105:—the last bass from the traditional trio, and a stalwart of the choir for another 50 years— and youngsters recruited by Ascher and trained to sing the treble and alto parts. With a new choir, Mombach was able, or needed, to compose music for it. During the 1860s, he started dividing his time between the Great Synagogue and the New Synagogue in Great St Helens. On Sabbath mornings, he started at the New, then he would make his appearance in Duke's Place during the reading of the Haphtarah, and the congregation would rise in his honour as he entered.
78:, Duke's Place, London. A condition of his appointment as cantor was that he should bring a boy accompanist (or meshorrer) with him. The cantor traditionally sang in a trio with a meshorrer and a bass. In 1827, Mombach would have been 14, and it is unknown whether his voice had broken; in practice this was not a major issue, as the meshorrer could be either a treble or a tenor.
159:. He was noted as a fine pianist. Beyond the two synagogues, he taught Chazanut (the cantor's art) at Jews' College and he also taught singing to the pupils of the Sabbath classes of the Association for Religious Instruction. He conducted concerts at the Jewish Workingmen's Club in Aldgate, and served as a member of the Committee for the Diffusion of Religious Knowledge.
125:, a compendium of synagogue music dominated by Mombach's work. It purports to be the definitive compendium of his compositions and arrangements, but there is much in it claimed for Mombach that he did not compose (nor perhaps even arrange), including certain melodies which other sources would indicate had been in use at the Great in at least 1800 if not earlier.
135:
Mombach melodies are sung in
English-speaking communities the world over (with the general exception of the USA) by appreciative congregations who have almost certainly never heard of him by name and do not know that what they are singing is anything other than 'traditional'. Indeed, they may well be
104:
Following the Rabbi's death in 1840, the resulting change in leadership spurred on by Henry Hyman Cohen allowed a full choir to be formed the following year. Mombach was appointed choirmaster, a post he held for the next forty years until his death. He led the choir as a tenor, joined by Samuel Lewis
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writing on the Zemel Choir's website, says that "Mombach is very singable (in melody and harmony) and it is for that reason that so much has indeed survived as the traditional backbone of Anglo-Jewish synagogue music. His compositional style owes quite a bit to
Mendelssohn, and it is noteworthy that
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Mombach arranged choirs for all the main events that took place in the religious life of the
Ashkenazi communities throughout England, and many of his pupils went on to become cantors in English and colonial synagogues. With the exception of those selections written in the traditional modes, most of
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summarises his importance by saying that as a composer of synagogue music
Mombach was equalled only by Solomon Sulzer of Vienna, and a large proportion of the now-famous Anglo-Jewish choral melodies were first familiarised by him and his collaborators. To him is due in large measure that dignified,
19:
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expressly forbade the use of sheet music (which he referred to as the "Book of
Strokes") and the tuning fork. Hirschell would not permit the repetition by the new choir of the word Hallelujah unless the last syllable, embodying the Divine name, were omitted until the close.
132:, United Synagogue, London, 1933). Some of his compositions, such as Mechalkeil for Yamim Noraim, Baruch Haba (processional), and Ladonai Ha'aretz (Psalm 24), have become 'standard' pieces in Anglo-Jewish communities, where they are still regularly sung.
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Mombach's principal work was as the choirmaster and composer at the Great
Synagogue. He never published any of his work; that task was left to the Reader of the Great Synagogue, the Rev. Moses Keizer. In 1881, the latter published
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His compositions started from the traditional modes of synagogue music, but extended to include German and
English folk song and contemporary classical themes. His style was influenced by
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pioneered the use of a full choir in the synagogue in Vienna in 1825, Jewish communities all over Europe followed his example. However, at the Great
Synagogue in London, Chief Rabbi
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simple tradition of sacred music which, spreading from the Great
Synagogue, has become characteristic of the Anglo-Jewish synagogal tradition everywhere to our own day.
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A great deal of the
Ashkenazi synagogue service music was composed by him, and he remains a consistent source of melodies for services throughout the Jewish year (see
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Within two years, Elias had caught a chill which damaged his voice. In 1829, he left his position and took up an appointment as Director of Concerts at the
121:(The Sacred Musical Compositions of I. L. Mombach). The work was short lived and only ran to one edition, because in 1899 the United Synagogue published
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was appointed. He had "a fine, clear tenor, whose florid style of recitative with frequent roulades long remained a beloved memory with London Jews".
536:
85:. Mombach remained at the Synagogue and took musical instruction from Elias. The post of cantor remained vacant until 1832, when Simon Ascher of
556:
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The Zemel Choir recorded one of his several settings for Psalm 24 (L'Dovid Mizmor) on The English Tradition of Jewish Choral Music.
192:) are included in a recording of Music of the Victorian Synagogue by the London Jewish Male Choir and The Old Synagogue Singers.
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regards him as "the most important of the composers of synagogue music in the Anglo-Jewish tradition of the 19th Century" whilst
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He died, it would seem quite suddenly, in 1880. His wife predeceased him by some 17 years, and they had had no children.
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In 1827 or 1828, Enoch Binom Elias (Enoch Eliasson) from Darmstadt was appointed cantor at the
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Mombach's influence extended beyond London to the whole of England and beyond into the
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says it was Elias' son who was also called Enoch Eliasson that became Director
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is an arrangement of an earlier piece, parts of which come from a chorale by
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his settings are a blend of the popular German and English folk song.
28:(1813 – February 1880) was a 19th-century English synagogue composer.
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So weiss ich eins was mich erfreut, das pluemlein auff preyter heyde
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416:(CD sleeve note), Forum (an imprint of Regis Records), FRC 9105
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in central Germany. The family name comes from the town of
148:. Luther had, in his turn, adapted an old German folksong
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motifs from Elijah appear in a number of his pieces."
36:doesn't even restrict this assessment to England.
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437:The Palgrave Dictionary of Anglo-Jewish History
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63:. Pfungstadt is a small town to the south of
136:traditional in origin. Mombach's setting of
464:Julius (Israel) Lazarus Mombach (1813–1880)
434:Rubenstein, William D (22 February 2011),
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537:German emigrants to the United Kingdom
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188:Several of his pieces (including the
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427:The Great Synagogue London 1690–1940
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476:Shisler, Rabbi Geoffrey L (2010),
207:Sources use both the English term
146:Nun freut Euch Ihr lieben Christen
47:appear in a number of his pieces.
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568:
557:19th-century German male singers
489:Composers of Jewish Choral Music
414:Music of the Victorian Synagogue
402:; Cohen, Rev. F L, eds. (1899),
59:, Germany in 1813, the son of a
26:Julius (Israel Lazarus) Mombach
405:The Voice Of Prayer And Praise
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130:The Voice Of Prayer And Praise
123:The Voice Of Prayer And Praise
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552:19th-century German composers
542:People from Darmstadt-Dieburg
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461:Shisler, Rabbi Geoffrey L,
215:, variously transcribed as
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527:Jewish classical musicians
144:(the Christian reformer)
517:19th-century German Jews
412:Elton, Benjamin (2003),
367:Davis & Cohen (1899)
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486:Tunkel, Daniel (2012),
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440:, Palgrave Macmillan,
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547:Musicians from London
400:Davis, David Montague
119:Ne'im Zemirot Yisrael
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211:and the Hebrew term
55:Mombach was born in
43:, and motifs from
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492:, The Zemel Choir
447:978-0-230-30466-6
357:says from the son
98:Solomon Hirschell
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532:Jewish composers
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373:, p. 201)
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333:, Chapter XVI)
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94:Salomon Sulzer
83:Lyceum Theatre
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71:near Mainz.
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34:Elton (2003)
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512:1880 deaths
507:1813 births
453:23 December
422:Roth, Cecil
277:Tunkel 2012
190:Boruch Habo
174:Roth (1950)
41:Mendelssohn
501:Categories
393:References
249:Elton 2003
181:Recordings
138:Ma'oz Tzur
57:Pfungstadt
479:Maoz Tzur
369:cited by
331:Roth 1950
87:Gröningen
65:Darmstadt
424:(1950),
522:Hazzans
355:Shisler
343:Shisler
305:Shisler
69:Mombach
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233:hassan
229:khazan
221:chazza
217:hazzan
213:חַזָּן
209:cantor
157:Empire
92:After
61:cantor
45:Elijah
225:hazan
196:Notes
112:Works
455:2015
442:ISBN
51:Life
231:or
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