CONCLUDING PRAYERS: (2) ALEINU CONCLUSION
Regina Lambert-Hayut

When I entered Cantorial school, I was surprised by the sheer volume of music composed to the two short lines that complete the paragraphs of Aleinu (Mishkan Tefillah bottom of pages 590 and 591).  I had only been aware of one melody, perhaps the most commonly known setting of V’ne’emar/Bayom Hahu.  Listen

I was also quite surprised that in light of the universalistic message throughout the text beginning on page 588, there were scant few notable musical settings to the texts between the first paragraph of the Aleinu and the Bayom Hahu.  Within these intermediary paragraphs is embedded the idea of tikkun olam, repairing the world.  On pages 588 and 589, we see the term l’takein olam which here refers to God’s role in repairing or perfecting the world.  However, as Reform Jews, we do not presume that God will alone make our world whole, but that it is up to us to partner with God in the process of tikkun olam. It is with this in mind that many a setting of the Bayom Hahu both musically and textually reflects our human/Divine partnership.

Some of our earliest choral settings of Bayom Hahu clearly use the musical texture to demonstrate this concept.  In this setting by Max Grauman (1871-1933), the simplicity of the musical line mixed with the complexity of the harmonies elicits within us a sense of the intricate relationship that we have with God.  The use of the English translation also helps to bring home the point that in order to take on the task at hand, we need to meet God with full understanding.  Listen                                               

This sweet setting by Joel Gordon foresees a world in which God’s name will be One.  The music is like a lullaby that brings us closer to God and to a world at peace. 
 Listen

This next example, by Michael Isaacson, adds a sense of hope to the sweetness.  As the voice line soars up high, it evokes in us the feeling of reaching up toward God. 
 Listen

The gentle settings offer one view while the many upbeat settings offer us another insight into the theme of these paragraphs, tikkun olam.  We need enthusiasm to propel us forward, to keep working towards this important ideal.  This setting by Aminadav Aloni begins with a single voice and then is joined by the congregation.  This musical expression reminds us that God alone does not bring about peace but it is up to each of us to participate in repairing the world.  Listen

This bright and upbeat composition by Steve Dropkin also evokes the joy of the promise for tomorrow.  It is no wonder that it is a popular choice for the setting ofBayom Hahu in many of our URJ camps.  Listen

There are many beautiful settings of Bayom Hahu that express our universal hope through music alone.  And, there are many others that poetically contextualize our personal responsibility for creating a better world in which, “On that day, Adonai will be One and God’s Name will be One”.

Amongst the numerous settings of Bayom Hahu in which the songwriter adds his or her own poetic interpretation of the text, this next excerpt of the setting by Doug Cotler, Steve Cotler and Jeff Marx includes the hope and expectation that we will soon live in a better, safer and more caring world.  These words express concern – for peace, safety and security for all people, for a world where there is no hunger, homelessness or desperation, and a world in which, “Each stranger’s face becomes the face of God.”  Listen 

Since Bayom Hahu is so close to the end of our worship service, we seek settings that help us to feel empowered to go out and create the day when “God’s Name will be One.”  So I leave you with this final selection by Lisa Silverstein Tzur. The words pray for a bright future. The voices you hear are of children who are our greatest hope for that bright future.  Listen

Regina Lambert-Hayut was invested by HUC-JIR School of Sacred Music in 2002.  She serves Temple Beth Or, Township of Washington, New Jersey.

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