Gartels and Music

For more than half a century, I’ve been involved in the field of Jewish music. My first professional experience came when I was 14 years old and got paid $5 for playing my accordion at a reception for Rav Moshe Feinstein. Since then, I’ve been actively involved in all phases of music as a music teacher, composer, performer, and producer of several albums. Even today, I continue to be a part of the vibrant Jewish music community.

Over the years I’ve thought a great deal about our music. I’ve analyzed it and asked many questions. Are the new melodies being written true Jewish expression, or simply Jewish entertainment? Do we have an obligation to respect long-held musical traditions, or should we break boundaries and enter new, uncharted musical realms? Are musical creations a G-d-given gift, or a structured, carefully crafted melodic product? How far should composers go to compromise their artistic vision to respond to popular demands and tastes?

Quite obviously there are many more thoughts and ideas that have been and should be addressed, but for the moment let this suffice.

Recently I met with a distinguished, well-known, and respected rosh yeshivah — a true mechanech, and a mentor of young men and women. He knew I worked in the field of Jewish music, and so he asked me how we might refocus and reeducate the current generation of young people to be more discerning in their musical tastes. Most specifically he was uncomfortable with the musical sounds and style of dancing he heard and observed when his students participated in simchahs.