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How do we hold this practice in tension with the transformations of the spiritual work we do on this day? Explore these questions and more with our reflective guide to Kol Nidre. Breaking Down Kol Nidre Read. Return to Yom Kippur. Return to all High Holy Days. If she were to post a cooking video, it might not be well-received by her community. Her fans rely on her as an authority figure in the beauty space. Since KOLs are considered experts on certain topics, they're often regarded as trustworthy and authentic.

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At other times and places during the nineteenth century emphasis was frequently laid upon the fact that "in the 'Kol Nidre' only those vows and obligations are implied which are voluntarily assumed, and which are, so to speak, taken before God, thus being exclusively religious in content; but that those obligations are in no wise included which refer to other persons or to non-religious relations" "Allg.

The decision of the conference was accepted by many congregations of western Europe and in all the American Reform congregations, which while retaining the melody substituted for the formula a German hymn or a Hebrew psalm, or changed the old text to the words, "May all the vows arise to thee which the sons of Israel vow unto thee, O Lord,. Naturally there were many Orthodox opponents of this innovation, among whom M. Lehmann, editor of the "Israelit," was especially prominent see ib.

The principal factor which preserved the great religious authority of the "Kol Nidre" well into the nineteenth century, and which continually raises up new defenders for it, is doubtless its plaintive and appealing melody, which made a deep impression even on Lenau see his remarks in "Der Israelit," , No.

Even more famous than the formula itself is the melody traditionally attached to its rendition. This is deservedly so much prized that even where Reform has abolished the recital of the Chaldaic text, the air is often preserved, either in association with some other passage— e.

And yet there are probably no two synagogues in which the melody is chanted note for note absolutely the same. So marked is the variation in the details of the melody that a critical examination of the variants shows an approach toward agreement in the essentials of the first strain only, with transformations of the greatest diversity in the remaining strains. On a critical investigation on comparative lines, the structure of "Kol Nidre" is seen to be built upon a very simple groundwork, the melody being essentially an intermingling of simple cantillation with rich figuration.

The very opening of "Kol Nidre" is what the masters of the Catholic plain-song term a "pneuma," or soul breath. Breslaur draws attention to the similarity of these strains with the first five bars of Beethoven's C sharp minor quartet, op.

The pneuma given in the Sarum and Ratisbon antiphonaries or Catholic ritual music-books as a typical passage in the first Gregorian mode or the notes in the natural scale running from "d" to "d" ["re" to "re"] , almost exactly outlines the figure which prevails throughout the Hebrew air, in all its variants, and reproduces one favorite strain with still closer agreement.

The original pattern of these phrases seems to be the strain of melody so frequently repeated in the modern versions of "Kol Nidre" at the introduction of each clause. Such a pattern phrase, indeed, is, in the less elaborated Italian tradition Consolo, Nos. Gall, by which such typical passages were evolved, influenced all music in those French and German lands where the melody of "Kol Nidre" took shape. Thus, then, a typical phrase in the most familiar Gregorian mode, such as was daily in the ears of the Rhenish Jews, in secular as well as in ecclesiastical music, was centuries ago deemed suitable for the recitation of the Absolution of Vows, and to it was afterward prefixed an introductory intonation dependent on the taste and capacity of the officiant.

Many times repeated, the figure of this central phrase was sometimes sung on a higher degree of the scale, sometimes on a lower. Then these became associated; and so gradually the middle section of the melody developed into the modern forms.

The speculation is ventured that this was done about the year , when thirty-four men and seventeen women perished at the stake at Blois , chanting the "'Alenu," and when all the Rhenish Jews, as well as those of France, were bewailing the martyrdom as the encyclical of R.

Tam reached their congregations. The full transcription following differs from the version best known to the general public, that for violoncello, etc. Table of Contents. Frankel, Die Eidesleistung der Juden, pp. Strack, in Herzog-Hauck, Real-Encyc. Bibliography: Vocal: A.

Consolo, Libro dei Canti d'Israele, No. Mombach, Sacred Musical Compositions, p. Instrumental: Various pianoforte, organ, and especially string arrangements by M.



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