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 Page 1 of12 Ethan Goldberg, Brandeis University
“Imitation as Innovation: Shaindele the Chanzante and
American Meritocracy “
Page 2 of12 On Yom Kippur eve in 1980, Jean Gornish lay dying of cancer at Sloan Kettering
Hospital in New York. Though frail from the years of smoking that brought on the
illness, she knew but one way to comfort her fellow terminal patients and welcome the
solemn holiday. The orderlies assembled the floor of patients, and Jean Gornish—
otherwise known as “Shaindele the Chazante”—comforted them by her heartfelt and
earnest rendition of “Kol Nidre,” the best known and most beloved of Jewish cantorial
works (Barsky).
The case of Shaindele the Chazante (1916-1981) is a curious result of conflicting
American and Jewish values. Traditional Judaism since Talmudic times banned female
vocal participation in worship, thus the institution of the cantorate (the trained singer
who conducts Jewish worship services) had, until recently, been closed to women.
When Judaism came to the United States, this value came into conflict with a strong
tradition of female participation in church life and with American ideals of meritocracy
and equality of opportunity. Produced out of this tension is the curious and fascinating
character of Shaindele the Chazante. This paper briefly outlines these two conflicting
values before giving a biography of Shaindele and a thorough musical analysis of her
late 1950s album Shaindele Sings the Songs of Her People. The musical and aesthetic result
of these conflicting tensions is Shaindele’s imitation of the format and style of male
cantors. The simple fact that she was a woman singing cantorial music was enough of a
novelty; she imitated the familiar songs and singing of notable male cantors.
Why had women been silenced in the synagogue? The answer can be traced to
the Talmud, the body of Jewish civil and ceremonial law compiled in late antiquity. In
the Tractate Brachot 24a, Samuel declares that “Kol b’isha erwah,” “a woman’s voice is
a sexual incitement” (Berman). Samuel brings a proof-text from the Biblical love-poem
Song of Songs (2:14) to support his statement: “’let me hear your voice because your
voice is pleasant and appearance attractive,’” (Jachter). According to Samuel, if a
woman’s voice is “pleasant” and related to her attractive appearance, then it could be
disruptive to prayer and is thus forbidden.
The interpretation of Samuel’s prohibition has been varied in time and place. As
Rabbi Saul Berman explains, German Rishonim (early scholars) interpreted this ban to
mean that a woman’s voice could not be heard only while a man was saying the Shema
(a central prayer of most Jewish services). Rishonim of North Africa and Spain
interpreted the ban not on a woman singing, but on communication between a man and
a woman who was sexually prohibited to him (like a close relative) that could lead to an
illicit relationship. However, Acharonim (later scholars) interpreted the ban more
broadly to mean that a woman’s singing voice is a form of nudity and is prohibited
under all circumstances at all times except in the private company of her husband. But
Berman cites three 20th century rabbinic deciders who seem to revert back to the earlier
notion that the ban was based on context (a man saying the Shema) and not a wholesale
prohibition of female singing or even speaking. Rabbi Yehiel Weinberg, in particular,
allows mixed singing of zmirot (semi-liturgical hymns) by students for the sake of
education and to not drive away women from the fold by “depriving their rights”
(Berman 64). But even these more permissive authorities stop short of allowing a
Page 3 of12 woman to lead a congregation in tuneful prayer, a prohibition that exists to this day in
normative Orthodox communities1.
This exclusion of women from the musical life of the tradition synagogue is in
deep contrast to the practice of American churches in particular. In Europe, women’s
voices were rarely heard in church, either; Bach, Mozart and other notable composers of
sacred music wrote for choirs of men and prepubescent boys who could affect the
female voice. However, British and American Puritans, in their effort to increase
congregational participation in the service, preferred mixed singing of unison tunes in
English. An early observer recorded:
You may sometimes see at St. Paul’s Cross, after the service, six thousand
persons, old and young, of both sexes, all singing together and praising God
[emphasis added] (cited in Ryken 124).
The Puritans brought this policy of mixed singing to America, where it doubtless
influenced the musical development of American churches.
The American attitude of mixed participation and even leadership is well
exemplified by a contemporary of Shaindele, the famous Gospel singer Mahalia Jackson
(1911-1972). The daughter of a New Orleans pastor, Jackson got her start singing in
Baptist churches in New Orleans and Chicago. Her success as a church singer led to
recording contracts with Columbia Records in the 1940s. In the 1950s and 60s she
brought Gospel music to the mainstream, performing on CBS radio and the Ed Sullivan
show. An active supporter of civil rights, she sang the Gospel classic “How I Got Over”
preceding Martin Luther King’s “I Have a Dream” speech at the Lincoln Memorial in
19632. Concurrent with American church tradition, Jackson certainly never faced any
religious objection to her singing in church, in fact her singing was particularly liked by
religious figures like King (“Mahalia Jackson”).
Traditional Judaism’s prohibition of female cantors also conflicts with broader
American ideals of equality of opportunity. This idea begins with the statement in the
Declaration of Independence that “life, liberty and the pursuit of Happiness” are
unalienable rights that governments must protect. In order to best protect the pursuit of
Happiness, the notion of equality of opportunity became a large part of American
political culture. The idea is well summarized by the economist Milton Friedman:
No arbitrary obstacles should prevent people from achieving those positions for
which their talents fit them and which their values lead them to seek. Not birth,
nationality, color, religion, sex, nor any other irrelevant characteristic should
determine the opportunities that are open to a person—only his abilities.
(Friedman 132).
1 Many 20th century authorities have ruled that listening to a woman’s voice on a recording or radio broadcast is not prohibited because it is merely a reproduction of the voice and the singer is not seen (Jachter). However, there is no indication that Shaindele attempted to use this “loophole” to be heard by Orthodox audiences, especially because she performed live to mixed audiences in addition to her recordings and broadcasts. 2 Accessible at http://www.youtube.com/watch?v=TALcOreZi0A Page 4 of12 As further musical analysis will show, Shaindele was certainly talented and able to
perform cantorial music will great skill and affect. But the “irrelevant characteristic” of
her sex stopped her from singing this music in its original context of the synagogue.
This is a clear conflict between the American values of equality of opportunity and the
Jewish value of “kol b‘isha erwah.”
Shaindele’s background helps to explain what drove her to sing liturgical music.
Born Jean Gornish in 1918 to a “glatt3” (strictly religious) family of eight children in
Jewish South Philadelphia, Jean was steeped in Jewish music and relished in singing
Sabbath zmirot. Throughout her childhood, Shaindele (“little pretty one,” her given
Yiddish name) grew to some notoriety in the Philadelphia Jewish community. Initially
unsure of how to best use her magnificent voice, she had a short career as a lounge
singer in northeast Philadelphia (with the stage name “Julia Cornish”), over the
objections of her parents. Her sister recalls Jean sneaking out of and into the house for
these performances. But it very soon became apparent that her talent and aptitude were
in the cantorial music of her childhood. Shaindele was a natural talent, never trained by
any teacher or cantor. She learned by listening to the popular recordings of Cantor
Yossele Rosenblatt, considered by many to be the finest cantor of the so-called “golden
age” in the interwar period (Barsky). Her sister recalls Shaindele sitting meticulously
over the recordings, emulating every trill and note4. She was first heard on the radio in
1938 in Philadelphia, New York and Chicago. By the early 1940s, she was sponsored by
“Planter’s Hi-Hat Peanut Oil,” who set up regular concert and radio appearances
(Barsky). A Yiddish poster from Philadelphia encouraged Jews to attend a live
performance:
In Person! Shaindele the Chazante who will astound you with her heartfelt
prayers and Yiddish songs. It’s been five years since you’ve heard her on the
radio. Five years that she has touched your hearts with her heartfelt prayers. For
the first time, you will see her and hear her from a Jewish stage, performing the
most beautiful prayers and songs5 (See appendix 4).
The reaction to her performances was overwhelmingly positive, with rave
reviews from newspapers. The Chicago American proclaimed in a concert review:
La Chazente elicited tears from those familiar with the literature heard in
synagogues and even reached the hearts of those who never stepped into a
Jewish temple. In her field she has no competitor and must be termed the
‘Heifetz’ among cantors,” (Cited by Kelman).
A program from a Chicago concert perhaps overstated the situation.
3 The term “glatt” kosher did not enter American Jewish parlance until after World War II. Still, this was the term Shaindele’s sister used to describe her family, still stalwarts of the Philadelphia Orthodox Jewish community. 4 For centuries, the only way to learn cantorial music was by apprenticeship to a cantor, which certainly was closed to women. The rise of the phonograph and the publication of cantorial records allowed women like Shaindele a way to learn the music privately, without needing to rely on training from a male cantor. 5 I am grateful to Professor Silvia Fucks Fried for her translation of the Yiddish. Page 5 of12 Women stop their home duties; men hide in the back of their business counters,
with their ears glued to the radio so that they will not miss a sound, a word, or a
“krechtz” of “Sheindele the Chazente’s” singing (See appendix 6).
The only criticism was of the title “chazante” because she did not officiate in a
synagogue. The Idisher Kuryer, a Chicago Yiddish newspaper, wrote:
She is really not a chazente. She does not doven [conduct services] at a podium,
and she fills no other functions like a chazen,” (Cited by Kelman)
In fact, despite some reports to the contrary, Shaindele never desired to officiate in a
synagogue. Her sister put it well: “Growing up the way we did, she knew her place,”
that is, she believed that women did not belong on the pulpit, and was content to
perform cantorial music on the radio and in concert (Barsky). Shaindele’s popularity on
the Jewish radio and in concert in the 1940s led to the release of her only album
Shaindele Sings the Songs of Her People. As the following musical analysis will show,
Shaindele sought to imitate the style and affect of her male cantors.
But first, her music must be put into context. In the post-war era, many American
Jews began to suburbanize and thus found themselves outside of insular, majorityJewish communities. A decline in synagogue attendance and Jewish literacy were not
far behind. (Sarna 282) But, this so-called “second generation” of Jews held fond
memories of the immigrant-Orthodox synagogues of their parents and grandparents,
including a taste and appreciation for cantorial music. Thus, for this generation,
cantorial music became a form of high entertainment akin to attendance at the
symphony or opera. In fact, two famous cantors of this era, Jan Peerce and Richard
Tucker, split their time between the pulpit and the stage at the Metropolitan Opera.
Tucker in particular published many records of concert cantorial music, written by his
longtime colleague Shalom Secunda, and had many concert appearances in the Catskills
at the Concord Hotel (“Shalom Secunda”) in addition to his many Operatic roles
(Shisler). For Jews, this represented the synthesis of American and Jewish values they
often sought. Tucker and Peerce navigated both worlds with ease, proving that a person
could be successful in American and Jewish circles.
Another example of this cultural synthesis is the 1956 publication of Perry
Como’s rendition of the beloved “Kol Nidre” melody6(Hirt-Manheimer). Como was a
pop singer, and neither a cantor nor even Jewish. But his singing hearkened the
listeners to their childhood musical memories, with the added approval of a bona fide
“American” singer. This record demonstrates the entertainment and cultural, but not
necessarily religious, values of published cantorial singing in this period.
Shaindele’s record fits this pattern, but it was by circumstance, not by choice.
Tucker chose to perform both Opera and cantorial music in concert and in synagogue,
his gender and talent allowed him to flow between the two worlds. Shaindele’s birth
into a committed, “glatt” family led her both to her love and aptitude for cantorial
music (and not popular music) and to her conviction that a female cantor in a
synagogue was forbidden (Barsky). She was, however, able to find ample audience
6 Accessible at http://www.youtube.com/watch?v=cduz4RApBfU Page 6 of12 among this generation who had a taste and memory for the music, but had dropped at
least enough of their Orthodoxy not to mind hearing it from a female voice.
Shaindele’s audience was familiar with the cantorial style of Tucker and his
artistic predecessors like Yossele Rosenblatt, Dovid Roitman and Mordecai Hershman.
In her published record and presumably in her concerts and radio broadcasts (no extant
recordings from these have been located), Shaindele successfully and artfully imitated
her male peers. By comparing her renditions of classic “songs of her people” to those of
their male composer-performers, the large extent of the imitation becomes clear.
In order to show the extent of the imitation in outward forms, let us compare
Shaindele’s album with a typical cantorial album of the period, Richard Tucker’s Kol
Nidre Service. The first level of imitation is in visual presentation. In short, the whole
affect of the album’s cover art is imitative of the albums of male cantors like Tucker.
Shaindele is pictured in the white robe and skullcap of a male cantor. Her hair is cut
short and is tucked into the skullcap. The jewelry she does wear is bulky and masculine.
To give a Judaic feeling to the cover art, the name “Shaindele” is written in Hebraized
English characters, just as Tucker appears alongside a talit (prayer shawl) and shofar
(ram’s horn), symbols of the synagogue on Yom Kippur. The intention to imitate the
aesthetic of male cantors is clear (see appendix 1).
Another point of imitation is with narration. In anticipation of the audience’s
affinity for the music but lack of Judaic knowledge, “each number is prefaced with brief
explanations in English, elucidating the history and shedding light upon the
background of each hymn and prayer,” the album’s liner notes assure the customer.
The function of these narrations was both to set the piece in context, as folk singers are
want to do (Kelman), and to explain to the less knowledgeable listener about the
meaning of the words. The liner notes anticipate the concern that a second generation
Jew would have over listening to music in Hebrew and Yiddish, languages he might
have once studied but might have forgotten. Tucker’s album also precedes many of the
songs with the same style of somewhat bombastic and melodramatic narrations that
precede each song in Shaindele’s album (see track 12 of companion CD).
Finally, Shaindele imitated male cantors by her use of music director Abe Ellstein
and producer Daniel Sloan. A “name well known to everyone even remotely familiar
with Yiddish music,”(liner notes) Ellstein was considered one of the “big four
[composers] of Second Avenue” of Jewish theatrical and liturgical music. Ellstein, who
had studied at Julliard and toured the world with famous cantors and singers like
Yossele Rosenblatt, Mordecai Hershman and Molly Picon, was a master composer and
orchestrator of Jewish music (“Abraham Ellstein”). His music for Shaindele relies on the
familiar mixed choir, organ and occasional strings and trumpets, just as he would have
done for a male cantor. Daniel Sloan was a producer for Moishe Oysher, and Jan Peerce,
two famous cantors of this era. Shaindele did not seek to innovate in her work, and
working with Ellstein and Sloan shows her desire to imitate those who had also worked
with them by relying on their expertise. It also demonstrates that Shaindele was not on
the fringe of Jewish music and that she did not need to go beyond the artistic
establishment to find people willing to support and work with her. Rather, wellestablished and experienced figures in Jewish music backed her talent.
Page 7 of12 Moving from outward forms to content of the album, her choice of songs are
almost all imitative. On the surface, she presents none of her own compositions and
only one song that was written for her. Five of the six selections on the album were
written and performed by other male cantors. The very fact that she performed the
repertoire of male cantors shows her desire to imitate them. The album includes the
following selections (original composer-performer in parenthesis) (each selection is
reproduced in full on the companion CD, along with the recordings of the original
composer-performer):
Side one:
• Rochel M’vako Al Boneho (Dovid Roitman): This text from the Rosh
Hashanah liturgy depicts the biblical Rachel weeping over her children,
the exiled people of Israel. As the narrator describes the text, the choral
soprano depicts the weeping Rachel. Shaindele’s choice to sing this piece
about a woman weeping for her children is particularly striking: perhaps
it is a tacit signal that she is a woman in a traditionally male role. Still,
there is nothing “female” about her rendition of this piece; it imitates what
its male composer-performer sang.
• Mein Shtaitele (Ellstein-Lillian): This is a Yiddish song written by the
conductor Ellstein reminiscing about life in Jewish Eastern Europe, similar
to the songs Shaindele often sang to close her concerts. The opening and
closing sections contain broad, metrical melody lines with lush string
accompaniment. The middle section “quotes” a cantor singing as a part of
the reminisce in recitative. Recording this song was a condition of
Ellstein’s agreement to arrange and conduct this album’s music (Barsky).
Ellstein was apparently confident that the album would sell well and
attempted to popularize his song on its coattails. No other recording can
be located, most likely because Ellstein died shortly after producing the
album, and the song’s intrinsic quality was not enough to ensure its
continued performance.
• Tihair Rabbi Yishmael (Zavel Kwartin): The text for this piece comes from
the Yom Kippur martyrology, and it describes the death of ten rabbis
during the Hadrainic persecutions (Jacobs). The piece begins simply, with
little choral embellishment and relatively monotonic chanting of the text.
The drawn-out tones seem to wail out in morning for the martyrs.
Towards the end, the singer seems to shout out passionately, repeating the
name “Rabbi Yishmael Cohen Gadol” often with increasing fervor and
with added “Oy veys.” The piece is written in the distinctively Jewish
”Freygish” or “Ahava raba” mode, generally applied to texts of sorrow
and lamentation (Gottlieb 141). In comparison to Kwartin’s recording,
Shaindele’s singing is less rushed and more dynamic, reflecting a high
level of taste and artistic nuance.
Side Two:
• Annenu (Mordecai Hershman): The text for this piece also comes from the
Yom Kippur liturgy; it pleads for God to answer the repentant sinners.
Page 8 of12 Ellstein’s arrangement includes an interesting juxtaposition. The track
begins with an instrumental, dramatic opening reminiscent of movie
scores of the era (of which Ellstein wrote a few). Then, the choir hums in
harmony the beloved Kol Nidre melody, as the narrator describes the
mood and meaning of the day and text. The use of the familiar Kol Nidre
theme connects the somewhat unfamiliar text and melody to Yom Kippur.
The repetition of the imperative “Annenu,” “Answer us,” adds urgency to
the plea. Shaindele’s voice glides easily over the many runs, which
Hershman attacks with more bravado and less nuance.
• Eli Eli (Jacob Koppel Sandler, Boris Thomashefsky): The album’s liner
notes incorrectly attribute the song as “Traditional.” This error exemplifies
this song’s classic status in Yiddish repertoire. Blending quotes from the
bible, the singer cries out, asking why God has forsaken the Jewish people.
While others like Rosenblatt sing the climax “rethe mich” “rescue me”
with bravado and gusto, Shaindele’s arrangement treats this point of the
music with sweet modesty—a simple, plaintive request as opposed to a
harsh demand.
• Av Horachamim (Mordecai Hershman): This selection’s text comes from
the Sabbath Torah service. Shaindele’s voice flows smoothly over
Hershman’s setting, with artful chorus and organ accompaniment.
Shaindele chose to perform the songs of male cantors. But not only did she sing
the same melodies as male cantors, her unique voice imitated theirs. Her voice range, as
demonstrated on the album, is from C3 to C5, very low for a female voice. In fact, her
range is best described as tenor, because her voice has the same timbre and range as a
typical tenor voice. (See appendix 8) This unique, deep voice allowed her to successfully
imitate male cantors, most of whom were tenors.
Singers choose keys of songs to best suit their vocal range. Each voice is classified
into a range that defines its most comfortable and expressive place. As Table 1 shows,
Shaindele sang most of the songs in the same or similar key as her male counterparts.
This shows that her vocal comfort range was the same as those of her male models, a
unique circumstance that allowed her to imitate even the timbre, pitch and sounds of
their voices.
Table 1 Keys of Songs by Shaindele and male cantors
Song
Male key
Rochel M’vakoh Al
Boneho
Mein Shtaitele
Tihair Rabbi
Yishmael
Annenu
G minor (Dovid Roitman)
Shaindele
key
F minor
No extant recording
E Fraygish (Zavel Kwartin)
G minor
F Fraygish
Half step
G minor (Mordecai
Hershman)
A minor (Yossele
G minor
Same
C minor
Minor third
Eli Eli
Difference
Whole step
Eli Eli
Page 9 of12 A minor (Yossele
C minor
Minor third
Rosenblatt)
Av Horachamim
C minor (Mordecai
C minor
Same
Hershman)
So, Shaindele imitated male cantors in many ways in her album. In cover
imagery, narration, use of famous cantorial composer-conductors and producers, the
very fact that she sang the songs of famous male cantors, her tenor voice and the keys in
which she sang her songs, Shaindele successfully and artfully emulated male cantors. It
is tempting in analyzing Shaindele to call her the “mother of the female cantorate,” but
this title fails for two reasons. First, Shaindele did not function as a cantor in a
synagogue, and did not really open any doors to female participation in synagogue
ritual or leadership. Secondly, as thorough analysis has shown, she imitated male
cantors and did not attempt to put a feminine gloss on liturgical music. It would take a
future generation of women cantors such as Faith Steinsnyder and Linda Hirschhorn to
reformulate cantorial music to women’s voices and sensibilities (See tracks 13-15 of
companion CD).
It is clear that Shaindele emulated her male artistic predecessors. But why? Part
of the answer lies in how she was raised. Her Orthodox upbringing had immersed her
in traditional cantorial music. She grew up hearing this music, which became part of her
own musical memory. Her failed attempts to sing popular music show that her voice
and artistic sensibilities were firmly settled in the music of her childhood. In addition,
imitation was how she learned the music in the first place. Because no self-respecting
cantor would take on a female apprentice at this time, Shaindele was forced to learn by
imitating recordings of Yossele Rosenblatt and others. She had no mentor to guide any
potential artistic development, so she simply skillfully imitated what already existed.
Furthermore, in order to be a successful performer, she needed to imitate what others
did, in order to legitimize her actions. Had she innovated with new melodies or with a
higher-pitched voice (as women cantors who came after her did), it would have been
foreign to her audience and thus dangerous to her commercial success. Her audience,
with their own musical memories, had a very definite idea as to what cantorial music
was, and she need to skillfully present it to be considered legitimate. Americans value
meritocracy, and Shaindele needed to prove that she had sufficient talent to present
challenging, traditional cantorial works and not simply to perform her own unknown
and untested compositions. Finally, quite simply, there were no female role models for
her to emulate, so she imitated the popular and successful male cantors.
The case of Shaindele is thus an example of the results of conflicting tensions
between American and Jewish values. American values of equality of opportunity, and
the Puritan-influenced inclusion of women in American church music clashed with
Jewish values that considered women’s voices to be incitement to sin. When Shaindele
wanted to perform cantorial music, she looked to imitate her male peers, and did in
many artistic ways. Her success also comments on the taste and attitude of this
generation of American Jews. They had given up enough of their Orthodoxy not to
mind listening to a woman sing, but still sought authentic Jewish entertainment.
Neither fully traditional nor fully assimilated, this generation was intrigued by a
Page 10 of12 traditional thing done in an untraditional, “American” way. Her music was traditional
and meticulous, but the very fact that she was a woman in this traditionally male realm
was enough to make her a beloved performer and an important, if overlooked, figure in
the history of American Jewish music.
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