Suitability any other Ilelirew melody in nuiintaiiiing its ])osition airainst all other airs of the for the words witji which it is tradiTune. The tune is first tionally associated. met with in the Hebrew, Latin, and German Hagpadah published by J. 8. Hitlangel, electoral jirofcssor of Oriental languages at Konigsberg, in 1044. He gives it, with a lia.ss part to both Hebrew and German te.xts, as illustrated below (A). The melody was then of conipanitively recent origin, and took a form which, translated into moderu notation, is as
ADDIR HU
A
Ad
-
hu
yib
Gott,
nun
dir
Allmiichtiijer
nth
be
hau
-
a*
- t=
- tr
It
ddn
.
be
to
Tern
-
rob,
bim
de.
Ach
bal
-
-
I
be
ka
rob.
and
hau
dein'
Tern
pel
bal
de.
develoi)ed but little further; and although three or four variants e.ist of some of its Adapted phrases, they arc not of es.sential imfor Family portance, and, indeed, are often iuSong. terchanged by the singer. Perhaps the version most widely followed is the following (set to the concluding stanza):
I
German disregard of the stress-syllables) anil their phnising. The cailence itself is likewise but a c<in The modii veiitional ending of familiar cliamclir. sharpened fimrth
is
perhaps due nut
B
^^
-I
1
ham
Ha,
Shad
-
dai
Tok
Hn,
-
kif
yib -neh
Hn,
^ T
It:
- t
ka
rob.
bim
-
he
-
rob,
£1,
bim
rah;
- ^— 1 *
ka
-
-m-^-
ka
melody is very simi)le, beyond s])eeclisong suggested by the rhythm of the words (obviously according to he old
-
In
bet
will be scon, the
Ra
be
de!
neh
little
lation with the
rah
-
bal
be
neh,
-
(loch
h'tlt
he
-
itz
It be
neh,
it
ka
-
pel
-
p~
- ]=
i s5^
$
Hu
—
—
follows
Here,
of Caesarea
Addir
Selig's "Der Jude," of 1769, just midway between Hittangel's days and oui-s, the melody is given almost precisely as it is now sung in Xortli Germany. In this it illustrates the history of most Hebrew melodies, which thus gradually crystallized into a tuneful and definite shape, altogether congenial to the earsof the Jews who sang them, and transmitted them modified by the " i)ersonal eiiuation" of each depositary of the traditii>n. The present melody (B), having become familiar to Jews accustomed in their every -day life to the (Jermanic folk song, was easily reproduced by them in the family circle, where the ability would be wanting among the children necessarily to reproduce the more ditlicidt intervals and ornaments of the synagogue plaiusoDg. Heuce it
The tunc st'Cins to be the successful iuspimtion of a Jewish siuger of the curly jmrt of tlic seventeenth It has suceeeiled beyond century.
and
Adda
THE JEWISH ENCYCLOPEDIA
187
be-nch,
—
he
-
1^-"
1
El,
be-neh,
so nmcli to the vocalist as to the Ininscriber. Altogether, the melody of |li.|| has the characlerof a droning in tonal ion rather than of a set rmloily. If taken by the father or other precentor of the fannly circle nt an extrenu' pitch, as in Hillangel's tnuiscriplion, the liasses at the lalili' would be tempted to sing "seconds." and woulil soon arrive^ at musical plini,m'S nearer to some of the forms now cu.stomary. And this is, indeed, what happened: for in (Gottfried
bo
be
rah,
-
1
-
-
be
4
-^
me
ya
be
The tmiform employment
-
—r
nu
-
be
_«_^_=r
I
^— -!»-»-
neh bot-ka..
be
to
•
ka
-
rob.
of this melcxly. in conwith the divergence of the tunes in use for each of Ihe othir Seller liynms. is also due to its selection as the " repri>s<'ntalivc ihc^me" (niggiin) for the festival of l*assover, inasmuch as it is an olil custom to chant the responses in Ps c.wiii to it. The custom, however. diK-s not dali' back to Hittangel's day, since he tells us that these verses of the ILLl.t.i. then had their own "very beautiful trast
