The New Reform Temple of Berlin

THE NEW REFORM TEMPLE OF BERLIN: CHRISTIAN MUSIC AND JEWISH IDENTITY DURING THE HASKALAH Samuel Teeple A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2018 Committee: Arne Spohr, Advisor Eftychia Papanikolaou © 2018 Samuel Teeple All Rights Reserved iii ABSTRACT Arne Spohr, Advisor During the first decades of the nineteenth century, Israel Jacobson (1768-1828) created a radically new service that drew upon forms of worship most commonly associated with the Protestant faith After finding inspiration as a student in the ideas of the Haskalah, or Jewish Enlightenment, Jacobson became committed to revitalizing and modernizing Judaism Musically, Jacobson’s service was characterized by its use of songs modeled after Lutheran chorales that were sung by the congregation, organ accompaniment, choral singing, and the elimination of the traditional music of the synagogue, a custom that had developed over more than a millennium The music of the service worked in conjunction with Protestant-style sermons, the use of both German and Hebrew, and the church- and salon-like environments in which Jacobson’s services were held The music, liturgy, and ceremonial of this new mode of worship demonstrated an affinity with German Protestantism and bourgeois cultural values while also maintaining Judaism’s core beliefs and morals In this thesis, I argue that Jacobson’s musical agenda enabled a new realization of German-Jewish identity among wealthy, acculturated Jews Drawing upon contemporary reports, letters, musical collections, and similar sources, I place the music of Reform within its wider historical, political, and social context within the well-documented services at the Jacobstempel in Seesen and the New Reform Temple in Berlin Although much of this project discusses general practice rather than specific repertoire, I examine several works composed for these services: a canata by Johann August Günther Heinroth (1773-1843), a hymn by Jacobson, and the 1815 Hallelujah Cantatine by Giacomo Meyerbeer (1791-1864) iv ACKNOWLEDGMENTS I first encountered the topic that would evolve into this thesis over a year and a half ago while reading Deborah Hertz’s How Jews Became Germans: The History of Conversion and Assimilation in Berlin, which featured a short section describing what would eventually become the third chapter of this book The entire premise of this project is heavily indebted to Hertz’s theorization of German identity among the acculturated Jews of Berlin, in addition to the work of Michael A Meyer, Abraham Z Idelsohn, Tina Frühauf, and Ruth HaCohen I am also beyond grateful to my advisor, Dr Arne Spohr—he first lent me Deborah Hertz’s book after he happened upon it in a Detroit bookstore and thought that I would enjoy it Beyond that first introduction, Dr Spohr has been instrumental to my success in countless ways, but especially through his assistance in translating the many German sources required for this project Dr Eftychia Papanikolaou also offered invaluable support during this process through her detail-oriented revisions and advice on how best to structure my writing (her suggestion was usually to get to the point, a reminder that I often require) I am also thankful for the time donated by Dr Samuel Adler in helping me find the musical sources most essential to the earliest stages of my research On a more personal note, thank you to Bob and Mary Coffey, two friends and musicians who for many years sponsored my musical education with a generous scholarship Lastly, I want to thank my mother, Sandra Smith, who has been my biggest supporter through 25 years and three degrees After sending her the first complete draft the morning that I finished it, she called me that evening to tell me that she had read through the first five pages and loved what I had to say I highly doubt that any other compliment will ever make me feel as accomplished v TABLE OF CONTENTS Page INTRODUCTION CHAPTER I THE HISTORICAL ORIGINS OF REFORM JUDAISM Musical Components of Jewish Worship The Music of the Second Temple and the Aftermath of its Destruction Synagogue Music and European Influence Among the Ashkenazim 11 Musical Innovations of the Hazzanim 13 Synagogue Music in Berlin 18 Conclusion 21 CHAPTER II ISRAEL JACOBSON'S AGENDA OF MUSICAL REFORM IN SEESEN 23 The Influence of the Haskalah 23 Israel Jacobson: Educational and Religious Reform 26 The Consecration of the Jacobstempel 30 Johann August Günther Heinroth’s Cantata 34 Lutheran-Influenced Hymnals of Reform Judaism 39 Conclusion 43 CHAPTER III THE NEW REFORM TEMPLE OF BERLIN, 1815-1823 45 Conversion Crisis among the Bildungsbürgertum 46 1815: First Iteration of the New Reform Temple 53 1816-1823: The New Reform Temple in the Beer Mansion 57 Giacomo Meyerbeer’s Hallelujah Cantatine 62 Conclusion 70 vi CONCLUSION 72 BIBLIOGRAPHY 75 APPENDIX A: KOL NIDRE CHANT NOTATED BY AARON BEER (1739-1821) 79 APPENDIX B: WENN ICH, O SCHÖPFER, NO 1, JACOBSON HYMNAL 81 vii LIST OF EXAMPLES Example Page 1.1 Excerpt from Hashirim asher lish’lomo, Canto Part Book 15 2.1 Wenn ich, o Schöpfer, No 1, 1810 Jacobson Hymnal 40 3.1 Excerpt from Giacomo Meyerbeer, Hallelujah Cantatine, mm 136-140 64 viii LIST OF FIGURES Figure Page 1.1 Engraving of the Heidereutergasse Synagogue by A.M Werner, ca 1720 20 2.1 Wooden Model, Jacobstempel 28 2.2 Interior of the Jacobstempel 28 2.3 Organ of the Jacobstempel, photographed in 1910 29 2.4 Text to Heilig ist der Herr, Gott Zebaoth, Johann August Günther Heinroth 37 3.1 Converts in Berlin, 1800-1874 (number of cases: 4,635) 51 3.2 Proportion of Berlin Jews Converting 51 3.3 Sketch of the New Reform Temple in the Beer Mansion by Isaak Markus Jost 60 ix LIST OF TABLES Table 3.1 Page Labels from Jost’s Sketch in German and English 60 INTRODUCTION The assertion that music plays a fundamental role in group identity formation is by no means a new idea Many musicologists and ethnomusicologists have investigated the multifarious ways that music is deployed within a community: it can cement shared bonds, demarcate boundaries, communicate beliefs, and produce schisms, often all at the same time The purpose of this project, which takes as its subject the first iteration of Reform Judaism, is deeply tied to my own curiosity about how ostensibly simple forms of music can express complex ideology and negotiate cultural boundaries To that effect, this thesis will explore the adoption of Protestant-influenced music within new forms of German-Jewish worship at the turn of the nineteenth century Through the course of my study, I will demonstrate that within the context of the Reformed Jewish service, the use of Christian music served to communicate a new possibility of German-Jewish identity The problem that Reform Judaism arose to solve was that of Jewish subjugation Throughout Europe, Jews were commonly considered to be cultural outsiders, a dispersed nation that was met with toleration at best and violent persecution at worst Until the late eighteenth century, Jews were not recognized as citizens in any European state and lacked most rights and protections Within society, the popular image of the Jew was overwhelmingly negative—not only in that its qualities were generally undesirable, but that these qualities were defined in Following the French Revolution, France became the first government to grant citizenship to Jews in 1792 Paul Mendes-Flohr and Jehuda Reinharz, eds., The Jew in the Modern World: A Documentary History, 2nd ed (New York: Oxford University, 1995), 112 67 that Kley founded in 1817 after leaving Berlin The original German printed in the Schott edition is included below Heilig! heilig! Gott der Welten, Heilig du, — dein Name sei heilig! Herrlich groß, sehr groß in deinen Werken, Alles ruft dir mit Entzücken Hallelujah! Betet an, o Staubgeborne, Er, der Heilige, erscheint Miriaden Sonnen flammen, —er, der Heilige, erscheint Schweigt, staunt und betet an mit Hallelujah Könige der Erden, zittert, betet vor ihm, Nationen Er ist aller Könige König, aller Herren Herr Gott nur ist’s Hallelujah Unerschaffner in den Höhen! Wer kann rein vor dir bestehen? Was nur Odem hat, vergehet; Du allein, du bist ewig, Zebaoth Hallelujah! Singt dem Herrscher, Erdbewohner! Singet ihm Preis, ihr Kreaturen In der Himmel Heiligthume Thront er ewig, herrscht er heilig Hallelujah! 76 Although a full analysis has yet to be undertaken regarding potential connections between this text and traditional Jewish liturgy, a cursory examination reveals no exclusively Jewish ideas Kley’s text celebrates the glory of God and calls for the audience to praise and worship him: “Silence, marvel, and worship with Hallelujah,” “Sing to the ruler, dwellers of Earth!” Kley’s text is a poetic treatment that most notably recalls the Sanctus of the mass, which also begins with a repetition of the word “holy” (heilig in German) Kley also references various excerpts from the Old Testament such as Isaiah 6:3, in which an angel heralding God called out “Heilig, 76 German text included in the preface to Giacomo Meyerbeer, Hallelujah: eine Cantatine 68 heilig, heilig ist der Herr Zebaoth; alle Lande sind seiner Ehre voll!” 77 Kley’s text is organized into five stanzas that conclude with the interjection of “Hallelujah,” a structure that is reflected in the verse-chorus form of Meyerbeer’s musical setting Based on a service order of the New Reform Temple that was published in Sulamith, it is likely that a musical work with a newlycomposed text like the Cantatine would close the service, as the eighteenth and final item of the service was described as a “three voice edifying song” sung by a male chorus of worshippers 78 As one of the few surviving pieces of music utilized in the New Reform Temple (aside from the songbooks of Protestant hymns sung to Hebrew text), Meyerbeer’s Hallelujah Cantatine is an extremely valuable demonstration of how the Berlin Reformers used music to express specific values of culture, politics, and identity Unlike many of the chorale hymns used in the New Reform Temple that repurposed traditional Lutheran melodies, the Hallelujah Cantatine was newly composed, illustrating the musical values held by Meyerbeer and his father, the host of the Temple Simplicity and solemnity were prized over virtuosity and complexity, as seen in the Cantatine’s “flowingly simple” vocal lines, 79 limited orchestration, and consonant harmonies To a contemporary listener in the New Reform Temple, the Hallelujah Cantatine would sound very different from the music of the opera and concert hall, more closely resembling the plainly-constructed hymns sung by the congregation during worship The work was intended to function in context with the Reform service as a whole, reinforcing the emotional yet decorous feeling of devotion inspired by the candlelit, “romantically decorated” interior, moving sermons, and congregational singing 77 Isa 6:3 Luther Bible 1545 “Nachricht aus Berlin,” Sulamith 79 “J.H Beer an Meyerbeer in Paris,” 281 78 69 Although the Beers, Jacobson, and their fellow Berlin Reformers were able to sustain the popularity of the New Reform Temple for six years, political struggles with the Prussian state, Orthodox rabbis, and even among the Temple’s organizers were constant At some point, the leaders of the Temple were forced by popular demand within the congregation to hire the hazzan Asher Lion (1776-1873) who later went on to succeed Aaron Beer as the hazzan of the Berlin Synagogue Although Abraham Idelsohn described Lion as “without a voice but with some modern culture,” it is likely that he led at least some of the prayers or readings in the traditional styles of synagogue song and cantillation 80 Meanwhile, the Orthodox Jews of Berlin began to lobby the government to close the New Reform Temple, finally motivated to oppose it due to “the prospect of a permanently divided synagogue,” as the current solution was to remodel the synagogue to hold a second Reform service 81 Ultimately, the repairs to the synagogue were completed in 1823 and the King, motivated by fears of religious schism and a desire to retain control and order, agreed with the Orthodox rabbis that there should be only one service in one location Eight and a half years after Israel Jacobson opened his home for the celebration of his son’s confirmation, the New Reform Temple’s final closure was ordered by King Frederick William III on December 9, 1823: Occasioned by the attached representation of a part of the local Jewish community, I once more determine hereby that the Jewish religious service shall be conducted only in the local synagogues and only according to the rite previously in use, without the least innovation in language or ceremonial, in prayers or in singing, and wholly in accordance with the ancient ordinances I hold you [Jewish officials] under obligation to adhere strictly to this order and to tolerate no sects whatsoever among the Jews in my state 82 80 Idelsohn, Jewish Music, 236 Meyer, “Reform Controversy,” 145 82 Ibid 81 70 Conclusion In the city of Berlin, where growing numbers of wealthy acculturated Jews were converting to Christianity and the traditional influence of the Jewish elders and rabbinate had shrunk, Jacobson’s reforms found another life in an explicitly bourgeois context Although Orthodox rabbis of the city viewed Jacobson’s service as a violation of religious law, the Jewish Bildungsbürgertum gladly supported Jacobson in the face of increasing conversions While the core tenets of Jacobson’s agenda were continued in the New Reform Temple (use of German, chorale-like hymns, organ accompaniment, sermons, etc.), the space in which his service was held transformed drastically—from a small building in the countryside that resembled a Protestant church, to a large group of rooms in a private mansion decorated with gold, candles, and expensive fabrics Within Jacobson’s apartments and later the Beer home, the Temple began to take on the aesthetics of the salon and with it the intense, inwardly-focused religiosity associated with Bildung and Pietist-influenced strands of Lutheran worship Giacomo Meyerbeer’s Hallelujah Cantatine demonstrates how these ideals were realized in the “austere, noble style” described by E.T.A Hoffmann 83 While Jacobson’s replacement of the traditional Jewish music of cantillation and prayer formulas with musical elements of Christian worship reflected a desire to align Judaism more closely with Christianity, it is important to note that he and his fellow Reformers sought to transform the character of Jewish worship rather than the content The emotional yet mannered atmosphere, amplified by the musical language typified in Meyerbeer’s Cantatine and the congregational singing of hymns, expressed the German values of the Bildungsbürgertum in the context of Jewish belief At a time when conversion was seen by many as a prerequisite to 83 Hoffmann, “Old and New Church Music [1814],” 359 71 membership in the German nation, the decision of those that attended the New Reform Temple to actively claim Jewish identity cannot be discounted 72 CONCLUSION Although the New Reform Temple was open for less than eight years, the vision of Judaism that it presented was highly appealing to Jews who were dissatisfied with the traditional synagogue Through the Jacobsschule, the Jacobstempel, and the New Reform Temple, Israel Jacobson influenced many who went on to found or participate in later Reform efforts; the most notable example was Eduard Kley, a preacher at the New Reform Temple who among many other accomplishments wrote the text to Meyerbeer’s Hallelujah Cantatine In 1817, Kley had grown frustrated after his ideas were deemed too progressive for Berlin and left for the city of Hamburg After teaching at the local Jewish school and holding public prayer meetings in the manner of the New Reform Temple, Kley found enough interest to found the New Israelite Temple Association with Jacobson’s assistance by December of that year While Kley organized his services with the same liturgical and musical features as in Berlin, the New Israelite Temple gained permanency and stability where Berlin did not, staying open until the events of 1938 forced its closure A number of smaller temples inspired by Jacobson’s reforms opened with less longevity or success such as in Karlsruhe, but even these supposed failures served to spread the agenda of Reform; upon being reabsorbed into the Orthodox congregation after three years, the Karlsruhe reformers were able to incorporate some of their ideas into the traditional synagogue In Leipzig, a semi-annual Reform service was held in occasion with the city’s fleece fair that brought Jews from all over Eastern Europe; Jacob R Marcus attributes to these services the introduction of Jewish Reform in countries like Russia and Poland Meyer, Response to Modernity, 54 Ibid., 56-57 Ibid., 57 Marcus, Israel Jacobson, 127 73 As Reform Judaism firmly established itself in the middle of the nineteenth century, many of the new generation began to see Jacobson’s original program as entirely too radical Salomon Sulzer (1804-1890), the hazzan of the Vienna Reform Temple, characterized the reforms of Berlin and Hamburg as “ill-fated.” Sulzer also believed that the new services were founded on the untenable idea that “the regeneration of the service can be materialized only by an entire break with the past,” constituting an outright and inappropriate rejection of Jewish tradition The liturgical music of Sulzer’s generation took the traditional modes, melodies, and stylistic characteristics as its foundation, but were, in Sulzer’s words, “improved, selected and adjusted to the rules of art.” Even Abraham Idelsohn, the Jewish musicologist whose work heavily informed this project, wrote in 1929 that “with the abolition of the entire Jewish song, the Jewish spirit was simultaneously forced out.” The songbooks of Kley, Jacobson, and other Reformers, in concert with independent pieces like the Hallelujah Cantatine, represent an essential strand of the ideology and historical context in which Reform Judaism came to prominence In the future, I plan to further investigate the published repertoire associated with early Reform, especially the published hymnals and songbooks Because music was such an essential part of this style of worship, the associations of text and melody may illuminate the political, social, and cultural beliefs of the congregations that used them The diverse historical and social currents at work within Jacobson’s musical agenda are reflected in the services of the New Reform Temple and the events surrounding its popularity The discourse of early German nationalism and its ideal of an ethnic, Christian Volk isolated Idelsohn, Jewish Music, 248 Ibid., 249 Ibid., 244 74 acculturated Jews from their claim to German identity Familiar with German culture and raised with the practice of Bildung but estranged from the Hebrew language and Jewish traditions, the Jewish Bildungsbürgertum of Berlin was alienated from the synagogue and the Jewish community, leading to an unprecedented spike in conversions Within this context, Jacobson’s reform became clearly defined as a way to not only maintain Jewish identity, but renegotiate its boundaries to fit within the demands of German modernity Through the deployment of Christian-influenced music in Jewish worship, perhaps the most essential element of the Reform service, Jacobson demonstrated a potential path toward the reconciliation of German and Jewish identities 75 BIBLIOGRAPHY Baader, Benjamin Maria Gender, Judaism, and Bourgeois Culture in Germany, 1800-1870 Bloomington: Indiana University Press, 2006 Becker, Heinz Giacomo Meyerbeer: Briefwechsel und Tagebücher Vol Berlin: Walter de Gruyter and Co., 1959 Bilski, Emily D., and Emily Braun, eds Jewish Women and Their Salons: The Power of Conversation New Haven: Yale University Press, 2005 Binder, Donald Drew “Into the Temple Courts: The Place of the Synagogues in the Second Temple Period PhD Diss., Southern Methodist University, 1997 ProQuest (9815562) Brämer, Andreas, Mirko Przystawik, and Harmen H Thies, eds Reform Judaism and Architecture Vol Forschungsstelle für jüdische Architektur in Europa Petersberg: Michael Imhof and Bet Tfila, 2016 Clarke, Christopher M Iron Kingdom: The Rise and Downfall of Prussia, 1600-1947 Cambridge, MA: Harvard University, 2006 Dahlhaus, Carl Nineteenth-Century Music Trans J Bradford Robinson Berkeley: University of California, 1989 Einstein-Barzilay, Isaac “The Ideology of the Berlin Haskalah.” Proceedings of the American Academy for Jewish Research 25 (1956): 1-37 “Feierlich Einweihung des Jacobs Tempels in Seesen.” Sulamith 3, no (1810): 298-317 Frassl, Joachim Die Jacobson-Schule in Seesen mit Tempel und Alumnat: Jüdische Architektur als Ausdruck von Emanzipation und Assimilierung im 19 Jahrhundert New York: Georg Olms, 2009 Frühauf, Tina The Organ and its Music in German-Jewish Cultures Oxford: Oxford University Press, 2011 Gesänge bey der Weihe der Göttingischen Universitätskirche abzusingen Göttingen: Herbst, 1822 Glatzer, Nahum N “On an Unpublished Letter of Isaak Martin Jost.” Leo Baeck Institute Year Book 22, no (1977): 129-137 HaCohen, Ruth The Music Libel Against the Jews New Haven: Yale University Press, 2011 76 Hertz, Deborah “Emancipation through Intermarriage? Wealthy Jewish Salon Women in Old Berlin.” In Jewish Women in Historical Perspective Ed Judith R Baskin 2nd ed Detroit: Wayne State University, 1998 Hertz, Deborah How Jews Became Germans: The History of Conversion and Assimilation in Berlin New Haven: Yale University Press, 2007 Hoffmann, E.T.A “Old and New Church Music [1814].” In E T A Hoffmann’s Musical Writings: Kreisleriana, The Poet and the Composer, Music Criticism Ed David Charlton Trans Martyn Clarke New York: Cambridge University Press, 1989 Idelsohn, Abraham Zevi Jewish Music and its Historical Development New York City: Tudor Publishing Company, 1948 Jacobson, Israel Hebräische und Deutsche Gesänge zur Andacht und Erhauung, zunächst für die neuen Schulen der Israelitischen Jugend in Westphalen Kassel: Waisenhaus Buchbruckerei, 1810 Jacobson, Joshua R “We Hung Up Our Harps: Rabbinic Restrictions on Jewish Music.” Journal of Synagogue Music 25, no (1998): 33-53, see 35-38 Jahns, Hubert “1810-2010: 200 Jahre Synagoge Seesen, 200 Jahre Synagogenorgel.” City Administration of Seesen http://www.stadtverwaltungseesen.de/index.php?La=1&&object=tx%7C1601.131.1&kat=&kuo=1&sub=0 Keßler, Katrin, Ulrich Knufinke, and Mirko Przystawik “Architektur und musikalischliturgische Praxis: Orgelsynagogen zwischen Klassizismus und Früher Moderne.” Pardes 20 (2014): 13-32 Kley, Eduard, and Carl S Günzberg Die deutsche Synagoge: oder Ordnung des Gottesdienstes für die Sabbath- und Festtage des ganzen Jahres zum Gebrauche der Gemeinden, die sich der deutschen Gebete bedienen Berlin: Mauerer, 1817 Kley, Eduard, ed Melodien zu dem Israelitischen Gesangbuche Hamburg: B.G Berendsohn, 1848 Konrad, Ulrich “Johann August Günther Heinroth Ein Beitrag zur Göttinger Musikpflege und Musikwissenschaft im 19 Jahrhundert.” In Musikwissenschaft und Musikpflege an der Georg-August-Universität Göttingen: Beiträge zu ihrer Geschichte Ed Martin Staehelin Göttingen: Vandenhoeck & Ruprecht, 1987 Kors, Allen Charles, ed Encyclopedia of the Enlightenment Oxford: Oxford University, 2005 Krinsky, Carol Herselle Synagogues of Europe: Architecture, History, Meaning Mineola, NY: Dover, 1985 77 Langer, Ruth Jewish Liturgy: A Guide to Research New York: Rowman & Littlefield, 2015 Liedtke, Rainer, and David Rechter, eds Towards Normality? Acculturation and Modern German Jewry London: Leo Baeck Institute, 2003 Marcus, Jacob R Israel Jacobson: The Founder of the Reform Movement in Judaism Cincinnati: Hebrew Union College Press, 1972 Mendes-Flohr, Paul German Jews: A Dual Identity New Haven: Yale University, 1999 Mendes-Flohr, Paul, and Jehuda Reinharz, eds The Jew in the Modern World: A Documentary History 2nd ed Oxford: Oxford University Press, 1995 Meyer, Michael A Response to Modernity: A History of the Reform Movement in Judaism Detroit, MI: Wayne State University Press, 1995 Meyer, Michael A “The Religious Reform Controversy in the Berlin Jewish Community, 18141823.” Leo Baeck Insitute Year Book 24 (1979): 139-155 Meyerbeer, Giacomo Hallelujah: eine Cantatine für Männerstimmen mit Begleitung einer obligaten Orgel und des Chores ad libitum Ed Hermann Max (Mainz: Schott, 2013) “Nachricht aus Berlin.” Sulamith 4, no (1815): 66-70 Rossi, Salamone Hashirim asher lish’lomo Venice: Pietro e Lorenzo Bragadino, 1623 Rubin, Emanuel, and John H Baron Music in Jewish History and Culture Sterling Heights, MI: Harmonie Park, 2006 Sela-Teichler, Yael “Music, Acculturation, and Haskalah between Berlin and Königsberg in the 1780s.” The Jewish Quarterly Review 103 no (2013): 352-384 Skolnik, Fred, and Michael Berenbaum, eds Encyclopaedia Judaica 2nd ed Detroit: Macmillan Reference USA, 2007 Smith, J.A “Which Psalms Were Sung in the Temple?” Music and Letters 71 no (1990): 167186, see 167 “Synagoge.” Jacobson-Haus http://jacobson.haus/?p=70 Thistlethwaite, Nicholas, and Geoffrey Webber, eds The Cambridge Companion to the Organ New York: Cambridge University Press, 1998 Vital, David A People Apart: The Jews in Europe, 1789-1939 New York: Oxford University, 1999 78 Walden, Joshua S., ed The Cambridge Companion to Jewish Music New York: Cambridge University Press, 2015 79 APPENDIX A: KOL NIDRE CHANT NOTATED BY AARON BEER (1739-1821) 1 Abraham Zevi Idelsohn, Jewish Music in its Historical Development (New York: Tudor, 1929), 150-151 80 81 APPENDIX B: WENN ICH O SCHÖPFER, NO 1, JACOBSON HYMNAL2 Israel Jacobson, Hebräische und Deutsche Gesänge zur Andacht und Erhauung, zunächst für die neuen Schulen der Israelitischen Jugend in Westphalen (Kassel: Waisenhaus Buchdruckerei, 1810) I would like to thank Dr Joachim Frassl, who shared his images of the hymnal for this project ... III THE NEW REFORM TEMPLE OF BERLIN, 1815-1823 45 Conversion Crisis among the Bildungsbürgertum 46 1815: First Iteration of the New Reform Temple 53 1816-1823: The New Reform Temple. .. of music within the synagogue, tracing the lineage of the New Reform Temple from the destruction of the Second Temple in 70 CE to the gradual transformation of Jewish liturgical music among the. .. political currents of Berlin interacted with Jacobson’s agenda of reform, while also tracing the relationship between Bildung, the music of the New Reform Temple, and the aesthetic of devotion Jacobson’s