Honoring the Musical Legacy of Debbie Friedman

Music is a fundamental part of our worship experience.  Most would agree that music sets the tone for our services and expresses the depth of our hearts through our prayers.  But most would not agree upon the tunes.  There are certain melodies that we assume are “mi Sinai,” from Sinai.  We call them “the regular” or “the traditional” versions.  Yet, each of us has our own tune in mind when we speak of these.   

And this has sounded different over the lifetime of the Reform movement.  When we think of classical Reform services held in the 19^th century, its music was lofty and dignified.  The compositions were formal, filling sanctuaries with the rich sounds of organ and choral arrangements, similar to other faith service in that period.  We continue to listen to and use some of those pieces, though rarely for weekly services.  Such musical compositions were meant for performance rather than communal participation. 

The 20^th century brought an onslaught of new melodies.  In one of my classes in rabbinic school we sat and listened to many versions of “Lecha Dodi,” one after another.  Then, we were asked to put them in chronological order, guessing the decades in which they were written.  The variety of styles fascinated me, especially one that had a disco sound to it.  The music reflected the external influences and experiences of the composers’ time.  Ancient words were balanced with modern melodies, beautifully melding the traditional with the contemporary, over and over. 

The 1970s gave birth to notable stylistic changes in music.  The rise of feminism and liberation and many other types of social transformation were reflected in the acoustic guitar singer-songwriters and folk music.  These influences can be heard in the music of Debbie Friedman (z”l).  She changed the scope of Jewish music and many of her songs are now a part of our regular repertoire of liturgical music, even thought to be “mi Sinai” by some.   

Debbie Friedman brought people together through Jewish music in a way that was new and fresh.  Children at camps sang her tunes with arms locked, harmonizing the ancient Hebrew words with the campy guitar sounds.  She made the liturgy and Hebrew accessible.  I remember learning my Alef-Bet by listening to Debbie’s call and response song teaching the letters.  She empowered the voices of women with “Miriam’s Song” and a song about Deborah the Prophet.  Debbie used her knowledge of Hebrew to write songs that reflected the presence of women.  Her “Mi Shebeirach” referenced both our forefathers and our foremothers and her own experience of chronic illness led to a surge in healing liturgy and music, such as “Those Who Sow.”  Sadly, on January 9, 2011 (4 Shevat), at the young age of 59, she passed away from pneumonia. 

This month marks the 13th yahrzeit of Debbie Friedman.  I hope that you will join me tomorrow night as we honor her legacy and contributions.  Our guest musician, Leslie Gubitz, will lead us on guitar as we include even more of Debbie’s melodies into our regular Share Shabbat service.  I look forward to bringing in Shabbat together tomorrow night.