There are very many people who can still recall with tremendous pleasure, the exquisite singing of Chazan Pinchas Faigenblum, who graced the London Cantorial scene for more than thirty years.

Faigenblum was born in Warsaw, where his father, Avraham,  was well-known as a fine Baal-Tephillah.  However, the main encouragement  to become a Chazan came from his mother Esther, who believed that in the Synagogue, there would be little opportunity for him to 'become a Goy.'(!)

In order to avoid conscription, Avraham took his family to Antwerp, and Pinchas soon joined the choirs of first, Chazan Sobolsky and then Chazan Raphael Melamedoff.

Owing to the outbreak of the First World War, the Faigenblum family came to London in 1914, and they settled at Highbury.

Returning to Antwerp after he war, Pinchas worked in the fur and diamond trades. He also returned to singing in Shul choirs and concentrated seriously on his vocal and musical studies at the Conservatoire de Music d'Anvers.  With three friends, he formed a quartet which performed extensively, including a series of concerts on Brussels Radio.  In these concerts they sang in Hebrew, Yiddish, Spanish, German and Italian.

It was in Brussels in 1936 that he obtained his first position as Chazan, at the Rue de Langlangtiere Synagogue and, in 1937 he married Fanny Zakon.

Since war was once again in the air, Pinchas made efforts to obtain a position in London and was appointed at the Nelson Street Sephardishe Shul, where he remained for five very happy years.  From there he went to Wintown Street, Leeds for two years and Leases Park, Newcastle, for the following two years.

In 1948 he came to Willesden, London, where he remained until 1959, after which he moved to the Cricklewood Synagogue, in Walm Lane, just down the road.

Pinchas was very fortunate to have as his choirmaster in Willesden, Martin White, who was also the Director of the London Jewish Male Voice Choir.  The services at Willesden, especially during the Yamim Noraim, were reputed to have been outstanding, and undoubtedly there are some people reading this who will recall those occasions.

Chazan Faigenblum was very active in the famous London Jewish Male Voice Choir, writing out the various parts (this was in the days before photo-copiers), and frequently appearing as Chazan-soloist.  In 1975 he put out a record containing nine items that he had performed with the choir, both with Martin White and his successor, Emmanuel Fisher.

Faigenblum was very modest about his exceptional abilities, and it was only after a great deal of pestering from his closest friends and admirers that he was persuaded to issue this record.

Although the quality of most of the pieces is not up to modern standards, it still captures the excellence of the choir and the qualities that made Pinchas Faigenblum one of the finest Chazanim ever to hold a regular pulpit in London.

I was recently privileged to interview Chazan Pinchas Chaim Faigenblum by-cassette recording. For convenience and brevity's sake, we  agreed to refer to him as 'PCF'. It has been my pleasure to know PCF since 1949, and I feel that I am quite entitled to designate him  "Doyen" of the London United Synagogue Chazanim, since he 'retired' in June of this year (but has been asked to stay on at Cricklewood  Synagogue, where he was Chatan Torah this year). There may be Federation and other provincial Chazanim who are senior to him, and it  is not my intention to offend other colleagues.

Anyone who has known PCF, will know of his benign personality, his efforts to avoid giving dissatisfaction, both to his colleagues and  congregants; his superb calligraphy in musical notation, and, his continual research into his elected profession. For, let there be no  mistake about it, Chazan Faigenblum is a truly professional Chazan. He has an enormous library, and is always striving to expand it. His  record collection must stretch into the thousands - not merely Chazanut, but classical, popular, folk-song, and other rarities. His one  complaint is that whenever he lends a piece of music, it is years, if ever, before he gets it back. Here, he should emulate me  - I never  borrow nor lend  - that is how one keeps one's friends!

PCF is artistic, and confesses that he was always drawn to art, even considering entering 'commercial art', but, luckily for us, he came to  Chazanut. He is not only a most able and proficient Chazan, but a 'worker'. At the time before photostats were available, he would  painstakingly write out each part both for his own Synagogue choir, and any concert or function put on by the Chazanim Association of  London. When it is recalled that the last great Concert of the Association of Chazanim, held in 1955, and conducted by our own beloved  Chazan Bryll, contained no fewer than forty-five voices, and PCF wrote each part by hand, it will be readily understood how assidious he  is.

PCF has been white haired from the age of twenty-four, and, since once injudiciously singing after a bout of influenza, and straining his  vocal chords, tends to get very high-coloured when taking a top note. This is not an indication of stress, for he can still reach the highest  notes, but merely the result of a vocal malfunction. His range is still impressive, and he possesses a sweet mezzo-voice. He has always  underplayed, rather than overemphasised a passage, and this casts a pleasant mellifluence over his singing. PCF is a dramatic tenor with  a wide range, and his colorature and falsetto are excellent.

Against my wIshes, this introduction is in danger of turning into a eulogy, but for those younger Chazanim, provincial as well as  metropolitan, who have not had the pleasure of knowing or hearing him sing, it is necessary to underline PCF's virtuosity, and it is now  time to proceed with his Autobiography, as it was given to me in our recorded interview.

THE FAIGENBLUM FAMILY

The ancestors of the Faigenbiums appear to have stemmed from Warsaw. The family consisted of the father, Abraham, the mother,  Esther, and seven children: two sons and five daughters. Both sons were musically gifted, the elder, in particular, possessed a brilliant  alto voice. PCF was also an alto, and was born in Warsaw on the 22nd of June, 1909. The family lived in an apartment in "Friedman's Hauf"  in the "Pave Gasse", literally, "The Street of the Peacock". It has to be remembered that there were few houses in Warsaw, people lived in  apartment blocks, designated 'Haufs', that is, courtyards, which, as well as apartments, contained a market in the centre so that it was  not necessary to leave the block to go shopping.

PCF's father, Abraham, was a fine Baal T'fiflah, with a cultured baritone voice, honest, and with an authentic 'kvetch'. He had been  brought up from childhood in an environment with leanings to the music of the Gerer and Modzizer Chassidic Dynasties. Faigenblum pere  was always dapper and elegant, and similar to PCF in stature. The mother, Esther, was not only musical, but deeply religious: she would  recite prayers throughout the day, and one of his earliest memories is of the termination of Shabbat, when she would intone the "Got fun  Avrohom" Prayer.

PCF's legacy from her was his clear enunciation during his prayers at the Amud. Whenever he tried for a position, he would take his  mother with him. On their arrival home, she would say "I did not hear this passage" or "You mumbled that one". When, after some months,  she came home and informed him that she had heard every word that he had uttered, he knew that he was on the path to Chazanut.

PCF's main encouragement to Chazanut was from his mother. His father tended to look at Chazanut from the financial viewpoint, since he  himself, was an official, the Chief Shammas of one of the Synagogues, with a staff under him. His mother, however, felt that in the  Synagogue, there would be little opportunity for PCF to 'become a Goy'. . . Speaking of his family, PCF said that his father had never  trained for a profession, but the Family had a 'Monopol', that is, a 'concession' to maintain a restaurant, for which privilege one had to pay  heavily to the government. Abraham Faigenblum probably took part m that enterprise, but then he fled the Russian conscription and  began to learn the diamond trade in Antwerp. That would have been around 1910.

Boys' musical voices were at a premium in Antwerp: like most musically gifted children, PCF began to sing at the age of three, and soon  afterwards entered a choir. This was at the time when he was a scholar at the "Yesodei HaTorah", and, on his way home from that school,  had to 'run the gauntlet' through a street where there was the little "Eisenmann's Bet Hamedrash". He recalls that the Baal T'fillah waited  for the 'Cheder Yinglach', and pulled boys into the Shool, saying "let me hear you sing". He picked out the children he wanted to join his  choir. Then PCF was with Chazan Sobolsky at the "Hollendishe Shool", and, subsequently, with the tenor, Chazan Raphael Melamedoff.
 
One of the senior choristers, a light baritone of the 'Opera Comique' style, was a member of the Antwerp Opera, and would take PCF and  other boys along with him to assist in the childrens' roles' While he was 'helping out' at the Opera, he saw a great deal of anti-Semitism  behind the curtain There was, in particular, one musician whose duty it was to give the 'time of entry' to the performers, and he would  invariably give any Jewish singer the wrong cue These anti-Semitic acts finally convinced the young PCF that he should not join the stage  scene he knew that he would never be despised as a Jew if he entered a Synagogue as a Chazan!

At that juncture, Chazan Aaron Fuchsman came on the scene: he was then the Chazan of the Nodzik Shool in Warsaw, and was on his way  to America somehow becoming stranded in Berlin. PCF's father (having left the diamond trade) was at that time, a traveller, met  Fuchsman in Berlin, and assisted him to get into Belgium. So, the boys were introduced to Fuchsman, who had obtained the position of the  "Machzikei Hadass", and he immediately offered to double their salaries. The "Hollendishe Shool" then offered them more to stay and,  since it was a matter of aiding the family finances, they agreed. PCF sang as an alto until his voice changed. As he still retained his  falsetto, Chazan Melamedoff insisted that he stay on to keep the sopranos 'in line'. As there were almost forty children in the choir, they  needed someone to keep them in check. At the High Festivals, sixteen men augmented the choir, under Lederman, the choirmaster The  acoustics of the "Hollendishe Shool" were superb. People would come up to the choir-gallery to see if there was an organ in use, when the  choristers were 'brumming' the accompaniment for the Chazan.

In 1914, because of the outbreak of the First World War, the Faigenblum family came to London, where they had relatives. They lived at  Highbury, where there was a Belgian Refugees Bet Hamedrash, on the corner of Petherton Road and Green Lanes.

After the War, the family returned to Antwerp. When the choirmaster-ship of the "Machzikei Hadass" was vacated, Isaac Heilman was  brought over from Lemberg, and PCF's father met, and befriended him. Heilman became a constant visitor to their home, where he met  Rebecca, PCF's sister, and eventually married her. During that time, Moshe Kusevitzky, knowing Heilman, lodged with the Faigenblums,  as also did David, until the former went to Warsaw to take the coveted Tlomazke Synagogue. This relationship forged a bond between the  Kusevitzkys and Faigenbiums which blossomed into friendship.

PCF then went over to the "Shomrei Hadass", where the tenor Rabinowitz was Chazan (he had been brought there by Joseph Byalsky)  and Gantmann was the choirmaster. When PCF had leen there for three years, Rabinkoff took over this position. By the time Heilman  came into the Faigenblum home, they possessed a piano, and Heilman began to write compositions and arrangements for PCF: it was  important to have a wide ranging repertoire, to inspire sufficient self-confidence. PCF worked with him for over a year, and meanwhile was  practising his vocal art by davening everywhere.
 
PCF was, by then, firmly set on his musical path. He had formed a quartet in Antwerp, consisting of Joseph Dollinger and himself (tenors)  a young man named Gantz (baritone) and another named Cohen (bass). Dollinger's cousin (now in America) was the choirmaster.

They aspired to imitate the harmony groups then fashionable, and to imitate the sounds of musical instruments. Really, this 'quartet' was  an extension of their choir days at the Shool. In 1933-4, they were engaged by the Brussels Radio to give a series of hour-long concerts,  when they rendered Jewish, Spanish, German and Italian items. This engagement lasted for about two years. PCF recalls with amusement  that they had to provide a photograph to appear in the official programme of the radio  - something like the "Radio Times": when this was  published, his mother remarked: "Marvellous marvellous, nothing like you"! They also used to give concerts of Chazanut, and Heilman  arranged special items, such as Machtenberg's "Av Horachamim' or Shlosberg's "Retzei", and other liturgical items.
 
Asked about the Chazanim of the "Golden Era", PCF said that between 1926 and 1938 (when he left Antwerp) he had the opportunity of  meeting some of these 'luminaries'. There was a well-known Jewish hotel and restaurant near their home, and he recalls meeting  Rosenblatt, probably on his way to Palestine. "Yossele" delivered a "Maariv Service" during the week, but did not daven on Shabbat. He  sang a few of his compositions, such as 'Elokai Ad Sh'lo Nozarti", and the Shool was packed to capacity. By pushing to get nearer, PCF  found himself about two or three yards away from Rosenblatt, who was standing at the Pulpit. The Gantmann Choir accompanied him, and  the proceeds went to charity. "It was a wonderful experience" says PCF "to meet Rosenblatt in person, not merely to listen to him on a  gramophone record  - to hear what he spoke and how he spoke" (he spoke 'Polish Yiddish'). "Similarly, Sirota, Roitman, or Hershman:  they had talents which very few people possessed. The extent of their musicality is almost impossible to find in other people. That is why  they managed to attain their fame".
 
He recalled too, that the late Master, Gershon Sirota, who stayed in Antwerp over Shavuot, and was asked to daven with an eight man  choir conducted by Gantmann, and PCF was one of the choristers, and had several rehearsals with Sirota. As Sirota had broken a "T'kiat  Kaf' (undertaking) given in Warsaw, not to daven elsewhere, he could not use the Synagogue, but had to resort to a hall. PCF spent two  days with Sirota, who knew that the former was not so experienced, and went out of his way to assist him with 'entries', so that he should  come in 'on time'. Sirota was exceptionally musical. He possessed a tremendous voice, great lyricism, and 'gefihil'. His virtuosity as a  Baal T'fillah was impossible to grasp. As well as his powerful mode, he was able to sing softly and sentimentally. The impression one  obtained from a record, is a mere fraction of his full capacity and brilliance. Of course, in a Service, he had more opportunity to 'open up'  than on a short four minute '78' record, and he enjoyed 'opening up', as would any Star.

Hershman was similar, PCF heard him once at a concert, and the memory of his ringing voice lingered for years. Questioned about  Roitman's habit of 'pulling faces', PCF explained that a major ploy of Roitman's was to sing in falsetto continually: for this, one has to  adopt certain facial positions, which appear to be 'grimaces'. Neither Rosenblatt nor Sirota favoured this custom, but Roitman used a  great many coluratures and falsettos, and this became unavoidable. He had the invaluable ability of going into full voice straight from  falsetto. Roitman's style might have been influenced by Opera singers, and he therefore inclined to the Classical line, whereas "Yossele"  felt quite happy in the atmosphere of the Shool.

Another person who had an influence on PCF was the great Joseph Schmidt: he possessed the same virtues as Sirota; he was a 'genius' in  his singing  - again, there was something 'complete', a characteristic of this class of performer.

PCF had already practised Chazanut in various Batei Midrashim. On receiving encouragement from Heilman, he stopped working (he had  been engaged in the fur and diamond trades) and concentrated on Chazanut. He steeped himself in the Nussach of Kabalat Shabbat, the  music of which was in print, as also the High Festivals. He also transcribed two or more hundred records, which he borrowed from friends.  This exercise helped him to assimilate ideas, and learn how the great Chazanim expressed themselves.
 
PCF took up his first position in Brussels in 1936, in the "Rue de Langlangtiere" Synagogue, with Rabbi Gelerenter, a very fine colleague.  He recalls that he must have arrived before the High Festivals, for the officials informed him that if he wished to officiate again, he would  have to be married. Fortunately, he had arranged to marry Miss Fanny Zakon, (who hailed from Metz, in Alsace-Lorraine) in 1937. He  stayed in that Synagogue for two years, living in Antwerp and travelling to Brussels each Shabbat.

The menace of the Nazis was looming over Europe, and PCF made efforts to obtain a position in London. He visited relatives, and made  contacts with friends. The position of the Stoke Newington Synagogue was advertised in 1937, and he 'tried' for the post. He lodged with  Yaakov Kusevitsky, who was at the Poet's Road Synagogue, for about a month, and then with David (who was at Hendon) for about a  fortnight. His rival was Chazan Shlomo Mandel (now in South Africa), but neither got the position, as the voting was equally divided. "In  fact" jokes PCF "When Mandel came to Antwerp, he came over to me and intoned: "Aah - duz iz er, der Faigenblum".
 
PCF continued: he had met Chazan Jacob Sherman who mentioned that there was a position open in the Nelson Street S'fardishe Shool.  Although Nelson Street was a small Synagogue, there were two other candidates for the post. When his turn came, he sang selected  items, and then had to wait for the decision. When he was asked to go upstairs to the Office to sign the contract, he was waylaid by the  typical East-End "Memberkes" who assured him that it was their votes which had won him the coveted position!

PCF lived in great amity with the late Rav of Nelson Street, Rabbi Yehoshua Shpetman. Not only was he full of Homiletics and 'vertlach'  (which the Chazan wrote home each week to his father) but he had respect for the position of the Chazan, and each respected the other.  As PCF says: "Any Chazan would be fortunate to have such a colleague". Indeed, so interested was Rabbi Shpetman in Chazanut, that he  wrote an article on "Rachmanut among Jews", regarding various aspects of S'lichot, etc, in the Liturgy for the April, 1934, issue of "Die  Chazonim Velt". PCF felt himself at home in Nelson Street, and was to remain there for five years.

An important influence was the late Chazan Adelman, of the "Philpot Street Great Synagogue, who was the possessor of a great baritone  voice, and was a thorough gentleman. He had once observed PCF and noted his 'shokeling', and remarked to the young Chazan: "You are  not going to stay here, are you? You want to get on, so learn to stand with dignity and a controlled stance". PCF took heed of this, and,  even now, always bears himself with quiet dignity. He never argued, since he felt that any advice was to his advantage. Adelman was a  true professional, and PCF strove to emulate him.
 
When, in 1944, the "Flying Bombs" began to bombard London, he heard that the Wintown Street Synagogue of Leeds was vacant The Rav,  was the late Rabbi Astrinsky He was there for two years, and struck up a friendship with the great Shlomo Zalman Stern, who had a  brilliant voice.

Then the position of the main Synagogue of Newcastle the Leases Park Synagogue, became available This was often visited by the now  Ementus Chief Rabbi, Sir Israel Brodie, who was born in Newcastle. When PCF moved to the Willesden Synagogue in 1948, Sir Israel  inducted him, and was even present at his eldest son's Bar Mitzvah.
 
He served the Willesden Synagogue (of which more later) until 1959, when he went to the Cricklewood Synagogue, or "Walm Lane", as it  is known. At first the choirmaster was Dancyger, but he unfortunately died a short time later, and then Bramson was recruited from the  choir to become leader.

LONDON CONTEMPORARIES

PCF's colleagues in the East End, were introduced to him through Alman's Chazanim Choir. These did not include the United Synagogue  Chazanim, most of whom stayed away for some unknown reason. First, there was Chazan Adelman of the Philpot Street Great Synagogue,  (it really was a 'great' Synagogue) and Chazan Smus of the same street, but in the "S'fardishe Shool", Roth, in the Commercial Street  Great Synagogue (it was known as "Die Roite Shool" - the 'Red Synagogue'), Slutzky in the "Ayin Yaakov" in Commercial Road,  Kiezelman in the Jubilee Street Shool, who was the possessor of an enormous voice and fine Chazanut, Aaron Fuchsman of the East  London United Synagogue, and Simcha Tessler at Bow (who obtained a doctorate at London University).

Chazan Halter was a high baritone, and Chazan Sherman was a baritone, who became Chazan Sheni in Nelson Street during the war,  which led him into Chazanut. He is a gifted musician, an arranger and choirmaster, and organist for weddings. At one time, PCF and he  made a private record, in which Sherman accompanied on the violin.
 
Elaborating on his colleagues, PCF said that Chazan Roth had a great voice, and sang in the Hungarian style: it was not a lyrical Chazanut,  more forceful in character. There were also Chazanim Goldfine of the Princelet Street Shool, and Kovalsky of the Hackney Synagogue.  Chazan Slutzky was an adherent of the Ukraine style of Chazanut. Chazan Yaakov Goldstein of the New Synagogue ("Egerton Road") was  a baritone and a fine interpretor. He, too, possessed a 'lion-like' Sirota type voice.

In humorous vein, PCF recalls a certain Chazan, whose style was extremely long-winded. On being asked to "bensh" at a wedding, he took  three quarters of an hour. The Gabbai wished him "L'shana Haba B'Yerushalayim", stating that it was almost like a Yom Kippur Service!
 
Asked about the Kusevitskys, PCF tells that immediately after the War, all the four brothers met in London. Simcha was at "Duke's Place",  Yaakov was at "Poet's Road", and David was at Hendon. Moshe, on his way to America, had stopped in London, and PCF frequently met  the Kusevitsky brothers, who had a 'pact' that each Tuesday was their day. They would meet at one another's houses, dine together, and  go out to a show or the Opera. PCF never received any musical assistance from the brothers; probably because they were so musical, that  they did not appreciate that anyone could be less so. He admits to having modelled himself on the Kusevitskys, mainly on Yaakov, to  whose style he was more attuned. During the weeks in 1938 that he lodged with Yaakov, he davened once in Shacklewell Lane,and it was  said that their style of Chazanut was similar.

FAIGENBLUM AT THE WILLESDEN SYNAGOGUE

At this juncture, I beg my readers' indulgence, for I wish to look back in years to PCF's "Golden Period", when he, and the late, lamented  Martin White collaborated as a highly efficient Chazan/Choirmaster relationship. Their rapport was extraordinary: Martin White, who was  then also the conductor of the "London Jewish Male Voice Choir" (as it was then known) was a thorough musician, with a talent  - not of  showmanship  - but of knowing his choristers, and what he could obtain from them. Not for him, any flamboyant movements while  conducting: his body was somewhat stooped, and he extracted the finest tones from his choristers with minimal use of the hands.
 
During the High Festivals at the Willesden Synagogue, the mass of choral music was breathtaking. Such was the intensity of the music,  that it was, at times, almost impossible to engross oneself in one's own devotions. There were carefully rehearsed alto solos by PCF's  sons. The second  - Jacques (Jacky) was later to excel in organ playing, but showed marked reluctance, as a child, to practice his music. I  well remember my own envy, on hearing of his dislike of learning music at his father's hand, or, perhaps, the chore of repetition, would be  more appropriate. What would I have given to join the Chazan's household in its musical evenings, especially on Fridays, during the
Z'mirot!

The Chazan's Nussach for the High Festivals was based on the "Vohliner Nussach" to which he faithfully adhered. I still recall, with  affection, bowing deep down during the Yom Kippur Musaph Service, during the "Korim", and hearing PCF's top notes reverberating  along the floor. He always had a stack of music books before him at the Amud, and would garner a piece from each, as he proceeded with  his dignified Service. I remember his beautiful white Festival robes, with his silk biretta, and a fine lace jabot at his neck. Truly, many of his  congregants (at that time, the Shabbat worshippers alone, could number two or three hundred persons) did not realise what a 'jewel' they  had in their Chazan. There was, however, one knowledgable Baal Habayit who constantly asserted: "Keiner ken em nisht bieten ba die  Avoida" ('No-one can beat him at the Avoda').

Every Chazan uses some of his own compositions, and also arrangements from the pens of other Liturgical Composers. The fact that PCF  was Chazan to one of London's then more orthodox Synagogues, enabled him to initiate what was then a novelty - "Audience  Participation". The Members would sing the usual favourites as found in "The Blue Book", but also PCF's variations. At the High Festivals,  they had their own well-known compositions, and a plethora of Cantorial offerings, which they enjoyed. On Shabbat, for instance, PCF  excelled in Donayevsky's "K'dusha", always finishing with a high 'C'. His Nussach was impeccable - even the "Avot" were exemplary.

At outstanding occasions - a Bar Mitzvah, or other such celebration, Shlosberg's "Retzei" might be sung. There was a choir only on  Shabbat and the High Festivals, but there were "Choral Evening Services", especially at the beginning of the S'fira, when Alman's  marvellous "S'firat Haomer" was sung, and, once, a "Choral Slichot Service" was rendered. An outstanding composition, in which the  Chazan and Choir collaborated was Kaminsky's "Modim", which consisted of interleaved passages, in which the Chazan sang 'Modim',  and the Choir sang 'Modim D'Rabanan'. The total effect was stunning!
 
Another Shabbat favourite was the Roitman/Rumshinsky arrangement of "Ki Lekach Tov" in which the Chazan was able to display his  ever-developing mezzo-voce. It was not necessary to reach into the high 'C's (although he could attain these with ease). Anyone who has  ever had the good fortune to hear a Faigenblum "Sheva B'rachot", will know and understand how beautiful and effective this method is.
 
Of course, there were always the "Gabbaim". On the last occasion when Martin White was to conduct at the High Festivals (he was to  leave shortly for America, then he went to South Africa, and to Israel, where he died) the choir came down and joined the Chazan on the  Bima. The effect was electrifying. There were twelve men, and they, and Martin White, showed the congregation what they could achieve.  At the end of the New Year Evening Service, one the 'Honorary Officers"was heard to remark (not sotto-voce) that it had been a  'Theatrical Performance"! Nevertheless, the Services were highly enjoyed. It ought to be pointed out that all the choristers could have had  far more lucrative positions, but they loved Martin White, and remained with him at Willesden.

In addition to his Synagogual duties, PCF took an active part in the Male Choir's activities. He wrote out all their parts, and, when, in  November, 1952, the Founder of Zionism, Chaiin Weitzman, died, PCF and the Choir recited the Memorial Prayer in a packed Royal Albert  Hall. One droll incident, which I recall from this solomn occasion, was the Organ Voluntary which a noted Jewish organist played  throughout the preliminaries, based on the melody of "Hatikva". When he came to his culmination, he literally 'pulled out all the stops' of  the mighty Albert Hall organ, and could not silence it for the Service to begin. Eventually, tranquillity was achieved!

PCF also collaborated with the Choir in a film, made for television in Cardiff, which was named "The Six Pointed Star". He appeared with  the Choir on innumerable occasions, and broadcast with them on the BBC's "Eve of Festival" programmes.

To revert to my interview with PCF, when asked what his plans for the future were, he replied that these were 'of the Almighty's making'  not his own.
 
The Faigenblums have lived in the Willesden area since 1948. They have three sons: Maurice, who is a dental surgeon, and lives at Kenton  with his family, Jacky studied Civil Engineering, married an American girl, and is at present in the United States completing his doctorate  on The Environment. The youngest, Menachem, studied at Norwich University, and is at present working in furniture designing.
 
The Faigenblums have always been gregarious: they have held 'musical evenings' at their home, at which various colleagues attended,  and performed. When Chazan Louis (Chananyah) Klein was at the Wembley Synagogue (he is now in Detroit), and Chazan Bernard Taube  was at the Hendon Synagogue (he is now in Montreal) they, and their ladies frequently met at the Faigenblums. PCF maintains a constant  correspondence with them.

After such a "Profile" it is difficult for me to sum up this man Faigenblum. He is a true artist, whether with his hands or his voice. He can be  a true friend, and, as far as I know, has never knowingly offended anyone. He is a devoted colleague, and is, still, at the age of sixty-five, a  very great Chazan. I can only express the wish that he and his wife and their sons and families should have tranquility and happiness: he is  certainly deserving of both.

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