited by Leonard J. Greenspoon, Ronald A. Simkins, and Jean Cahan. Omaha: Creighton University Press (2008). Distributed by University of Nebraska Press. Pp. 1-10. (download)

40. “Contrafaction” The Journal of Synagogue Music. Fall, 2010 (Volume 35), pp. 211-228. 41. “The Organ and Its Music in German-Jewish Culture” (a review). Shofar Vol. 28, No. 3

(Spring, 2010), pp. 180-182. 42. “Defending Salamone Rossi: The Transformation and Justification of Jewish Music in

Renaissance Italy” in Yale University Institute of Sacred Music Colloquium: Music, Worship, Arts Vol. 5 (Autumn, 2008) (issued April, 2010), pp. 85-92. (download)

43. “Universalism and Particularism in Ernest Bloch’s Sacred Service” The Choral Journal. November, 2009, pp. 20-32.

44. “Perspectives on Jewish Music” (a review). Shofar Vol. 29, No. 3 (Spring, 2011). 45. “Biblical accents/cantillation (masoretic). (ii) relation to syntax” in Encyclopedia of

Hebrew Language and Linguistics. Edited by Geoffrey Khan, Leiden: Brill, 2013. 46. “Biblical accents/cantillation (modern reading traditions, musical contours)” in

Encyclopedia of Hebrew Language and Linguistics. Edited by Geoffrey Khan, Leiden: Brill, 2013.

47. “The Organ and Its Music in German-Jewish Culture” (a review). Early Music America Winter, 2011.

48. “Solo Vocal Works on Jewish Themes: A Bibliography of Jewish Composers By Kenneth Jaffe” (a review) Musica Judaica (Volume XIX) 2009-2010, pp. 328-331.

49. "Jewish Music in the Italian Renaissance." The Journal of Synagogue Music, vol. 38 (Fall, 2013) 105-108.

50. "Art Music and Jewish Culture before the Jewish Enlightenment: Negotiating Identities in Late Renaissance Italy." In The Cambridge Companion to Jewish Music. 2014.

51. "The Cantillation of the Psalms." The Journal of Synagogue Music, 2014 52. "Macabee Songs and the Zionist Agenda." In Jascha Nemtsov (ed.), Jüdische Musik als

Dialog der Kulturen / Jewish Music as a Dialogue of Cultures,Wiesbaden: Harrassowitz Verlag, 2013.

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Papers Delivered 1. “The Synagogue Motets of Salamone Rossi: Influences on Structure and Style” at the Jewish

Musicological Conference, Jewish Theological Seminary, New York City, May 2, 1993. 2. “The Choral Music of the Eastern Mediterranean School” at the annual national conference of the

Association for Jewish Studies, Copley Park Plaza Hotel, Boston, December 13, 1993. 3. “The Cantillation of the Decalogue” at the annual national conference of the Association for

Jewish Studies, Copley Park Plaza Hotel, Boston, December 20, 1994. 4. “Tsen Brider: A Folksong Survives the Holocaust” at the annual national conference of the

Association for Jewish Studies, Copley Park Plaza Hotel, Boston, December 17, 1996. 5. “Preparing Performing Editions of the Sacred Music of Salamone Rossi” at the Salamone Rossi

symposium, Hebrew Arts School, New York, NY, November 11, 2002. 6. “Defending Salamone Rossi: The Transformation and Justification of Jewish Music in Renaissance

Italy” at the Institute for Sacred Music Colloquium, Yale University, October 18, 2006. 7. “Jewish Music: What’s That?” Keynote address for the symposium “I Will Sing and Make Music”:

Jewish Music and Musicians Throughout the Ages. Creighton University, Omaha, Nebraska, October 29, 2006.

8. “Jewish Music: What’s That?” Keynote address for the University of Antwerp (Belgium) Institute of Jewish Studies, October 22, 2009.

9. “Maccabee Songs” for the conference Jüdische Musik als Dialog der Kulturen und ihre Vermittlungsdimensionen at the University of Potsdam, July 12, 2010.

Monograph

"The Choral Music of Salamone Rossi," The American Choral Review, October, 1988.

Books

1. Chanting the Hebrew Bible, Philadelphia: The Jewish Publication Society, 2002.

2. Chanting the Hebrew Bible: Student Edition, Philadelphia: The Jewish Publication

Society, 2005.

3. Translations and Annotations of Choral Repertoire—Volume IV: Hebrew Texts.

Corvallis, Oregon: earthsongs, 2009. (co-authored with Ethan Nash)

Textbooks 1. Active Listening, Northeastern University Custom Textbooks, 1974. 2. Learning to Read and Write Music, Northeastern University Custom Textbooks, 1976. 3. Music in Popular Culture: An Anthology of Readings, Northeastern University Custom Textbooks,

1978. 4. Source Readings in Jewish Music. University Readers, 2008. 5. Score Anthology: Music of the Jewish People. University Readers, 2008-2009. 6. Anthology of Jewish Art Songs. University Readers, 2009.

Compositions 1. Hamavdil, Covenant Publications, N. Y., 1970. 2. Chanukah Variations, Transcontinental Publications, 1989. 3. Mi Zeh Yemallel, Transcontinental Publications, N.Y., 1990 4. Shavu'ot, Transcontinental Publications, 1993 (reprinted by Transcontinental Publ., 1995) 5. Azamer Bishvokhin, E.C. Schirmer, Boston, 2002.

Published Arrangements

1. And the Angels Sing by Ziggy Elman, Transcontinental Publications, 2006. 2. A Nign by Lazar Weiner, Transcontinental Publications, 2002. 3. Abi Gezint by Abe Ellstein, Transcontinental Publications, 1994.

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4. Adijo Kerida (Sephardi folksong), World Music Press, 1992. 5. Al Giv’ot Sheikh Abreik by Mordecai Zeira, World Music Press 2002. 6. Al Hanissim by Dov Frimer, Transcontinental Publications, 1991. 7. Al Kol Eileh by Naomi Shemer, Transcontinental Publications, 1995. 8. Ale Brider (Eastern European Jewish folksong), World Music Press, 1997. 9. Aleih Neiri by Chaim Parchi, Transcontinental Publications, N.Y., 1990 10. Aneynu Trad. song for Simhat Torah) Transcontinental Publications 11. Ani Ve’Atah by Arik Einstein, Transcontinental Publications, 1995. 12. Ayyalath Hhein (traditional Yemenite melodies) , Transcontinental Publications, 1989. 13. Around the Campfire (folksongs), World Music Press, 1993. 14. Az Ikh Vel Zogn Lekho Doydi (Ashkenazi folksong), Transcontinental Publications

(SATB or SA) 15. Ba Mir Bistu Sheyn by Sholom Secunda, Transcontinental Publications, 2006. 16. Boruch Atoh by Solomon Golub, Transcontinental Publications, 1994. 17. Candle Blessings for Chanukah (traditional Hassidic chant), Transcontinental

Publications, 1991. 18. Chanukah in Santa Monica by Tom Lehrer, Transcontinental Publications, 2008. 19. Dance the Horah (Hey Harmonika by Alkoni and Mayim, Mayim by Amiran),

earthsongs, 1999. 20. Dime Rozina (Sephardic folksong), Transcontinental Publications, 1991. 21. Dodi Li by Nira Chen, World Music Press, 1993. 22. Don Amadi (Sephardic folksong),, Transcontinental Publications, 1991. 23. Dona, Dona by Sholem Secunda, Transcontinental Publications, 1998. 24. Dremlen Feygel by Leyb Yampolsky, Transcontinental Publications, 1995. 25. Drey Dreydeleh by Abe Ellstein, Transcontinental Publications, 2003. 26. Durme (Sephardic folksong),, Transcontinental Publications, 1990. 27. El Nora Alilah (trad.) Transcontinental Publications 28. Esta Rakhel (Sephardic folksong), Transcontinental Publications, 1991. 29. HaKotel by Dov Selzer, Transcontinental Publications, 1995. 30. Hanukah Tarantella by David Polansky, Transcontinental Publications (SATB or SA) 31. L’Dor Vador by Meir Finkelstein, Transcontinental Publications, 1999. 32. Lebn Zol Columbus by Aaron Perlmutter (based on an arrangement by Cathy Rand) ,

Transcontinental Publications, 1994. 33. L’chu Neranana by Shlomo Carlebach, Transcontinental Publications, 2008. 34. Mah Nishtanah (traditional Ashkenazi chant) , Transcontinental Publications, 1992. 35. Maoz Tsur by Abraham Binder, Transcontinental Publications, 1990. 36. Maoz Tsur (Ashkenazi Italian chant), Transcontinental Publications, 1990. 37. Mi Al Har Chorev (medieval chant), Transcontinental Publications, 1990. 38. Mizmor L’David by Shlomo Carlebach, Transcontinental Publications, 2008. 39. Morenica (Sephardic folksong), Transcontinental Publications, 1990. 40. Mul Har Sinai by Moshe Wilenski, Transcontinental Publications, 1995. 41. Nani Nani (Sephardic folksong),, Transcontinental Publications, 1991. 42. Niggun (Bratslav Hassidic chant), Transcontinental Publications 43. Ocho Kandelikas by Flory Jagoda, Transcontinental Publications, 1990 (SATB or SA). 44. Oseh Shalom by Jeff Kleper, Transcontinental Publications, 2008. 45. Papir Iz Doch Vais (traditional Yiddish love song), Transcontinental Publications, 1990. 46. Pit’chu Li by Robert Solomon, Transcontinental Publications, 1991. 47. Por Que Llorax (Sephardic folksong), Transcontinental Publications, 1991. 48. Psalm 114, Transcontinental Publications, 1989. 49. Regle (Polish folksong), World Music Press, 1999.

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50. Rozhinkes mit mandln (from Shulamis) by Avrohom Goldfaden, earthsongs 2010 51. Saleynu by Yedidyah Admon, Transcontinental Publications, 1995. 52. Shalom Rav by Jeff Kleper, Transcontinental Publications, 2009. 53. Shedemati by Yedidyah Admon, Earthsongs, 1998. 54. Shehecheyanu by Tsvika Pik, Transcontinental Publications, 1993. 55. Shemen Zach by Chaim Parchi, Transcontinental Publications, 1994. 56. Sheyn Vi Di Levoneh by Joseph Rumshinsky, Transcontinental Publications, 1994. 57. Shir LaShalom by Yair Rosenblum, Transcontinental Publications, 1995. 58. Simonah Mi-Dimonah by Shemuel Weissfisch, Earthsongs, 1998. 59. Tsen Brider by Martin Rosenberg, Transcontinental Publications, 1995. 60. Untaneh Tokef by Yair Rosenblum, Transcontinental, 2013 61. Yah Ribon Alam (Moroccan folksong), Transcontinental Publications, 1992. 62. Yerushalayim (folksong), Transcontinental Publications, 1991. 63. Yom Zeh LeYisrael/Yismach Mosheh (Sephardic folksongs), Transcontinental

Publications, 1991. 64. Zol Shoyn Kumen Di Ge’uleh by Shmuel Kaczerginsky, Transcontinental Publications,

1995. 65. Zol Zain Sholem (Yiddish folksong),, World Music Press, 1994.

Published Editions

1. Adon Olam by Salamone Rossi, Transcontinental Publications, 1993. 2. Adon Olam by Giusppe Clave (or anon.) Transcontinental Publications 3. Al Naharot Bavel by Salamone Rossi, Broude Bros., N. Y., 1984. 4. Barechu by Salamone Rossi, Broude Bros., N. Y., 1987 5. Bat Yiftach by Aharon Charlap, Transcontinental Publications 6. Cantata Ebraica by Carlo Grossi, Transcontinental Publications, 1992. 7. Canticum Hebraicum by Louis Saladin, Transcontinental Publications, 1992. 8. Chanukah Candle Blessings and Maoz Tsur (trad. Ashkenazi chants, based on an

arrangement by A. Binder) , Transcontinental Publications, 1990. 9. Della Vita by Benedetto Marcello, Transcontinental Publications, 1990. 10. Eftach Na Sefatai by Salamone Rossi for Transcontinental Publications, 1995. 11. Elohim Hashiveinu by Salamone Rossi, Transcontinental Publications, 1993. 12. Enosh by Louis Lewandowski, Broude Brothers, New York, 1992. (orchestration

available from Transcontinental) 13. Eyli Eyli by Jacob Sandler (arr. By S. Sargon), Transcontinental Publications, 2002. 14. Halleluyah by Salamone Rossi, Broude Bros., N. Y., 1984. 15. Halleluyah by Salomon Sulzer, Transcontinental Publications, 1991. 16. Halleluyaw by Joseph Drechsler, Broude Bros., N. Y., 1992. 17. Halleluyaw by Louis Lewandowski, Broude Bros., N. Y., 1998 (orchestration

available from Transcontinental) 18. Ha-Neiros Halawlu by Louis Lewandowski, Transcontinental Publications, 1989 (SATB

or SA). 19. Hava Nagila (trad, arranged by Daniel Faktori), Transcontinental Publications 20. Hayoshevet Baganim by N. C. havron (arr. A. Levanon) , Transcontinental Publications,

2002. 21. HaZamir by Leo Low, Transcontinental Publications 22. Keter by Salamone Rossi, Broude Bros., N. Y., 1988 23. Mah Tovu by Louis Lewandowski, Broude Brothers, New York, 1993. (orchestration

available from Transcontinental) 24. Min Ha-Metsar by Jacques Halévy, Transcontinental Publications

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25. Mir Trogen a Gezang by Leo Low, Transcontinental Publications 26. Mizmor Lesodoh by Samuel Naumbourg, Transcontinental Publications 27. Mizmorei Tehilim by Tsvi Avni, Transcontinental Publications, 1993. 28. Odekha by Salamone Rossi, E.C. Schirmer, Boston, 2002. 29. Psalm 121 by Jacques Halévy for Transcontinental Publications, 1996. 30. Se’u She’awrim by Samuel Naumbourg, Transcontinental Publications, 1992. 31. Shir HaMa'alot by Salamone Rossi, Broude Bros., N. Y., 1988 32. Shir Lama'alot (Essa Einay) by Salamone Rossi, Transcontinental Publications 33. Somakhti by Jacques Halévy, Transcontinental Publications 34. Song of Songs by Yehezkel Braun, Transcontinental Publications, 1992. 35. Three Hallel Psalms by Yehezkel Braun, Transcontinental Publications, 2013 36. Torah-Musik (Vayhi Binso'a Ho-oron and Yehalelu Es Shem) by Salomon

Sulzer, Transcontinental Publications 37. Tov LeHodos by Louis Lewandowski, Broude Bros., N. Y., 1998 38. Tov LeHodos by Franz Schubert, Broude Bros., N. Y., 1986. 39. Zawcharti Lawch by Louis Lewandowski, Transcontinental Publications, 1992.

Recordings (partial list) 1. Zamir Live, Vogt Quality Recordings, Boston, 1974. 2. The Road Not Taken, Northeastern Records, Boston, 1980. 3. Lights, AFKA Records, Boston, 1990 4. Hear Our Voices, HaZamir Recordings, 1995 5. Seasons of Our Joy, HaZamir Recordings, 1995 6. ROSSI, HaZamir Recordings, 1996 7. Jerusalem 3000, HaZamir Recordings, 1996 8. The Majesty of Holiness, HaZamir Recordings, Boston, 1997. 9. Souls on Fire, ZC Recordings, New York, 1999 10. An Hour in the Garden of Eden, HaZamir Recordings, Boston, 1999. 11. The Songs Live On, HaZamir Recordings, Boston, 1999. 12. The Soul of the Sabbath, HaZamir Recordings, Boston, 2001. 13. The Songs of Israel, HaZamir Recordings, Boston, 2002. 14. Jewish Composers in America, HaZamir Recordings, Boston, 2002. 15. Italia, HaZamir Recordings, Boston, 2003. 16. The Monster and the Nightingale, HaZamir Recordings, Boston, 2004. 17. Zamir: Greatest Hits, HaZamir Recordings, Boston, 2005. 18. Psalmsensation, HaZamir Recordings, Boston, 2007. 19. Zamir: Jewish Voices Return to Poland (DVD), WGBH-TV 2001, HaZamir Recordings 2008. 20. JaZZamir, HaZamir Recordings, Boston, 2010. 21. Boston to Berlin, HaZamir Recordings, Boston, 2012.

ADVISORY BOARDS

New England Conservatory Board of Visitors (2006-2008) Transcontinental Publications, New York World Assembly of Choirs in Israel, Tel Aviv (1987) The Novakovski Foundation Boston Jewish Music Festival Lewandowski Festival (Berlin, Germany)

PROFESSIONAL ORGANIZATIONS

The American Choral Directors Association (President of the Massachusetts Chapter, 1993-1995) Chorus America The American Jewish Choral Festival (founding member)

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The American Society for Jewish Music American Society of Composers, Authors and Publishers (ASCAP) College Choral Directors Association Cantorial Council of America

PRESS REVIEWS

Conducting

[T]he choirs and orchestra, conveyed a convincing understanding of this powerful work. … The choir was technically fine – precise, enunciating clearly, … full of emotion …. Joshua Jacobsen’s comparison of Bloch’s “Sacred Service” to Beethoven’s Missa Solemnis became convincing rather than (as it seemed initially) far-fetched. A large musical work, it reaches beyond its liturgical origin to convey a universal meaning of gratitude, hope, and compassion, a remarkable and fitting conclusion to this music festival.

– Liane Curtis, The Boston Musical Intelligencer, March 18, 2010 <http://classical-scene.com/> “I doubt that anyone who listens attentively to these performances [CD An Hour in The Garden of Eden ] could come away without some insight into the distinctive cultural flavor they represent. … Anyone who cares about this repertory, or is merely curious, will want to acquire this.” Gatens, The American Record Guide, November/December, 2002 (p. 238). “Yah Ribon Alam” by H[azzan] Robbie Solomon and performeded ever so well by the Zamir Chorale of Boston from the CD The Soul of the Sabbath (conducted by Joshua Jacobson) … The solo as well as the ensemble singing as well as the playing are nothing but commendable and professional. Morton Gold, The Jewish Post and Opinion, September 11, 2002. Since 1969 Joshua Jacobson and the Zamir Chorale have been exploring the Jewish musical heritage for a large and loyal public. Jacobson has a gift for programming that is instructive and entertaining, and more often than not, the Zamir Chorale performs works that music lovers would be unlikely to hear anyplace else. … Several of these were sung in deft choral arrangements by Jacobson …. It was a generous program, and … the chorale distinguished itself for versatility, buoyant tone, careful intonation, and vigor of spirit.

Richard Dyer, Boston Globe, 6/11/2002 This beautifully balanced chorale has sent three discs… [including a] collection of the music of Salamone Rossi. … All of Rossi’s interpreters have brought a special devotion to the music of their compatriot, but this must be the finest treatment yet. … All three discs are a credit to the chorale and should win a wide following. J. F. Weber, Fanfare, Vol. 25, No. 5 (May/June, 2002), p. 192. Jewish choral music does not enjoy the widespread concert exposure that other forms do. The Zamir Chorale of Boston has been addressing that imbalance since 1969. … Jacobson drew sensitive phrasing from his forces, most admirably in Alice Parker's An American Kedushah and an excerpt from Bloch's Sacred Service.

Tim Smith, The Baltimore Sun, April 16, 2002 “The Zamir Chorale of Boston has become America’s foremost Jewish choral ensemble, and this collection of songs inspired by the Shabbat does nothing to diminish their enviable reputation. It’s a lovely anthology full of vastly different musical styles. …. Adding to the ethnic diversity is Maestro Jacobson’s version of the Hassidic melody “Azamer Bishvokhin” (I Will Sing with Praise); …. It’s beautiful, by the way.… A handsome booklet full of translations and engaging notes clinches the deal on a delightful release.”

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Philip Greenfield, American Record Guide March/April, 2002. “In the 32 years of its existence, Zamir has matured into a rich blend of adult male and female voices capable of producing harmonic chills on traditional tunes with no accompaniment, or of meeting the challenges of contemporary composers with major symphony orchestras and conductors.” Gigi Yellen-Kohn. The Jewish Transcript (Seattle), January 11, 2002. “Zamir Chorale: Jewish Voices Return to Poland. … It’s an hour (originally broadcast on PBS) as full of emotion as it is of glorious sound. … And musically speaking, the Zamir Chorale is blessed with fine arrangers and an array of 42 fine and varied voices.” Jeff Kaliss, Commuter Times (San Francisco), November 22, 2001 “The Zamir Chorale of Boston has long taken seriously the mission to air the unheard. … the commitment and care with which they perform is both moving and convincing. … And founding director Joshua Jacobson deserves much credit for shaping such largely untrained voices into a reasonably disciplined ensemble.” Michael Manning, Boston Globe, June 6, 2001 “Narrated by artistic director Joshua Jacobson, who founded Zamir in 1969, the film is an extraordinary blend of glorious musicianship … Standing cheers are due … Joshua Jacobson and the gifted musicians of Zamir …” Goldie Charles, The Jewish Week (New York), August 4, 2000. “The group’s versatility and polished cadences shine … .” Rahel Musleah, Hadassah Magazine, May, 2000. “There are some good CDs available for adult Hanukkah enthusiasts, including ëLights’ by the Zamir Chorale of Boston … artfully arranged and performed with an enthralling depth of musicality.” Charles Davidson, The Jewish Press, 11/19/99 (78:11), p. 13. “…Maestro Jacobson’s notes are terrific…Don’t hesitate. This is a joy.” a review by Greenfield of the CD The Majesty of Holiness in American Record Guide,

September/October, 1998, p. 297. “The best part of the program is the large vocal ensemble, the Zamir Chorale of Boston… they sing Rossi’s polyphonic music with a fluency and fluidity…”

a review by C. Moore of the CD Salamone Rossi in American Record Guide, July/August, 1998, p. 188.

“The performance of these works is of the highest quality and Zamir’s founder and director, Dr. Joshua Jacobson is to be commended.”

a review of the CD Salamone Rossi in Journal of Jewish Music and Liturgy, Volume 20 (1997-98)

“Each setting recreates the spirit and the mood of those tragic, heroic years. This CD is an excellent aid for teaching the Holocaust period, especially where music can enhance the discussion.”

a review of the CD Hear Our Voices in Journal of Jewish Music and Liturgy, Volume 20 (1997-98)

“…Jacobson and his singers never lost their touch of elegance and good taste…” Simon Wainrib, The Berkshire Record, November 8-14, 1996. “The [Zamir] chorale came in gently…, providing the evening’s most introspective lovely moment.” Elijah Wald, The Boston Globe, October 27, 1996.

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“HEAR OUR VOICES. The 50-voice Zamir Chorale creates a haunting homage in these 29 songs from the ghettos and camps. Producer-conductor Joshua Jacobson’s narrative introductions render this CD valuable for Holocaust studies and commemorations.” D. L. Sprargen, Hadassah Magazine, June/July, 1996. “Jacobson led polished performances that emphasized clarity and balance. And the chorale’s professionalism was everywhere evident, particlularly in its unflagging attention to detail. … The group showed remarkable versatility as it moved effortlessly across a myriad of musical styles.” Kevin Gabriel, The Worcester Telegram and Gazette, March 25, 1996. “As to the performance itself, fastidious preparation was manifest in every detail.… There was nothing about the performance that was not sonorous, incisive, assured.” Richard Buell, The Boston Globe, April 18, 1994. “Over the years the [Zamir] Chorale has achieved an impressive artistic standard.” Richard Dyer, The Boston Globe, April 15, 1994. “Under the direction of the accomplished and creative musicianship of Joshua Jacobson, the Zamir Chorale delivers with accuracy and taste diverse programs which range through traditionals and folksongs to lengthy and complex pieces. The meticulous preparation and natural talent of the Chorale show in the results which uniformly please both the ear and the mind.” Bernard Hyatt, The Jewish Advocate, April 8, 1994. “N.U. Choral Society’s music director Joshua Jacobson has been doing effective work with his student singers; the performance was a pleasure.… the quality of the music making was good. The chorus produces a robust, unforced sound.… And the singing had accuracy of rhythm and pitch.… Jacobson conducted the chorus and an orchestra of local free-lancers in a shapely, solid performance.” Anthony Tommasini, The Boston Globe, May 25, 1993. "The conductor of the Zamir Chorale of Boston, Prof. Joshua Jacobson, is a man of pleasant demeanor and boundless optimism. His conducting is polished, without excessive histrionics, but rather imbued with concentrated internalized energy, emotion and precision." Levi Shaar, Chadashot HaTsafon (Israel), August 12, 1988. "The . . . Zamir Chorale of Boston, directed by Joshua Jacobson reached a higher level, and achieved significant success with a complex repertoire." Oded Asaf, Ha'Ir (Tel Aviv), August 12, 1988. "Easily the most refined choral singing I have heard on behalf of Jewish music was part of the recent American Choral Directors convention . . . Joshua Jacobson lectured with wit and erudition. . . . remarkable sensitivity to basic musical needs--dynamic control, intelligent phrasing, effective articulation of the text." Monroe Levin, The [Philadelphia] Jewish Exponent, Feb. 26, 1988. "It is clear that Joshua Jacobson, the conductor of this choir, . . . is concerned with tackling challenging repertoire, and pays special attention . . . to the musical riches of the language and compliance with the musical dynamics of the composition. The Zamir Chorale of Boston's performance was stylish, disciplined and visually elegant, giving their singing a dramatic polish which was lacking in the other groups, and thus captured first place with a choral performance that was a comprehensive artistic-musical experience.

Chagit Gal-ed, HaDo'ar (New York), Feb. 12, 1988. "The Zamir Chorale of Boston made a good impression under the excellent direction of Joshua Jacobson. They performed works of Matityahu Shelem, arranged by Gil Aldema, and [Robert] Starer's

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Psalms, a powerful work. The choir is well disciplined, and makes the music come alive with its conductor." Hannah Levi, HaDo'ar (New York), March 6, 1987. "The Zamir Chorale of Boston attained that height . . . and performed with excellence. . . . the ensemble attacked with vigor and spark. . . . the capacity audience loved it all." Arthur Hepner, The Boston Globe, June 3, 1986. "Zamir's inspired, crisp performance provides a well-deserved tribute to a much-neglected body of work along with a celebration of music that is truly glorious." Ed Symkus, The Brookline Tab, December 3, 1985. "Joshua Jacobson, a choral conductor of fine technique and warm sensibilities, got a lot out of his forces . . . . The Northeastern University Choral Society . . . came forth with transparently blended sonorities and moreover were induced to phrase gracefully." Richard Buell, The Boston Globe, March 12, 1985. "Jacobson's 39-voice chorus and 33-piece orchestra demonstrated a high level of commitment and competence. . . ." Derrick Henry, The Boston Globe, December 11, 1984. "Other distinguished musical achievements so far this season have been . . . the League ISCM at Northeastern's all-Stephan Wolpe concert performed by Collage and the Zamir Chorale . . . ." Paul Driver, The Boston Globe, December 25, 1983. "Last night's admirable and acutely pleasurable presentation . . . ." Paul Driver, The Boston Globe, November 8, 1983. ". . . the Zamir Chorale of Boston's acute presentation of Ben Haim's challenging settings under Joshua Jacobson's direction." Edward Rothstein, The New York Times, May 31, 1983. "As for Joshua Jacobson, he performed in the manner to which his audiences have become accustomed: with confidence, precision, and complete musicality." Stephen Freedman, The Jewish Advocate, May 15, 1982. "The Zamir Chorale has flourished under the direction of Joshua Jacobson. . . . a program of consistently good quality . . . performed with precision of ensemble and good dynamic control." Ralph Blauvelt, The Rockland (N. Y.) Journal News, March 6, 1978. "Under Joshua Jacobson's leadership the chorale has become one of the best singing groups in this area. Jacobson has a clear beat and communicates authority in a reassuring yet unobtrusive way." Herbert Fromm, The Jewish Advocate, May 6, 1976. "Jacobson and his singers delivered all of this . . . with a secure sense of the various styles required. . . . a virtuoso outfit." Richard Dyer, The Boston Globe, May 4, 1976. "It is clear by now that Joshua Jacobson has created a unique organization completely under the control of his intense and vibrant personality." Minuetta Kessler, The Jewish Advocate, June 7, 1973. "Their leader, Joshua Jacobson, is remarkably talented." Dan Aronovicz, L'information D'Israel (Tel Aviv), July 13, 1973.

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". . . a superb professional chorus conducted by Joshua Jacobson." Eleanor Roberts, The Boston Herald American, October 22, 1972.

Compositions, Editions and Arrangements “…a lovely transparent setting…sensitively crafted and meticulously edited, yielding a lovely singing experience…highly recommended.” The Choral Journal, November, 1991. “…worthy of particular notice…very tasteful and effective.” The Journal of Synagogue Music, July, 1991. “Shehecheyanu is a wonderful work…. This is a fine introduction to the great heritage of Hebrew music.” The Choral Journal, September, 1994. “Adijo Kerida … would be an excellent choice … a very fine edition.” The Choral Journal, December, 1994. “Joshua Jacobson’s edition is both significant and useful…. It is easy to recommend [Rossi’s] Elohim Hashivenu.” The Choral Journal, March, 1995. “… Joshua Jacobson, whose eleven-page arrangement [of Adijo Kerida]captures the sentiment and flavor of the poem via a very accessible and beautiful setting.” The Choral Journal, February, 1996. “Dremlen Feygel is a musically beautiful choral work … a lovely and meaningful addition to the multicultural repertoire.” The Choral Journal, February, 1996. “…this arrangement [Boruch Atoh] possesses a real sense of beauty….” The Choral Journal, September, 1996. “This bracing arrangement [Shemen Zach] has a sense of excitement…and is a welcome addition to the international folk-song repertoire.” The Choral Journal, September, 1996. “…beautifully wrought arrangements of popular and folk material, wrapping traditional and sometimes just “pop” melodies into fitting new garbs, at times suptuously elegant, at times soberly discreet and always in good taste. The fullness and fine craftsmanship of the arrangements…” Simon Wainrib, The Berkshire Record, November 8-14, 1996. “…[Ocho Kandelikas] would be a welcome treat at a holiday performance.” The Choral Journal, September, 1998. “…[Ale Brider] is a welcome addition to the repertoire… and would make a wonderful closing numer.” The Choral Journal, October, 1998. “Joshua Jacobson’s arrangement of ‘Hakotel’ (The Wall) is an elegant tribute… the vocal lines are beautifully wrought.” The Choral Journal, October, 1998. “This choral arrangement (L'Dor Vador) is filled with effective counterpoint and lyrical phrase shapes.”

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The Choral Room, Fall, 2000 (Volume 10, No. 1). “This score [Azamer Bishvohin] has been brilliantly prepared by…Joshua Jacobson.”

The Choral Room, Winter, 2002-03 (Volume 12, No. 2). “Edited by Joshua Jacobson, this piece [Odekha by Salamone Rossi] has been carefully researched. … This powerful motet is a must for the accomplished ensemble and is truly a rare find. Hats off to the editor for bringing this piece to public notice.”

The Choral Room, Winter, 2002-03 (Volume 12, No. 2). “Edited by Joshua Jacobson, this [Canticum Hebraicum, by Louis Saladin] is another wonderful edition of early Hebrew music. Excellent background information, pronunciation guide, and translation accompany the choral score.”

The Choral Room, Spring, 2003 (Volume 12, No. 3).

“Zol Shoyn Kumen di Ge'uleh (Let the Redemption Come), arr. Joshua Jacobson … beautifully arranged.”

Spectrum Music’s Newsletter for the Choral Professional Volume 13, No. 2 (Winter 2003-04)

“L'chu N'ran'nah,” arr. Joshua Jacobson, Hebrew text, Transcontinental (Hal Leonard), 00191586, SATB and solo a cappella. This beautiful setting of a Shlomo Carlebach melody is beautifully done. It would be perfect as an opening concert piece, where Jacobson suggests that the singers surround the audience. …. The choir concludes the piece on powerful chords of great beauty with some divisi in the parts. Spectrum Music’s Newsletter for the Choral Professional Summer 2008 Volume 17 No. 4. “Chanukah in Santa Monica,” arr. Joshua Jacobson, English/Hebrew text, Transcontinental (Hal Leonard), 00191580, SATB, clarinet & keyboard. This … arrangement by Joshua Jacobson is both clever and tremendously humorous. Filled with wonderful text painting and descriptive music that attempt to call up the various cities visited by this Chanukah traveler, the rhythms and harmonies are quite accessible. This piece is perfect for the concert stage …. Spectrum Music’s Newsletter for the Choral Professional Fall 2008 Volume 18 No. 1. “Mizmor l'David,” by Shlomo Carlebach, arr. Joshua Jacobson, … This is a hypnotic setting of Psalm 29 using Carlebach's modal melody. The unison passages and imitation between the parts help in the learning of this dramatic piece. Jacobson uses harmonies skillfully to create a powerful arrangement of this beautiful melody. The Choral Room: Spectrum Music’s Newsletter for the Choral Professional, Spring 2009 Volume

18 No. 3. *Shalom Rav (Grant Abundant Peace), arr. Joshua Jacobson, Hebrew text, Transcontinental (Hal Leonard), 00191622, SATB (divisi), solo & keyboard. This is a fabulous arrangement of a well-known melody composed by Jeff Klepper and Danny Freelander. Jacobson arranged this piece for the Boston Zamir Chorale's 2007 concert that honored the two composers. Set in D Major, the harmonies and rhythms are reminiscent of spirituals. It is the perfect piece to choose for liturgical purposes or, with the optional drum set, for a concert setting. This is a great choice for high school choral directors. Again, Jacobson displays great scholarship and ingenuity. Performance information, biographies, and a pronunciation guide are included in the edition. Difficulty Rating 3. $2.75 (New releases that are especially recommended are marked with an asterisk) The Choral Room: Spectrum Music’s Newsletter for the Choral Professional, Summer 2010

Volume 19 No. 4.

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Book (Chanting the Hebrew Bible) “His monumental work is … an authoritative, exhaustively detailed survey of the history, structure, performance and inculcation of the … Biblical melodies. Aficionados like myself…will be delighted by its appearance.”

Stuart Schoffman, The Jerusalem Report, September 9, 2002, p. 48. “Precision. Thoroughness. Clarity. Devotion to Torah. These are some of the thoughts that define my reaction to this new and excellent work by Joshua Jacobson . . . The outstanding features of this work are many. … this is your new desk reference.”

Judith Pinnolis. October 4, 2002. Jewish Music Web Center “Jacobson has delivered an indispensable teaching tool that, quite unusually, is a genuinely fascinating read. … Even those who consider themselves experts will learn a lot from this book. … Jacobson consistently provides a wealth of interesting historical material to make this a great reference book.”

Susan Miron. April 18, 2003. THE FORWARD, reprinted May 7, 2003 in Ha-Aretz (Tel Aviv)

LETTERS "This was the most impressive lecture-recital I witnessed in my years at the College-Conservatory of Music. The verbal presentation was of the first order; the musical presentation was admirable." Norman Dinerstein, Dean, The College-Conservatory of Music, The University of Cincinnati, May 21, 1981. "I have great confidence in his ability as a musician, conductor, and leader of people." Lorna Cooke DeVaron, former Chairperson, Choral Department, New England Conservatory, March 30, 1978. "Your concert was in the first rank of choral experiences that have enthralled me for beauty of tone, expression, accuracy of pitch, diction, and spiritual significance. Your performance of The Peaceable Kingdom was second to none." Randall Thompson, composer, May 19, 1978. "I was very impressed by your Zamir Chorale under your direction." Avner Bahat, Director, Jewish Music Center, Diaspora Museum, Tel Aviv, June 11, 1987 "I must congratulate you on the wonderful sound you have produced from your choir . . . keep up the good work!" Aharon Charlap, composer, January 29, 1988. "I found your concert beautiful: the pieces were well chosen and well performed. . . . I consider you and your choir as excellent and sympathetic ambassadors of Israeli music. Thank you!" Yehezkel Braun, composer, January 6, 1988. “…I got to hear your recording of the Psalms for the first time. It was truly excellent, both the performance and the sound. The chorus has a lovely quality, especially in some of the pianissimos, but also when strength is required; the diction is clear and even the clapping comes through effectively. We should all be very pleased with the results.” Robert Starer, composer, August 14, 1991. “The live CD The Songs Live On is one of the most satisfying choral recordings that I have heard in a long time. Moreover there is tension, emotion and great expression while the singing is of good quality. Dynamics and phrasing are sometimes even of great beauty. There is obviously a lot of musical talent there! The recording of “LeDor VaDor” ideally represents what music is all about.”

Theodore van Houten, Musicologist, Netherlands, October 19, 2000

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Today, very belatedly, I found the leisure to listen to the “Songs of Israel” you have sent me long ago. And I was profoundly rewarded. I found in it a collection of songs my generation (and a younger one) used to sing. Songs that still express the sentiments and the hopes of our people. And what’s more, the songs were well chosen, well arranged (many of them by you — Yishar koach!) and well sung by the now already legendary Zamir Chorale of Boston. It seems to me that this CD has come up opportunely: it may well serve to raise the rather low spirit of our people nowadays. Although, a veteran fighter that I am, I simply go on fighting. And the only weapon that I am still able to wield at eighty is music. And you too, I suspect, and fearlessly.

Yehezkel Braun (composer) Tel Aviv, 26 December, 2002