Ades Synagogue in Jerusalem
Shichunat ha Kûrdîm Jerusalem kurdish Quarter Neighbourhood KIFA Kurdistan-israel.com
Nachlaot's One Hundred Synagogues
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There are many kinds of synagogues; big or small; fancy or plain; famous or unpopular. Some are started by new groups and communities; others are neglected looking for the tenth man to complete the minyan.
In Nachlaot, where the community is changing, so are the synagogues. The original founders have moved away. Their children cannot always afford to live in this prime area. The new population has different needs, they may pray a different variation based on their origin, and they may have more money that matches a more modern taste.
While the need to maintain and preserve the old architecture of the synagogues is clear, there is a need to change, fix them up and change them for the needs of the current population of Nachlaot. Before the old structures are torn down, there is a need to document the buildings, the ritual objects and the stories they tell about the people who used them. The most interesting synagogues will be chosen for restoration, each will represent one eda- one community from the many that founded the Nachlaot area. There were Yemenites, Amedia Kurdish, Zacho Kurdish, Jerusalem Sephardi, Greek, and Galician Jews. Together these buildings will capture the character of the New Jerusalem in the late 19th century.
One of the most exciting features are the dedication inscriptions of the ceremonial objects. These inscriptions tie the residents to the historical events of the country. For example, the dedication on the Parochet (Torah curtain) of the Neveh Shalom Synagogue reads:
[In memory of...who] was killed when he went to rescue the Jews in Gush Etzion [the Hebron mountains] in 1948.
Sometimes the inscriptions reflect the connection between the communities in Israel and communities in the Diaspora, such as the dedication on a Torah pointer:
A present to Jerusalem from your friend the Rabbi Ezra Danguri, Hacham Bashi [Chief Rabbi] of Iraq.
One of Nachlaot's oldest synagogues is one of its best-known and one of its most active -- the Ades Synagogue. It is known as a center for Mizrachi Chazanut. Ades is one of only two synagogues in Jerusalem that maintain the ancient tradition of bakashot, a set cycle of kabbalistic poetry sung in the wee hours of Shabbat morning during the winter months.
Ades was built 105 years ago by a community of Jews from Aleppo, Syria.
Much of the Jewish community fled Syria as a result of blood libels and economic downfall when to the Ottoman Empire fell. At the time, it was one of the fanciest and richest synagogues in Jerusalem, although today it seems small when compared with more modern ones. Since it was well constructed, the synagogue still shows scars from World War I and the War of Independence.
It was carried from Haleb by donkey and camel, explains Abdan, using the Arabic name for Aleppo. The gigantic ark (Aron Kodesh) is made of walnut and covered with beautiful geometric designs.
Each synagogue has its own décor, own founders and own tradition.
A hundred of synagogues make hundreds of stories. They describe the Diasporas, the people, the contributors and the atmosphere of the original settlers of Nachlaot.
[Wikipedia] Ades Synagogue
The Ades Synagogue, (Hebrew: בית הכנסת עדס), also known as the Great Synagogue Ades of the Glorious Aleppo Community, located in Jerusalem's Nachlaot neighborhood, was established by Syrian immigrants in 1901. It is considered to be the center of Syrian Hazzanut in Israel.
הרב יעקב עדס
גדול המקובלים בדורנו הרב יעקב עדס, בהסבר על הדרכים להגיע לעצמות רוחניות, עלייה בעבודת ה' דבקות וכוחות על טבעיים.
YITZHAK YEDID: Celebration of the promiscuous dancers (Part 4, Image 19)
YITZHAK YEDID
Visions, Fantasies and Dances
music for string quartet
Performed by: Sapphire String Quartet
Janna Gandelman 1st violin
Roman Spitzer 2nd violin
Amos Boasson Viola
Oleg Stolpner Cello
Part 4. image no. 19: Celebration of the promiscuous dancers
Contact Yitzhak Yedid: yitzhakyedid@hotmail.com
Visions, Fantasies and Dances is a seven part work for string quartet. I composed it in Australia in 2008; its premiere was at the Jerusalem Theater's Henry Crown Symphony Hall on March 1st, 2010 by the Sapphire String Quartet.
My spiritual experience as a child chanting the Baqashot at the well-known Ades Synagogue in Jerusalem inspired this composition. Baqashot are collections of supplications, songs and prayers that have been sung by the Sephardic Syrian Jewish communities for centuries. Every Shabbat during winter months my father woke me up a few hours after midnight to walk to Ades Synagogue to participate in the singing until dawn. Later in my life I was able to distinguish between different Maqamat. This attracted me to explore classical Arabic music and heterophonic textures, and, just as has occurred in Baqashot, to compose works that merge Maqamat with Jewish themes. Since I trained in Western classical music and practice improvisation (as a pianist) it seemed appropriate to merge these different influences. And so, Visions, Fantasies and Dances is an authentic expression of new music which incorporates a wide spectrum of contemporary and ancient styles. It creates a confluence between the heterophonic textures of Arabic genres (classical Arabic music and Arabic-influenced Jewish music) and the compositional approaches of contemporary Western classical music. Amongst the Western composers of special importance to me are Béla Bartók (1881-1945), György Kurtág (b. 1926), György Ligeti (1923-2006), Olivier Messiaen (1908-1992), Alfred Schnittke (1934-1998), Arnold Schoenberg (1874-1951), Stefan Wolpe (1902- 1972) and John Zorn (b. 1953).
Looking for new compositional approaches and challenging musical conventions through the synthesis of a wide spectrum of contemporary and ancient styles is what motivated the composition of this work. Intellectual conflicts such as the confrontation with philosophical matters and religious and political aspects have always been of interest, and also underlie and motivated this work. I have been influenced in particular by Béla Bartók and Arnold Schoenberg to develop a personal vision as a composer.
In Israel, I grew up acutely aware of the tensions caused by the animosity between Palestinians and Israelis. Of profound significance were the sensory images of the shocking terror attack that occurred in a mall in central Jerusalem on December 3, 2001. The destruction and suffering caused by two suicide bombers was devastating and continues to haunt me to this day. This attack killed eleven innocent boys including my relative 19-year-old Moshe Yedid- Levy. In my music, my intention is not to refer directly to experiences such as this but rather to look at Arabic and Jewish matters from a human perspective and in conjunction with philosophical and religious concerns. I am a strong believer in the power of music to bring about understanding, change and reform in societies, and perhaps also between nations. In this work it is my wish to convey the idea of cultural pluralism.
Yitzhak Yedid
October, 2013
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