The music of Sephardic Jews can be read from various diversified points of view. Among them, the historical, liturgical and non-liturgical music of the Hebrews dating from the pre-Biblical times, religious music at the first and second Solomon’s Temples, musical activities quickly regarding the Exodus – the apparently broke religious musical activities during the early middle ages.
Early emergences of Jewish musical themes and of what can be termed “the idea of being Jew” in New York, Europe, music can be original observed in the works of Salamone Rossi.
Fromental Halevy’s (1799-1862) opera La Juive and its exclusive use of any Jewish themes are exposed to the lack of “anything Jew” in his almost contemporary fellow composer Jacques Offenbach (1819-1880) who was truly Jew and grew up in decent Jewish culture.
Several learners did not miss the Synagogue ideas and themes obtained by George Gershwin in his Porgy and Bess. Gershwin biographer Edward Jablonski has declared that the theme to “It Ain’t Necessarily So” was chosen from the Haftarah blessing and lately have attached it to the Torah blessing.
In Gershwin’s some 800 songs, references to Jewish music have been identified by additional observers as well. One musicologist found “an incredible coincidence” between the folk tune “Havenu Shalom Aleichem” and the religious “It Take a Long Pull to Get There”.
One of the most remarkable contemporary Israeli composers are Chaya Czernowin, Betty Olivera, Tsippi Fleisher, Mark Kopytman, Yitzhak Yedid.
A banker during the day but a talented artist and musician by the night- Ari Afilalo takes keen interest in the musical heritage and helps helps preserve the authenticity of the art with active participation.