Yahrtzeit Yomi #1518!!
כה סיון (Shabbos)
Reb Yossele Rosenblatt
The King of Cantors
ר׳ יוסף ב״ר רפאל שלום רוזנבלט
מלך החזנים
(1882 - 1933)
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Friends, as any seasoned Yahrtzeit Yomi subscriber knows by now, NOBODY can do it as well as Reb Yaakov Brown, Curator of Klal Yisrael!!
On the occasion of the 92nd yahrtzeit of Reb Yossele Rosenblatt zl (כה סיון), YY is honored to present the following stunning tribute to “The King of Cantors”.
Our utmost gratitude is extended to Reb Yaakov Shlita for his gracious and selfless dedication to the cause of spreading inspiration to the Jewish people!!
עם ישראל חי!!---------------------------------------------------
https://jewishmusicalnotes.com/yossele-rosenblatt-zl-1882-1933-25th-of-sivan/
🕯Yahrtzeit – 25 Sivan ~ Yossele Rosenblatt🕯
By a show of hands, how many of you are fans of chazzanus? (......Insert crickets here......) That’s what I thought. However, in spite of this, it behooves us to step outside of our normal comfort zones, and very briefly (- emphasis on neither very nor briefly -) cover the life and career of The King of Cantors - The Golden Voice of Jewish Music, Yossele Rosenblatt. I think you’ll find it’s worth the read.
Standing at not much more than five feet tall, Rosenblatt was still an impressive figure with his heavy, dark beard and fastidious appearance. Until the early post–World War I years, Rosenblatt pretty much dominated the world of chazzanus in America. Reviewers sometimes described him as a man with two, even three voices: a warm baritone, a ringing tenor, and a shimmering falsetto. What's more, he could navigate between them with ease.
Rosenblatt, almost completely self-trained, had perfect pitch and could read the most difficult musical score at sight. He had a pure voice of extraordinary sweetness and carrying ability. The placement of his voice was fantastic. It was facetiously said that he could hit a fly in the gallery with a high B Flat. The voice itself was not large in size or in volume, but so well was it placed that it carried to the furthest part of any auditorium with utmost ease, whether in a heavenly pianissimo or in a ringing forte.
His range was phenomenal. To get a little more technical for the vocalists out there, he sang into bass clef with no effort whatsoever and was able - in falsetto - to reach a sustained E above high C, a male range extending some three octaves, about a third more than is customary for an average good operatic tenor.
The singer's vocal control was something that had to be heard to be believed. His ability to sing runs, trills, sustain a legato, handle coloratura passages and to color his voice all came from a technique no longer taught and which has not been known for well over three-quarters of a century. Altogether, the sweet timbre of his voice, the superb control he displayed, the incredible range and his trademark “Rosenblatt sob,” inspired his congregants and thrilled his concert audiences.
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