Sheet musicFor non professional chazzanim the recordings on this site are very useful. For professionals however, sheet music is more important. We will try to collect and publish what we have.
Sheets music written by Emanuel Aguilar in 1857, based on 70 melodies he
heard from David Aaron de Sola. Recordings will follow. Mind this collection
contains many "standard' melodies, in contrast to the Santo books, which
contain mainly big compositions. According to the note attached to the first
page (see picture) chazzan de Sola moved to London in 1818, so this collection
of music is much older.
It is interesting to compare this sheet music to what we sing today, mainly
based on the recordings made by hazzan Nunes Nabarro (NN)
in the 1960's, which can be
found elsewhere on
this site. In below table I put next to each other 11 Aguilar recordings
from Eliot Alderman to what we sing today. Unfortunately, the recorded bakashot
(Supplications) have mostly been forgotten in Amsterdam, proven by the fact that
most of them were not printed in the recent Green
Tefillot (see the Index).
I leave it to the musicologists to draw conclusions.
There is a big collection of sheet music in the Ets Haim library, usually referred to as the "Santo books", as most were written for the t he Santo Sevicio choir, which started in 1886. This collection will be published in the future. For now we publish the part which constitutes repertoire of the Santo Sevicio choir today. More will follow later.
The entire book was recorded in 1975 and includes an interview in Hebrew. Below table brings the individual melodies. More Ricardo recordings can be found on a dedicated web page. Mind Mr. Ricardo made these recordings years after he immigrated to Israel, and unfortunately by then adopted the modern Hebrew pronunciation. See more on our Amsterdam-Sephardi pronunciation.
Abraham (Bram) Lopes Cardozo (1914-2006) hand-copied the Seder Hazanut manuscript of Brandon (1866 & 1892) around 1937. He left Holland and moved to Paramaribo in 1939. In 1945 he moved to New York, where he served as a chazzan for over 40 years.
In the back of his copy he added information about the melodies used. As is obvious, he added that much later, whilst living in NY. See e.g. the header of page 140 which is written in English and mentioning e.g. on page 139 that this is how they sing in Amsterdam, both he would not have done whilst still living in Amsterdam. As he got influenced by this experiences in Paramaribo and New York, these notes on Amsterdam melodies are not always 100% accurate.
Mr. Cardozo used a numerical notation rather than musical notes. In this notation, 1 stands for do or C, 2 for re or D, 3 for mi for E etc. A dot on e.g. 1 makes it an octave higher, a strike-through a half tone etc. There are plans to convert the notation to real sheet music.
(NN*): This should be on NN
tape 4b, but that tape is missing. Actually, somewhere after the war, when
there is no repetition, the the first berachot were read by the Chazzan almost
silently. Chacham Toledano reinstituted for the Chazzan to read them aloud. On
Shabbat during Mincha we now use the Shacharit melody, with a special
ending for Shabbat Mincha. The notation of the music by Mr. Cardozo may thus
be a "lost melody" for these three berachot. The fact that the end
of Mr. Cardozo's notes are identical to the "special ending for Shabbat
Mincha" as used, seems to prove this assumption.
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