CCAR RESPONSA
New American Reform Responsa
53. A Concert Mass in the Synagogue
QUESTION: A community junior college, which is a friendly next door neighbor of our Temple, is planning a spring concert featuring the “Requiem” by Faure The college auditorium is undergoing renovation and will not be available for this concert. May the Temple itself be used for the performance of this “Requiem” rooted in Christian theology or may it be presented in the Temple auditorium? (Rabbi Samuel M. Stahl, San Antonio TX)
ANSWER:We should divide this question into two segments. We will first deal with the use the synagogue itself for a musical performance and then for the performance of a specifically Christian piece.
Some traditional authorities have felt that all music, both vocal and instrumental, is out of place in Jewish life (San 101a; Git 7a). This was the opinion of Mar Ukba who based it upon the verse, “Do not rejoice O Israel among the peoples” (Hos 9.1). This was introduced as a form of mourning for the destruction of the Temple. This prohibition was also found in the later codes and some responsa (Maimonides Responsa (ed) Freimann #370; Yad Hil Taanit 5.14; Tur Orah Hayim 560). These strict statements were, however, modified by custom so that rejoicing and music at weddings became permitted. It was considered permissible to ask a non-Jew to play an instrument at this happy time (Yad Hil Taanit 514; Tur Orah Hayim 338; Shulhan Arukh Orah Hayim 560.3). Others permitted music and based it on the comment of Mar Ukba, at the beginning of the tractate Berakhot, stating that only love songs were prohibited, but music which praised God was permitted. Leon De Modena (1571 – 1648) provided a thorough discussion of the sources and indicated that there was no logic in prohibiting beautiful music which praises God without also asking cantors to sing off-key to obey such an injunction. According to him both instrumental and vocal music were permitted in the synagogue (Zikhnei Yehudah #6). Music which accompanied a mitzvah is permitted. A trend toward leniency may be seen in the Shulhan Arukh(Orah Hayim 561.3).
In modern times the question has arisen again in a different fashion through the controversy over the organ in the synagogue. The numerous responsa on this issue dealt with instrumental music during the service (Die Orgelfrage; Eleh Divrei Haberit; David Hoffmann, Melamed Lehoil Vol 1 #16). Our question arose also during the Nazi period when synagogues suddenly became the center for all Jewish life, both religious and cultural. The Orthodox authority Yehiel Weinberg prohibited secular concerts in his synagogue in Berlin; he felt that even religious concerts should be preceded by psalms to provide a spiritual setting (Seridei Esh,Vol 2 #12). Liberal Jews, faced with the same problem in Nazi Germany, agreed to the use of synagogues for secular concerts. They felt that serious music did not violate the spiritual character of the synagogue. We would agree to the use of a synagogue for concerts in keeping with the mood and purpose of the synagogue.
Now let us deal with the use of the synagogue for a specific Christian performance as the Mass. Our attitude is determined by our feelings about Christianity. A historic review of Judaism’s changing attitude toward Christianity demonstrates that we had moved from considering it as idolatry by the Middle Ages. We considered both Christians and Islam as monotheistic religions. Therefore, the ancient restrictions against pagans do not apply to Christians (W. Jacob Contemporary American Reform Responsa #167). We continue to emphasize that the Christian concept of God and its fundamental attitudes differs sharply from ours (Isserles to Shulhan Arukh Orah Hayim 156). In secular matters, Christians are benei noah,but in religious matters distinctions must remain.
We have gone considerably further than previous generations and have been willing to share facilities with Christian churches as the military chapels of the United States Armed Forces. In addition, many synagogues like my own have lent facilities within the building to various Christian groups over longer periods of time during emergencies. This meant that entirely Christian services were conducted within the synagogue setting.
The answer to your question, therefore, rests as much on the contemporary mood as on halakhicprecedents. We stress openness and friendship, but with limits; it is permissible for Faure’s “Requiem” to be performed within the synagogue building, but preferably not in the synagogue itself.
February 1989
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