Hariu (Psalm 100) by Max Janowski (1912–1991).

Beverley Chiat (Soprano

Vocal Trio: Thesele Kemane, Beverley Chiat, Katherine Moon, Leanne Jacobson & Albert Combrink (Piano)
(Arranged by Albert Combrink, Sung in Hebrew)

Filmed Live during the “Rosh Hashannah” service at Temple Israel Reform Synagogue, Greenpoint, Cape Town, South Africa, September 2013

Read More about Beverley Chiat HERE:
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Read more about Albert Combrink HERE:
https://www.albertcombrink.com/about-2/

Hariu (Max Janowski): Brief Description

Buy the Sheet Music for Hariu by Max Janowsky HERE.

Max Janowski (1912–1991), was a composer of Jewish liturgical music, a conductor, choir director, and voice teacher. Baritone Sherrill Milnes and mezzo-soprano Isola Jones studied with him. Working in Berlin, he escaped Nazi Germany just in time and taught music in Japan before settling in America. Hariu was Copyrighted in Chicago in 1966.

We can regard Psalms 93-99 as a set, focused on the concept of Jehovah the King, with Psalm 100 as an exultant conclusion of the Chapter. This is the only Psalm in the whole collection of Psalms entitled “A Psalm of Praise.” It is supposed to have received this appellation because peculiarly adapted, if not designed to be sung, when the sacrifices of thanksgiving were offered.

The house of Israel has been known to supply an orchestra of 4000 musicians.

1 Chr. 23:4 – David said, “Of these, twenty-four thousand are to supervise the work of the temple of the LORD and six thousand are to be officials and judges. 5Four thousand are to be gatekeepers and four thousand are to praise the LORD with the musical instruments I have provided for that purpose.”

My synagogue makes do with a Quartet.

A brief, triumphant, orchestral fanfare opens this Psalm, an ode to God’s love-affair with music. Reminiscent at once of a Brass Chorale and a battalion of Ramshorn blowers outside the City of Jericho, the dramatic scene is instantly set. Immediately the Cantor launches forth with quasi-recit, like an olden-day prophet with hands outstretched. It is not so much a description of the music of the Second Temple, as a command. The immediate modal drop to a lowered 7th chord immediately arrests the ear, stopping all passersby in their tracks. This All-Powerful-Conductor of the Universe has tapped his baton on the podium, and all Creation had better bet ready to launch forth into music-making!

The choir then duly launches into a march, gathering the multitudes before the Heavenly Throne, in line, in rhythm, and in tune:

~~ Come before His presence with singing.

The free cantorial sections stretch themselves out like a dancer, enjoying the freedom from a restricting pulse, yet never so free that it loses a sense of structure. The cantor at once takes the role of Priest(ess), Prophet or State-head – galvanising the people around a central event or concept – and the role of the individual, the prayers stretching heavenward as the arms of dancers stretch heavenward on the arch of a vocal line clearly in love with the sound of the human voice.

I refer you to a beautiful article on the Instruments of King David by Robert Mock.

Hariu (Max Janowski): Text in Hebrew

Hariu l’Adonai kol haarets.
Iv’du et Adonai b’simḥa
Bo-u l’fanav bir’nanah.
D’u ki Adonai Hu Elohim.
Hu asanu v’lo anaḥnu.
Amo v’tson mar’ito.
Bo-u l’fanav bir’nanah.

Hariu (Max Janowski): Text in English

Make a joyful noise unto the Lord all ye lands.
Serve the Lord with gladness.
Come before His presence with singing.
Know that the Lord, He is God.
It is He that has made us, and not we ourselves.
We are His people and the sheep of His pasture.
Come before His presence with singing.