Jazz and Ancient Jewish Prayer Share Improvisational Spirit
Translated & summarized from Arutz Sheva by baba
Peytan and music researcher Roni Ish-Ran explained the improvisational nature of "Shirat Ha'בקשות" (Songs of Supplication) in a "Piyutcast" interview. He described how these ancient Jewish prayers, sung on Saturday nights, are kept fresh through spontaneous improvisation by soloists within a traditional framework. Ish-Ran traced the tradition's origins and variations across different communities, comparing its improvisational spirit to jazz, where performers create unique musical moments within established structures.
The story in 5 lines · by baba
- Peytan Roni Ish-Ran described the improvisational spirit of "Shirat Ha'בקשות" sung on Saturday nights.
- The tradition of "בקשות" has roots in medieval synagogues and Kabbalistic circles.
- Different Jewish communities, like Moroccan and Aleppo, have distinct "בקשות" traditions.
- Ish-Ran compared the improvisational nature of "בקשות" to that of jazz music.
- Ancient Babylonian "בקשות" were preserved through recordings by peytanim like Moshe Habusha.
Peytan and music researcher Roni Ish-Ran discussed the tradition of "Shirat Ha'בקשות" (Songs of Supplication) in a "Piyutcast" episode hosted by Uziyahu Sabato. Ish-Ran explained that these winter Saturday night gatherings, which can last three to four hours before dawn, are characterized by a unique improvisational element that keeps the ancient melodies fresh. Despite a fixed order of prayers and familiar tunes, soloists are often spontaneously invited to sing, creating new musical moments within the strict tradition.
Ish-Ran traced the origins of "בקשות" back to medieval synagogues, Kabbalistic circles in Safed, and Jewish communities in Aleppo, Babylon, and Morocco. Initially, "בקשות" were supplications recited in the early morning hours, often as preparation for the Shacharit prayer. The tradition evolved, particularly in 16th-century Safed around figures like Rabbi Israel Najara, with the Saturday night "בקשות" developing a distinct character focused on song rather than penitential prayers.
Different Jewish communities developed their own "בקשות" traditions. The Moroccan tradition features a changing musical framework (nova) each week, drawing from Andalusian music, while the Aleppo-Yeruslami tradition maintains a largely consistent repertoire throughout the winter. Ish-Ran highlighted the efforts of peytanim like Moshe Habusha and David Menachem in preserving Babylonian traditions through recordings, noting that some ancient "בקשות" nearly disappeared. He also pointed out the influence of classical Arabic music, with peytanim sometimes incorporating vocalizations mimicking figures like Muhammad Abdel Wahab and Oum Kalthoum.
Ish-Ran drew a surprising parallel between the improvisational spirit of "שירת הבקשות" and jazz. Both traditions operate within a defined musical framework, allowing for personal interpretation. However, he noted a key difference: jazz improvisation often relies on a steady rhythm, whereas "בקשות" can feature a "Mawwal" or "opening" where the singer improvises freely without a fixed beat, demonstrating mastery of the musical mode (makam) and its possibilities. This improvisational freedom, he argued, is what sustains the tradition and requires peytanim to be constantly engaged and responsive, even when performing familiar material.