An Inventory of the Max Wohlberg Collection

Music Archives

AN INVENTORY OF THE MAX WOHLBERG COLLECTION

cataloged and annotated by
ELIOTT KAHN, D.M.A.
Edited by NAOMI M. STEINBERGER
The Library of The Jewish Theological Seminary
New York, 1998

This publication was made possible through the generosity of the Arthur Rubloff Residuary Trust.


Table of Contents

INTRODUCTION
COLLECTION
BIOGRAPHICAL STATEMENT
PROVENANCE
SERIES LIST (Search JTS Library catalog for bibliographic records: http://catalog.jtsa.edu
SERIES DESCRIPTION
BOX LIST


Portrait of Wohlberg
INTRODUCTION

Upon first meeting Max Wohlberg you were captured by his old world charm and ready smile, as I was in 1952 when I met him at the Cantors Institute of the Seminary. He had the ability to put people at ease and, when necessary, could navigate through difficult situations with wisdom and humor. The fluency of his delivery when he spoke or lectured, and his self-deprecating humor — particularly when referring to his short stature as indicative of his being a short speaker — were well known. In later years I realized that the perpetual twinkle in his eyes meant that he was mentally rehearsing a funny story suitable for the occasion, and that he had already gotten to the punch line.

He could befriend strangers in one meeting and many knew from the onset that he could be a dear and genuine friend. One could easily sense this by speaking to one of the hundreds of men and women who loved him, or the many others who knew him as colleague or acquaintance. We saw him as a practicing Jew; respected him for his encyclopedic knowledge of Jewish life, literature and music; and valued him for his gentleness and kindness.

Through writings and lectures in English, Yiddish and Hebrew, Max developed a scientific approach to the study of nusah(cantillation, liturgical motives and melodies) and advanced the idea of research in a field famous for regionalization of materials.

Born in Europe, he — like thousands of other boys — lived an orthodox life in a shtetl and grew up in the yeshivot of central Europe. Although it was apparent from an early age that he was musically gifted, he received no special training. His was not to be the usual route of meshorer (choir boy) to practicing hazzan, nor did he follow in the path of some of his forbears, becoming a hazzan-shohet (cantor/ritual slaughterer). It was later in life and through his own efforts that he became an expert in the field of Jewish music and hazzanut.

Max Wohlberg successfully straddled four worlds: the old and the new, the Jewish and the secular. An Hebraic scholar, he was also a man of the modern world — as at home in the tractates of the sages as he was in the philosophies of western civilization.

As a composer of cantorial recitative, Max Wohlberg is most accurately characterized as a melodist, sensitive to the interpretive nuances inherent in liturgical texts. His most distinctive musical contribution lies in the area of the unaccompanied recitative. His later ones are particularly noteworthy for their interpretive character, economy of means, bold and unexpected modulations, melodic lines that are unforced and natural, and an adherence to his concept of neimah (beauty, melodiousness). In his solo recitatives Wohlberg distilled an elaborate and much ornamented song form into one that was linear and restrained.

Wohlberg's compositions generally have a stamp of authenticity that is derived from the abundance of cantillation and synagogal motives incorporated within them. There are also phrases of Yiddish song and characteristics of Israeli folk melodies — all acquired through his life-long exposure to musical aspects of Jewish life and reinforced through his teaching and research. The musical quotations (or variations of them) seem to arrive effortlessly, as an integral part of the composition. Conversely, there are intentional quotations of sacred motives that strive to connect the text with the music's original liturgical or historical meaning.

His general style derived from the romanticism of the late nineteenth century. Of particular interest was his passionate pursuit of proper Hebrew accentuation and — particularly in the recitatives — his efforts to avoid tonal tedium. He had a fondness for triple meter shared by other synagogue composers similarly immersed in Yiddish culture.

Through his teachings, scholarship and compositions, Max Wohlberg acquired a unique position in Jewish music. The contributions he made in those areas are a living legacy.

Charles Davidson

top of page


See Caption Below

Enlarge Image

Lider Magazin (Magazine of Songs).
Hebrew Publishing Co., New York, 1893.
Song lyrics from early American Yiddish Theatre.

COLLECTION DESCRIPTION

The Max Wohlberg Papers at The Library of the Jewish Theological Seminary consist primarily of Max Wohlberg’s extensive collection of cantorial music manuscripts. Also included are letters in Yiddish, English and Hebrew, 1930’s-1995; subject files containing Wohlberg’s notes and class lectures, n.d.; his published and unpublished writings, 1950-1984; Yiddish, English and Hebrew newspaper clippings and journal articles, 1920’s-1990’s; synagogue bulletins and concert programs, 1928-1993; and his hand copies of traditional and other cantors' melodies, ca.19th-20th century. In addition, there are all of Max Wohlberg’s musical compositions in published form, 1947-1992; many of his unpublished compositions and arrangements, 1933-1995; his pamphlet The Music of the Synagogue (New York: National Jewish Music Council, 1948, 1957, 1963); approximately 500 titles of published Jewish wedding music (photostats from The Jacob Michael Collection), 19th-20th century; tape recordings of specific hazzanim (cantors) and hazzanut (cantorial modes and repertoire) made by Wohlberg from his record collection, ca.1910-1970; and Wohlberg’s own 3x5” title/author index cards for his entire music collection, n.d..

Most of the cantorial manuscripts were hand copied by various hazzanim in Russia and eastern or central Europe, ca. 1892-1945, bulk, 1900-1920, and bound into books by them or Wohlberg. These books contain pieces by many unidentified composers as well as manuscript copies of music published by 19th century central European synagogue composers Lewis Lewandowski (1821-1894), Samuel Naumbourg (1817-1880), Salomon Sulzer (1804-1890) and Hirsch Weintraub (1811-1881). Of greatest importance are the manuscript copies of unpublished pieces by 19th century Russian and eastern European hazzanim Nissi Belzer (Nissan Spivak, 1824-1906), Jehoshua Feinsinger (1839-1872), Zeidel Rovner (Yaakov Maragovsky, 1856-1943) and Wolf Shestapol (1832-1872), among others. Most of the manuscript books once belonged to Wohlberg’s father-in-law Hazzan Maier Koerner (1886-1951). Others belonged to Koerner’s father-in-law Hazzan Abraham Eisen, Hazzan Ascher Goldenberg (1885-1955) and Hazzan Y.L. Vasilkowsky.

The correspondence is mainly letters from cantors and colleagues and the clippings and articles are on a variety of Jewish music topics. Over half of Wohlberg's unpublished compositions are included, either in holograph or photocopy format.

top of page


BIOGRAPHICAL STATEMENT

Max (Moshe) Wohlberg, hazzan (cantor), composer, theorist, collector of Jewish music and a central figure in the organization and education of the American cantorate was born on February 9, 1907 in Homonna, Hungary. Largely a self-taught musician and scholar, Wohlberg received a thorough religious education as a boy — attending the prestigious Szatmar and Nagy Karoly yeshivot in Hungary. He sang as a boy alto in the Kacinczy Street Synagogue in Budapest but received no formal musical training until after he emigrated to New York City in 1923. After teaching himself elementary piano in his parents' Lower East Side home, Wohlberg began to study music theory with Arnold Powell (Zemachson) and singing with Boris Starling (Skvartzoff) and, later, Walter Mattern. From 1928-29 he sang tenor for two seasons with the Metropolitan Opera Chorus.

Wohlberg sang as a chorister and served as temporary hazzan at various synagogues on the lower East Side and in Brooklyn before landing his first full-time position as a rabbi-hazzan at Congregation Ahavas Achim in College Point, Queens in 1928. At the time he was a member of the Chazzonim Farband, a cantor’s organization that boasted among its members Josef Rosenblatt (1880-1933), Zavel Kwartin (1874-1952) and Mordechai Hershman (1888-1940). Wohlberg would later serve as Yiddish recording secretary for this organization.

Wohlberg officiated in College Point until 1935, the same year he married Theresa Koerner. She was a pianist and daughter of Hazzan Maier Koerner. Maier Koerner, many of whose music manuscripts are included in this collection, was born in Lvov, near the Polish-Ukranian border, on February 20, 1886. He studied in Poland and Hungary and learned hazzanut from his father-in-law Abraham Eisen. Koerner held a position in Ung-Brod (Hungarian Brod), Moravia before emigrating to the U.S. in March, 1921. He served as cantor in Scranton, Pennsylvania and died in 1951.

Wohlberg continued his self-education through the 1930s: reading Jewish music articles in English, German, Hebrew and Yiddish; transcribing recordings; and copying and memorizing the cantorial manuscript collections he found at the New York Public Library and The Jewish Theological Seminary. He became so familiar with cantorial repertoire that he was able to identify stylistic variations in chants from different regions of eastern Europe.

Wohlberg was hazzan at New York City’s Inwood Hebrew Congregation from 1935-1939. After their son Jeffrey was born in 1941, the Wohlbergs relocated to Congregation Beth El in Minneapolis, Minnesota from 1941-1945. There was a fine amateur chorus at Temple Beth El and Wohlberg began to compose choral music around this time.

Although a lot of his music was published during his lifetime, Max Wohlberg never considered himself a composer. He usually wrote music to fulfill a particular congregational or pedagogical need. Most of his music was written for solo voice and utilizes nusah ha-tefillah — the modes and motives specified for a particular religious function or occasion.

Max Wohlberg’s keen intellect, foresight and organizational skills (and, many say, sense of humour) were among his greatest attributes. According to Rabbi Morton Leifman, retired dean of the Cantors Institute, both Wohlberg and Cantor David Putterman (1903-1976) were instrumental in establishing the Cantors Assembly and founding the Cantors Institute and Seminary College of Jewish Music at the J.T.S. in 1952. The Cantors Assembly is the professional organization for cantors of Conservative Judaism that celebrated its fiftieth anniversary in 1997. The two schools were the first degree-granting institutions of Jewish music in America.

In 1947 Wohlberg served at Hartford’s Temple Emanu El. He was hazzan at Beth El Congregation in Philadelphia from 1946-1957. He and his wife Theresa divorced in 1956 and he married Miriam Wachsler in 1957. From 1950 until 1988 Wohlberg was head of the Nusah department at The Jewish Theological Seminary's Cantors Institute. He wrote a regular column entitled “Pirkei hazzanut” for The Cantor’s Voice newsletter from 1951-1963. Through both these activities he profoundly influenced the education and standards of a generation of American cantors.

Wohlberg officiated at the Malverne Jewish Center on Long Island from 1958 until 1972, when he retired from full-time service. In 1978 he and his wife Miriam moved back to Philadelphia because of her ill health. She died in 1980 and he married Rochelle Myers in 1983. He taught nusah at Gratz College in Philadelphia from 1984-86. This institution awarded him an honorary doctorate in 1987. He also received an honorary doctorate from The Jewish Theological Seminary of America in 1967.

Max Wohlberg continued to write scholarly articles and reviews and taught nusah at the Cantor's Institute until 1992. He died on April 18, 1996 in Washington, D.C., where his son Jeffrey Wohlberg is still a rabbi.

Note: biographical and bibliographic information come from the following sources:

Aronson, Penny. Chazzan Max Wohlberg: Scholar, Teacher, Composer. Master’s thesis, Gratz College, 1981.

Davidson, Charles S. The Living Legacy of an American Hazzan: Max Wohlberg, His Life and Works. Doctoral dissertation, The Jewish Theological Seminary of America, Seminary College of Jewish Music, 1988.

Price, Joseph. “Max Wohlberg: A Biographical Sketch.” Journal of Synagogue Music 7 (June 1977) : 21-27.

Wohlberg, Jeffrey, grandson of Meyer Koerner. Telephone conversation with cataloguer, 26 February 1996, from Washington, D.C.

Wohlberg, Max. “Pirkei hazzanut.” Journal of Synagogue Music 1 (January 1968) : 49-52.

top of page


PROVENANCE

The Max Wohlberg Papers at The Library of the Jewish Theological Seminary consist of the cantorial manuscripts and archival material that were originally part of The Max Wohlberg Collection of Jewish Music, donated to the Cantors Institute Library by the Cantors Assembly and the Grossinger family on May 8, 1979. Most of the books of synagogue music and Jewish music literature in the collection became an integral part of the Cantors Institute — now, Sabin Family — Music Library. The sheet music and periodicals were also absorbed into the Music Library, although some items that were cataloged in 1979 by library archivist Judith Endelman now appear to be missing.

More material was added to the collection after 1979. This includes additional Wohlberg published and unpublished musical compositions, 1933-1991; twenty three reel-to-reel (and sixty two cassette) audio tapes of cantorial music received in 1983 from Wohlberg and Charles Davidson; and in 1996, more photocopies of Wohlberg’s unpublished recitatives were donated by the Cantors Institute and from the private collections of Penny Aronson and Hazzan Brian Mayer. Again in 1996, a box full of Wohlberg's unpublished music, correspondence, clippings, programs and newsletters, ca. 1928-1995, were generously donated from the private collection of his colleague and former student, Hazzan Charles Davidson. Finally, in January, 1998 the Wohlberg estate donated two small boxes containing Wohlberg's hand-written vest-pocket (small ring binder) notebooks, ca. 1952; more unpublished manuscripts and photocopies of his compositions, ca. 1934-1995; and some correspondence, clippings and programs, most from the 1990’s. Four of the vest-pocket notebooks were photocopied, the originals returned as keepsakes to the Wohlberg family.

See Caption Below

Enlarge Image

Synagogen: Componisten und ihre Werke (Synagogues: Composers and their Works).
M.W. Kaufmann, Leipzig, Germany, ca.1910.
Publisher's pamphlet with photos and published works of cantors.

In conversations with this cataloger, Max Wohlberg stated that throughout his life he had either purchased or was given several cantors' libraries. He claimed most of these cantors' books were originally from eastern Europe but didn't specify to whom they had belonged. We can be certain that all of the cantors' books signed by Wohlberg (M2186.W65S901-S906) and those that once belonged to Maier Koerner (M2186.K35S901-S918) and Abraham Eisen (M2186.E38S901-902) — Wohlberg’s relatives by marriage — are from his collection. Wohlberg also created an index card for Vasilkowsky's cantor's book Shirei tehilla (M2186.V37S901). However, the cantorial manuscript collections of Hazzan Ascher Goldenberg (M2186.G62S901-S903) and Max Wohlberg numbers M2186.W65S907-S911 are of more uncertain provenance. They have been included in the collection because they were found near it and their content is similar to that of the authentic books. Avishay Ya'ar, a music library employee, compiled a list of the titles contained within seven of the bound volumes of cantorial manuscripts (M2186.W65S901-S906 and M2186.K635S901) in 1991.

The file folders with subject headings in Wohlberg’s hand have been treated in similar fashion to the cantors' books. The original order and names of these folders have been maintained and they are highlighted throughout this inventory with an *asterisk. Several other folders may or may not have been created by Wohlberg but have been included because they were found near the authentic Wohlberg folders. Still other folders were created by this cataloger to provide access to the remaining archival material.

These papers are by no means comprehensive: much archival material still remains in the possession of the Wohlberg family and in the private collection of Wohlberg's former student, Hazzan Brian Mayer of Providence, Rhode Island.

top of page

 

SERIES LIST

I. Archival Material, ca. 1893-1995

A. Correspondence, 1930’s-1995
B. Subject files, 1893-1993
C. Nusah, repertoire and teaching materials, bulk n.d.
D. Index cards, 1979; n.d.
E. Music printing plates, ca. 1970

II. Cantorial Manuscripts, ca. 1892-1945

III. Music by Max Wohlberg, 1933-1995

IV. Audio and Video Tapes, ca. 1910-1990

top of page



SERIES DESCRIPTION

I. Archival Material, ca. 1893-1995

To simultaneously provide access and preserve Wohlberg’s original intent:

1. The titles and contents of all subject files given headings by Wohlberg have been maintained (and are highlighted with an *asterisk throughout the inventory).

2. Other subject files have been created out of file folders that may or may not have been Wohlberg's as well as additional archival material donated to the collection after 1979.

Box 1, folders 1-4 contain letters in English, Yiddish and Hebrew. Most are from cantors who were friends or colleagues. Of special interest are four letters in Yiddish from world-renown cantor Zavel Kwartin, 1939-1947; several letters in English from Jewish music scholar and cantor, Gershon Ephros 1960-1975; four short letters in Yiddish and English from composer Lazar Weiner, 1959-1971; a postcard in English from Molly Picon (to a Mr. Ginsburg), 1976; and letters to editors of various newspapers from Wohlberg himself, 1939-1976 (all Box 1). All correspondents are included in the Box List.

The subject files created by Max Wohlberg reflect his myriad research, teaching and collecting activities. There are newspaper clippings, journal articles, newsletters, catalogs and a few photos — all related to Jewish music or social topics, ca. 1893-1979, bulk, 1930’s-1960’s. Languages are English, German, Hebrew and Yiddish. Topics range from *Antisemitism (Box 1, folder 5) to *Yiddish Theatre (Box 3, folder 6). Highlights include a pamphlet entitled Synagogen: Componisten und ihre Werke, published by M.W. Kaufmann Verlag in Leipzig, ca. 1910 (*Biography, Box 1, folder 6); a photo of cantors Josef Rosenblatt and Berele Chagy, n.d. (*Cantor’s biography, Box 1, folder 7); programs and newsletters from the Jewish Ministers Cantors Association (NY), ca. 1927-1935, and minutes of meetings re: formation of the Cantors Assembly and Cantors Institute, ca. 1947-1952 (*Cantors Organization, Box 1, folder 8); Yiddish obituaries and newspaper articles on many prominent hazzanim, bulk 1950’s-1960’s, as well as two biographical pamphlets on Salomon Sulzer from New York and Vienna, both 1904 (*Hazzan biographies, Box 2, folders 4-5); several scholarly articles in English on Jewish music 1914-1974 (*Israel [,Scholarly music articles], Box 2, folder 7); catalogs and bibliographies by publishers and archives of Jewish music, 1930-1960’s (*Reproduction - Catalogues - Library, Box 3, folder 4); and a magazine of Yiddish theatre song lyrics, c1893, from the lower East Side (*Yiddish Theatre, Box 3, folder 6).

Additional subject files contain programs, synagogue bulletins and newsletters, 1928-1993, that are arranged chronologically. Of particular interest are Wohlberg's 1928 graduation program from Herzliah Teacher's Seminary (NY); a run of programs from Park Avenue Synagogue’s (NY) annual Sabbath music festival, 1943-1965; a program of events from the First International Congress of Jewish Music, held in Paris in 1957 ; and a bibliography of Wohlberg's unpublished music from a Testimonial Evening to Cantor Max Wohlberg, Malverne, 1972 (all Box 5). There are also Wohlberg's numerous published and unpublished articles, 1950-1984 (Box 6); collected newspaper clippings and articles on Jewish music; lists and bibliographies of Jewish music done by Wohlberg; and a lecture in Yiddish on Yiddish music, by Ruth Rubin, [1948] (all Box 4).

The Nusah and synagogue repertoire file folders organized by Wohlberg were done so according to their genre or liturgical function. Highlights include published and unpublished methods of *Cantillation by various hazzanim,1897-n.d. (Box 6, folders 7-8); assorted synagogue music arranged for male chorus (TTBB) by Leo Kraft or Siegfried Landau, n.d. (*Cantor & Choir, Box 6, folder 9; *Male Chorus, box 7, folder 8); and some holographs and prints of synagogue compositions by Cantor Solomon Beinhorn (*Festivals, Box 7, folder 4). In Wohlberg’s hand there are manuscripts of what appear to be his arrangements for *Festivals (box 7, folder 4) and High Holidays (*High Holiday Choral, Box 6, folder 6; *High Holiday Music, Box 7, folder 7); as well as the notes and melodic transcriptions he made for his review/article “The Music of the Sephardim,” published in Jewish Music Notes, Winter, 1961 (*Sephardic Nusach, Box 7, folder 9).

Nusah, repertoire and teaching materials organized by this cataloger into subject files fall into three basic categories: 1. Solos and recitatives hand copied by Wohlberg. 2. Wohlberg's class lectures. 3. Wohlberg's vest-pocket notebooks. In the first category there are numerous hand-copied versions of traditional melodies (Box 8, folders 18-22) and other cantors' solos and recitatives (Box 8, folders 23-24). Almost all are photocopies. Box 9, folders 1 and 3, respectively, contain manuscript hand copies of nusah for Sabbath and festival and Selichot services. Wohlberg's numerous class lectures are usually photocopies of class handouts, their titles listed here in quotes, i.e. Illustrations for lectures on modes and melodies of the synagogue: The High Holidays, 1952 (Box 8, folder 5). The vest-pocket notebooks include Wohlberg's notes on a variety of topics (See Box List). Among them is an unpublished monograph by Wohlberg entitled Yiddishe liturgishe muzik vie a makor fun Yiddish folkslied, 1962 (Box 9, folder 20).

Of the four boxes of 3x5” file cards, two were done by Wohlberg that index his entire collection, (Boxes 10-11, n.d.), and two were done by library archivist Judith Endelman on the library's holdings of Wohlberg's sheet music and periodicals (Boxes 12-13, 1979). The printing plates show an incomplete manuscript version of Wohlberg’s published work Chemdat Shabbat, ca.1970.

top of page

II. Cantorial Manuscripts, ca. 1892-1945, bulk 1900-1920

Note: All the items in Series II-IV may be accessed through the JTS Library Catalog at:
/cgi-bin/ntlinktrack.cgi?http://catalog.jtsa.edu
(Search under "Wohlberg, Max" or title or other author)

There are a total of 38 synagogue music collections (synagogue music collections are collections of Jewish prayer settings, usually in manuscript) within this series in The Max Wohlberg Papers. Most of the music was either composed, arranged, collected or copied by various hazzanim or choristers from eastern and central Europe, Russia and, not as often, the United States (See PROVENANCE). The prayers are for a wide variety of Jewish holidays, festivals and occasions, and are usually scored for solo voice (cantorial recitatives, solos) or solo voice and (SATB; TTBB) chorus. In addition there are manuscripts hand copied by Wohlberg, composers unknown (M2186.W65S916 and S918); photocopies of miscellaneous composers' synagogue music (M2186.W65S917); and Wohlberg’s collection of Jewish wedding music: photostats of approximately 500 titles from the Jacob Michael Collection (M2186.W65S912). Synagogue Music Collections may be searched as a title, and are given Library of Congress call numbers to facilitate easier storage and access.

top of page

III. Music by Max Wohlberg, 1933-1995

Note: All the items in Series II-IV may be accessed through the JTS Library Catalog at:
/cgi-bin/ntlinktrack.cgi?http://catalog.jtsa.edu
(Search under "Wohlberg, Max" or title or other author)

This series includes all of Max Wohlberg’s compositions in published form, including anthologies; the pamphlet The Music of the Synagogue; and a little over half of the unpublished pieces listed in the bibliography in Charles Davidson's 1988 dissertation. There is additional unpublished music that either post-dates or is not listed in Davidson's bibliography. Most of the unpublished pieces are 1-3 pages long. Wohlberg's unpublished compositions may be found in Synagogue music collections M2186.W65S913-S915.

top of page

IV. Audio and video tapes, ca. 1910-1990

Note: All the items in Series II-IV may be accessed through the JTS Library Catalog on-line at: /cgi-bin/ntlinktrack.cgi?http://catalog.jtsa.edu
(Search under "Wohlberg, Max" or other author or title)

Audio tapes are cataloged as sound recordings. Reel-to-reel tapes are 3 3/4 ips, 1/4 inch, monoraul.This section also includes videotapes featuring Max Wohlberg as narrator and conductor.

top of page


BOX LIST

*Folders preceded by an asterisk (*) were created by Wohlberg; all other folders were created by cataloger.

    A. CORRESPONDENCE, ca. 1930s-1995
     
BOX FOLDER(S) DESCRIPTION
     
     
1 1 Correspondence, A-F
     
    Adler, I., Arm, M., Arzt, M., Balaban, A., Barkan, E., Beimel, J.,
Belfer, B., Beth David Cemetery, Belskin-Ginsburg, W., Berkal, T., Binder, A. W., Brownstone, B., Bugatch, S., Chiel, S., Chomsky, J., Cohen, G., Cohen, J., Cohon, A. I., Cook, M., Cummings, H., Darashti, F., Davidson, C., Davis, M., de Sola Pool, D., Einhorn,E., Eisenstein, I., Ephros, G., Ephros, H., Fenster, M., Finkelstein, L., Frankel, R., Freedman, J., Freedman, A., Fromm, H.
     
1 2 Correspondence G-M
     
    Gilboa, D., Glantz, L., Glatstein, J., Glazer, S., Goldfarb, I., Goldstein, S. R., Gottlieb, J., Greenberg, S., Harris, H., Hoffman, P., Hohenemser, J., Holtz, A., Idelsohn, Y., Jacobs, D., Jassinowsky P., Jospe, E., Katz, I., Kaufman, H., Kellman, H., Kirshblum, I., Kirshner, U., Kogen, D.,Kolin, T., Koret, A., Krakower, D., Kuchinsky, I., Kwartin, Z., Laguardia, F., Laub, M., Leifman, M., Lipson, W., Low, L., Lubin, A., Luskin, S., Maltzman, M., Mandel, Y., Mandelbaum, B., Markson, H., Mayer, R., Meisels, S., Mendelson, J., Miron I.
     
1 3 Correspondence, N-T
     
    Nathanson, M., North Dakota Missionary District, Picon, M., Porter, E.,
Putterman, D., Ringel, I., Roitman, D., Rosenbaum, S., Rosenblatt, S., Rosenbluth, L., Rothstein, A., Saminsky, L., Saperstein, H., Schalit, H., Schleifer, E., Schorsch, I., Schwardron, A., Sendry, A., Shames, M., Sherman, C., Shonfeld, A., Silver, M., Silverman, M., Sivowitch, J., Spiro, P., Slobin, M., Steinberg, D., Stolnitz, N., Tillman, B., Tilman, D.
     
1 4 Correspondence, U-Z
     
    Unidentified, Vigoda, S., Vinaver, C., WQXR, Wall, I., Weinberg, J., Weinberg, S., P., Weiner, L., Weinreich, M., Weisser, A., Weisser, J., Werner, E., Wohlberg, J., Wohlberg, J., Wohlberg, M., Yovely, Z., Zabronsky, J., Zelermyer, G.
     
    B. SUBJECT FILES, 1893-1993
     
BOX FOLDER(S) DESCRIPTION
     
1 5 *Antisemitism
  6 *Biography, ca. 1910-1970s
  7 *Cantors biog[raphy], ca. 1960s
  8 *Cantors organization, ca. 1927-1970
2 1 *Choir, n.d.
  2 *Hassidic, 1950s-1960s
  3 *Hassidim-Z'miros, 1940s-1960s; n.d.
  4-5 *Hazzan - Biographies, 1904-1970s, bulk, 1950s-1960s
  6 *Holocaust
  7 *Israel [Scholarly music articles], 1914-1974
3 1 *Jew[ish] composers, 1953-1966
  2 *Musicology, 1950s-1970s
  3 *Publicity - Yiddish
  4 *Reproduction - Catalogues - Library, 1930-1960s; n.d.
  5 *Texts
  6 *Yiddish theatre, 1893, bulk 1940s-1960s
  7 Articles, Hebrew, miscellaneous
  8 Articles, Hebrew Yearbook
4 1 Articles on Jewish music (English), 1960s-1970s
  2 Bibliographies of Jewish music by Max Wohlberg, n.d.
  3 Clippings, English
  4 Clippings, Wohlberg biographical, 1931-1992
  5-6 Clippings, Yiddish, 1926-1972, bulk 1940s-1960s
  7 Folder Titles, original
  8 Israel, trip to, 1957
  9 Jewish wedding music, articles and lists, ca. 1963
  10 Kieval, [Robert], RE: Rosh HaShanah
  11 Miscellaneous
  12 The Music of the Synagogue, incomplete typescript
  13 Publicity, statements
  14 Rubin, Ruth, Yiddish folk song presentation, [1948]
  15 Song sheets
5 1 Programs and newsletters, assorted, 1928-1959
  2 Programs and newsletters, assorted, 1960-1969 3 Programs and newsletters, assorted, 1979-1993
  4 Programs and newsletters, assorted, n.d.
  5 Programs and newsletters, Cantors Assembly, 1952-1961
  6 Programs and newsletters, Jewish Music Council, 1968-1978
  7 Programs and newsletters, N.Y. Philharmonic, 1959-1961
  8 Programs and newsletters, Park Ave. Synagogue, NYC, 1943-1976
  9 Programs and newsletters, Temple Beth El, Cedarhurst, L.I., 1959-1963
6 1 Textes Hebraiques, n.d.
  2 Title list, audio tapes, by C. Davidson/M. Wohlberg, 1983
  3 Title list, cantors' books, by Avishay Ya'ar, 1991
  4 Wohlberg, Max, biographical, 1927-1958
  5 Wohlberg, Max, writings, published, ca. 1950-1970
  6 Wohlberg, Max, writings, unpublished, ca. 1935-1984
     
    C. NUSAH, REPERTOIRE AND TEACHING MATERIALS
     
BOX FOLDER(S) DESCRIPTION
     
6 7-8 *Cantillation
  9 *Cantor & Choir
7 1 *Choral
  2 *Community Singing
  3 *Congregational Singing
  4 *Festivals
  5 *Folk Song
  6 *High Holiday Choral
  7 *High Holiday Music
  8 *Male Chorus
  9 *Sephardic Nusach
8 1 Distinctive motives of the modes most frequently encountered
in the liturgy, n.d.
  2 Folk Songs, annotated
  3 The Harmonization of the Music of the Synagogue
  4 High Holiday Misinai Tunes, n.d.
  5 Illustrations for lectures on modes and melodies of the synagogue: The High Holidays (40 p.), 1952
  6 Kiddush for the Sabbath, various, 1928-1962
  7 Modes Most Frequently Encountered in the Ashkenazic Liturgy, 1961
  8 Modulations from Key of F, 1952
  9 Music for Nusah (photocopies)
  10 Neimot, Israeli music pamphlet, 1941-42
  11 Notes for Lecture on Congregational Singing - from the Pentateuch and the Liturgy, n.d.
  12 Notes for Lecture on Modulation in Cantillation and in Traditional Tunes, n.d.
  13 Notes for Lecture on Modulation in Synagogue Compositions, n.d.
  14 Notes for Lecture on Modulations in Synagogue Compositions, n.d.
  15 Notes for Lecture on Modulations in Traditional Tunes of the Synagogue and in Early Synagogue Compositions n.d.
  16 Notes, liturgy
  17 Notes, Nusah history
  18 Nusah, assorted (mss.)
  19 Nusah, assorted (photocopies)
  20 Nusah, assorted (photocopies)
  21 Nusah, High Holidays (photocopies)
  22 Nusah, Sabbath and Festivals (photocopies)
  23 Recitatives, assorted (photocopies)
  24 Recitatives, assorted (photocopies)
9 1 Sabbath, miscellaneous, ca. 1950
  2 Seder Kidduschin and Schewa brochaus, n.d.
  3 Selichot Service (93 p.), n.d.
  4 Sh'ma Yisroel, Responses..., n.d.
  5 The Subject of Nusah at the Cantors Institute, n.d.
  6 Teaching materials, notes, misc.
  7 Understanding the Modes, n.d.
  8 Vest-pocket notebooks, Abstracts on 19th cent. Nusah theory (photocopies)
  9 Vest-pocket notebooks, Customs and Practices of German Communities, S.Z. Geiger, hand copied by M. Wohlberg (photocopies)
  10 Vest-pocket notebooks, Jewish music history (photocopies)
  11 Vest-pocket notebooks, Liturgical modal theory
  12 Vest-pocket notebooks, Nusah, compilation of tunes, 1952
  13 Vest-pocket notebooks, Nusah, history and theory
  14 Vest-pocket notebooks, Nusah, history, 1952
  15 Vest-pocket notebooks, Nusah, history; composer bios. (photocopies)
  16 Vest-pocket notebooks, Nusah, theory
  17 Vest-pocket notebooks, Poetry, Hebrew
  18 Vest-pocket notebooks, Poetry, Yiddish, Hebrew, English
  19 Vest-pocket notebooks, Synagogue music, history (photocopies)
  20 Vest-pocket notebooks, Yiddish folk song lyrics
  21 Vest-pocket notebooks, Yiddishe liturgishe muzik vie a makor fun Yiddish
folkslied
, unpublished ms., 1962
     
    D. INDEX CARDS, 1979; n.d.
     
BOX FOLDER(S) DESCRIPTION
     
10   (3x5”) Wohlberg index cards, manuscripts-services, n.d.
11   (3x5”) Wohlberg index cards, sheet music, n.d.
12   (3x5”) Endelman index cards, periodicals, sheet music, A-I, 1979
13   (3x5”) Endelman index cards, sheet music, J-Z, 1979
     
    E. MUSIC PRINTING PLATES, ca. 1970
     
BOX FOLDER(S) DESCRIPTION
     
14   (5x11”) Adonoy moh odom, N'Kadesh, Chemdat Shabbat, ms. version, incomplete
 

top of page