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</script><h1>Israel Meyer Japhet</h1><div class="hd"><a href="http://en.instr.scorser.com/C/All/Israel+Meyer+Japhet/All/Alphabeticly.html">All Compositions</a></div><div class="clear10"></div><h2>Compositions for: Trombone</h2><div class="clear10"></div><div class="clear10"></div><script async src="https://pagead2.googlesyndication.com/pagead/js/adsbygoogle.js?client=ca-pub-7958472158675518"
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</script><div class="clear10"></div><div class="clear10"></div><a href="https://en.wikipedia.org/wiki/Israel_Meyer_Japhet">Wikipedia</a><div class="p">Israel Meyer Japhet (7 March 1818—10 November 1892) was a teacher, choir director, and grammarian. He was choir director at the Realschule (Adass Jeschurun) in Frankfurt am Main under Rabbi Samson Raphael Hirsch, and composed music for synagogue use, many pieces of which are still in use today.</div><div class="p">Israel Meyer Japhet was born in Kassel, Germany. His parents were Meyer Japhet (1782–1866) and Deborah Weinberg (1783–1843).</div><div class="p">At age 17, he attained his first position as a choral director and religious teacher in Wolfhagen. Subsequently, he held a similar position in Gudenberg, where he came into contact with Rabbi Mordechai Wetzlar. Wetzlar had a strong influence on Japhet's development and outlook.</div><div class="p">From 1852-1892, he was choir director and religious instructor for the Orthodox congregation in Frankfurt am Main.</div><div class="p">For his works on grammar he used new methods of teaching in his textbooks.</div><div class="p">In Germany, the Reform movement in Judaism was having a great effect on synagogue music. Composers such as Solomon Sulzer and <a href="http://en.instr.scorser.com/C/Trombone/Louis+Lewandowski/All/Popularity.html">Louis Lewandowski</a>, wanting to emulate the use of music in churches, incorporated organs and mixed choirs into the liturgy of the Reform, and developed an elaborate compositional style. (Orthodox halakha forbids the use of women's voices and the use of musical instruments on the Shabbat.) Japhet introduced choral singing as well, since he agreed that the use of a choir provided a revitalization of synagogue prayer. In keeping within halakha, his choirs consisted solely of men and boys. Aside from halakhic issues, Japhet felt that instruments and elaborate compositions could not compare with the feelings inspired by simple melodies and music. He felt that tunes used by previous generations can be a source of great inspiration, and retained many known liturgical tunes. His liturgical musical compositions were favored because of their simplicity (making them easy to sing), and because so many were based on existing synagogue tunes that were like folk songs. When he published his musical compositions, Shire Jeschurun, the introduction had commendations from noted composers such as <a href="http://en.instr.scorser.com/C/Trombone/Ignaz+Lachner/All/Popularity.html">Ignaz Lachner</a>, <a href="http://en.instr.scorser.com/C/Trombone/Giacomo+Meyerbeer/All/Popularity.html">Giacomo Meyerbeer</a>, <a href="http://en.instr.scorser.com/C/Trombone/Louis+Spohr/All/Popularity.html">Louis Spohr</a>, and others.</div><div class="p">Japhet died in Frankfurt am Main.</div><div class="p">Japhet married Katherine Therese Seckel (1822–1899) and had 2 children, Mathilde (1852–1931) and Samuel (1858–1954). Mathilde married Hermann Schwab (1851–1919), who would edit several later editions of Japhet’s publications.</div><div class="p">Nearly all of Japhet's publications were reprinted in later editions (some with revisions) through the 1920s. Listed below are dates of first publication.</div></body></html>