AJ Hazzan Glantz: Recent Episodes
AJ Hazzan Glantz
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Hazzan Howard K. Glantz is a native of West Hartford, Connecticut. He became a bar mitzvah where his family enjoyed active membership, attended Hebrew High School and was confirmed at Temple Beth El. Howard attended Camp Ramah of New England in Palmer, Massachusetts in the capacity of camper, counselor and visiting clergy.
In 1979, Hazzan became the first high school student to earn a place in the Matei Yehudah program of Sherut La’am run by the Sochnut (Israel’s Jewish Agency). There, his conversational Hebrew flourished, a deep connection to Eretz Yisrael took root, and his love of teaching began with helping at-risk Israeli youth who struggled with their schooling. While in Israel, Glantz also served as a baritone in the Great Synagogue Choir under the direction of Cantor Naftali Herstik.
Hazzan Glantz is a graduate of the University of Massachusetts at Amherst with a concentration in counseling psychology. He received his Investiture of Hazzan at the H.L. Miller Cantorial School at the Jewish Theological Seminary in New York City and is a graduate of it’s Brit Kodesh program, training under the direction of Dr. Jacob Shragowitz, MD, Certified Mohel. Hazzan Glantz has been serving the Jewish community in this capacity since 1991, and is fondly referred to as “the doctor’s moyel”.
Dedicated to cultivating the love of nusach and Hazzanut, Hazzan Glantz served first as Associate Hazzan to the much-revered Hazzan Larry Vieder, z"l, at Adat Shalom Synagogue in Farmington Hills, MI. In 1994, Glantz was invested as Hazzan of Adat Shalom Synagogue, serving the Greater Detroit and Ann Arbor Jewish communities for 13 years. In 2004, Hazzan Glantz succeeded his beloved teacher and world-renowned Hazzan and composer Charles S. Davidson at Congregation Adath Jeshurun in Elkins Park, Pennsylvania.
Howard is a three time recipient of the Brookdale Scholarship Award of New York City’s Montefiore Hospital, recognized for distinguished pastoral care of patients who span diverse religious beliefs, cultures and communities. He has served as a member of the Cantor’s Assembly Executive Committee and is an Honorary Member of the Jewish War Veterans South Philadelphia Post #98, a recipient of the Federation of Men’s Clubs Man of the Year Award, and AJ Women’s Association Person of Achievement Award.
Hazzan Glantz is an accomplished guitarist and vocalist with extensive knowledge of traditional and contemporary liturgy. He is also known as a gifted teacher of children and an honored professional in the Jewish and musical communities. Glantz has performed in venues both nationally and internationally such as Detroit’s Fox Theater, The Kimmel Center for the Performing Arts, The National Museum of American Jewish History and The Great Synagogue of Jerusalem as well as numerous Cantor’s conventions and interfaith programs.
In Elkins Park, Hazzan Glantz has poured his passion and unique vision of the congregation’s liturgy into spiritual practice. His craft of Hazzanut has been described as accessible, spiritually uplifting while being participatory, dynamic and emotionally moving. Hazzan Glantz holds sacred his pastoral care duties, providing a warm and welcoming environment for discussion, learning and spirituality.
Howard brings passion, experience and expertise when performing lifecycle events, giving special focus as a Certified Mohel and a skilled and engaging wedding officiant.
Glantz has been acknowledged for his creative endeavors such as musical compositions, programming and inspired services. Perhaps most famous locally, he is known for writing, producing and directing the annual Purim Shpiel which is filled with camaraderie and kindness, joy, laughter and a strong Jewish message.
The Hebrew word s’liḥot refers to the collective penitential liturgy, the daily recitation of which commences prior to Rosh Hashana and continues through Yom Kippur. The s’liḥot are generally recited just prior to dawn as vigils (ashmurot), preceding shaharit, or the morning service. In Ashkenazi custom (outside specifically Hassidic circles and some communities in Israel), the first such recitation has come to take the form of a formal service, beginning at or just after midnight on the Saturday night—technically, Sunday morning—prior to Rosh Hashana. It thus serves as an inauguration of the penitential season. (If Rosh Hashana falls on a Monday or Tuesday, that service is held on the previous Saturday midnight.) In common parlance, this inaugural service is often called simply s’liḥot, although its proper title is either “the First s’liḥot” or “s’liḥot for the First Day [of s’liḥot recitations],” since it actually marks the first of the series of those daily predawn recitations in spiritual preparation for the High Holy Days and their focus on repentance and renewal. A full discussion of this service from traditional perspectives, as well as the history of the s’liḥot liturgy, will be found in the explanatory notes in Volume 3, which includes a complete “first s’liḥot” service according to Orthodox and traditional practice.
Charles Davidson’s 1966 The Hush of Midnight could not be more divergent in its musical reinterpretation, illustrating the broad range of styles and approaches to synagogue music that has characterized the composite American Jewish experience. In this modern adaptation of the s’liḥot service—which includes only a small portion of the s’liḥot liturgy, along with new verse by the 20th-century poet Ruth Brin (1921–2009)—the composer reveals aesthetic originality and explores late-1960s popular music trends and sensibilities, all within the scope of a unified service. “A combination of traditional cantorial chant with the musical vernacular of our day,” is how Davidson has described the work.
The Hush of Midnight is marked by the well-crafted employment of melodic repetition and rhythm, elements of cantorial intonation, reference to the traditionally prescribed prayer modes, and a musical flexibility that mirrors the fluctuating accentuation of the Hebrew texts. Its overall style falls under the umbrella of “folk rock” music, although Davidson has characterized it as “a rock-cantorial prayer experience.”
At the time of its conception, Davidson referred to this work as “a service for our time,” calling for an “assembly youthful in spirit,” cantor or cantorial solo, guitars, piano, and drums. “The poignant cries of past suffering and the suggestion of bodies swaying in prayer do not lurk unabashedly in the background,” he has explained. “They proclaim themselves over the beating of drums and the throbbing electric guitars.”
Davidson’s objective in this work was to transform a collection of the s’liḥot that, when combined with Brin’s reflective poetry, would produce a unified prayer experience that reflects the tone of the midnight service. “Above all, it is a service designed for participation,” he underscores, “with the intent of trying to establish a dialogue between man and his Creator.”
The venerated AJ Festive Torah Service Ein Kamocha that we use on High Holy Days, with the AJ Professional Choir Eric Bluestine, Debbie Seltzer Cohen, Rachel Haimovitch, Rachel Lipson, Matthew Luloffs, Paul Marchesano, Rachel Pomeranz, David Sharp, Under the direction of Robert A. M. Ross And our organist William J. Gatens
Arranged for SATB and organ. Adapted from Abraham Baer and the artistry of Moshe Koussevitsky
These are selections from our High Holy Day Services at Congregation Adath Jeshurun. Our synagogue has been in constant operation as an open and accepting place for all people to pray and learn since 1858.
These are selections from our High Holy Day Services at Congregation Adath Jeshurun. Our synagogue has been in constant operation as an open and accepting place for all people to pray and learn since 1858.