Debbie Friedman, who many credit as reinvigorating synagogue music, died Sunday, Jan. 9, after a short stay in the hospital. She was 59. Funeral services were held Tuesday in California.
Over the course of her career, the Jewish composer, singer and recording artist released more than 20 albums and performed in sold-out concerts at Carnegie Hall and in hundreds of cities around the world. She last performed in Kansas City to a standing-room-only audience in the sanctuary of Congregation Beth Shalom in May 2009.
In addition to her career as a singer, songwriter and guitarist, Friedman was hired to teach at the Hebrew Union College-Jewish Institute of Religion’s School of Sacred Music in 2007.
Following her death this week, Rabbi Eric H. Yoffie, president of the Union for Reform Judaism, said Friedman was an extraordinary treasure of the Reform movement, and one of its most influential voices.
“Twenty-five years ago, North American Jews had forgotten how to sing. Debbie reminded us how to sing, she taught us how to sing. She gave us the vehicles that enabled us to sing. What happens in the synagogues of Reform Judaism today — the voices of song — are in large measure due to the insight, brilliance and influence of Debbie Friedman,” Rabbi Yoffie said.
Jews in congregations across Kansas City will mourn Friedman at worship services this weekend. The Temple, Congregation B’nai Jehudah, has chosen to honor Friedman at its monthly Shabbat Chadash service tonight (Friday, Jan. 14).
“As a tribute to her incredible gifts to us all, our entire service will reflect her music and her teaching. Bring your voices, your timbrals, and your love as we make Shabbat together — as family! Invite someone to join you, and let us raise a joyful noise!” noted a special e-mail to congregants.
Enhancing worship
Cantor Paul Silbersher, spiritual leader of Congregation Kol Ami, has been a cantor/spiritual leader since 1955. He said Friedman was a trailblazer in modern Jewish music, and “her musical gifts to us continue to enhance our worship.”
Cantor Sharon Kohn, who recently celebrated 25 years as a cantor, said Friedman is rightly credited with bringing the folk genre of Joan Baez and Peter, Paul & Mary into the synagogue.
“Many things we take for granted today — guitars and drums, singing in English and Hebrew, mining our vast traditional texts for modern meanings and putting that into song, inviting the congregation to sing and dance with abandon — are a direct result of Friedman’s work. Her influence is so pervasive also because she has continued to write, to perform and to teach,” she said.
Cantor Kohn said these last few days have been particularly sad for her because just two months ago she had the privilege of spending four days learning from and praying with Friedman at URJ Olin-Sang-Ruby Union Institute.
“Her abilities as a performer are legendary. What is less known is her generosity as a mentor and as a teacher. I found her to be kind and compassionate, intensely funny, immensely intuitive about people, always connecting with those around her, with the tradition and with the holy,” Cantor Kohn said.
Cantor Silbersher said he first became aware of Friedman’s music about 30 years ago. For him, the most prominent song she composed was “L’chi Lach.”
“It is a reprise of Genesis 12 wherein Abram is told to ‘Get out of your land, your birth place and your father’s house ... and be a blessing,” Cantor Silbersher explains.
He started using that song during Bar/Bat Mitzvah services when the student was being blessed.
“Not only their parents were moved, but I have had students ... now grown to adulthood, who still recall what that song meant to them while they stood in front of the open ark,” the cantor said.
“It was an immediate and resounding success. People were continually moved to tears every time they heard it. I was even asked if I wrote it. I let them know that the composer was Debbie Friedman,” he continued.
Once he began singing “L’chi Lach” at Bar/Bat Mitzvah ceremonies, Cantor Silbersher said the song was requested at weddings, baby namings, brisses and even funerals.
A gift to many
A whole host of other songs followed “L’chi Lach,” including “You Shall Love,” “V’ahavta,” “Mi Shebeirach,” “Oseh Shalom,” “Mi Chamochah,” “Not by Might,” “Miriam’s Song” and “T’filat Haderech.”
“Her music was in very good taste and has become widely accepted as not just ‘camp music’ but music that could be performed alongside the classical Jewish Liturgy which is the essence of cantorial training,” Cantor Silbersher said. “If Debbie Friedman had just composed ‘L’chi Lach,’ it would have been ‘dayenu’ — enough for us.”
Cantor Kohn said many people say that Friedman’s gift to many Jews was to “help us learn how to pray again, to connect with God through song, to help us feel as if each of us mattered.”
“Her setting of the “Mi Shebeirach” for healing exemplifies this. My understanding is that as much as she hoped that her music would be remembered, and it will, it was her love of Judaism that shone through everything. If we only sing her music as some kind of memorial, and do not live it, embrace our own sense of what it is to be a Jew, bless those around us, especially those most in need of our care, re-invent tradition for ourselves, we will have failed to hear her deepest message. The world has lost a sweet singer of Israel. As she blessed us with her many gifts, may her memory always be for a blessing,” said Cantor Kohn.
