It has to be emphasized from the very start of this "Profile" that this appreciation stems from the collaboration of Chazan Faigenblum and the Editor. The former had the honour to hear Moshe Kusevitsky on many occasions, but the latter was, alas, born too late to hear him at a time when he was gradually but certainly building up both his repertoire and vocal production, but was present at all his London concerts, spent a 'magic' evening in his company, and possesses most, if not all, his records, both 78's and long playing.
This joinf effort, therefore is intended as an evaluation of the life story of a singular being who may truly be designated as possibly the brightest 'Star' in the Cantorial Firmament of post-war Chazanut, while at the same time, not seeking to denigrate the superb qualities of such Chazanim as Rosenblatt, Sirota, Kwartin, Steinberg, and many others who are no longer with us.
Moshe Kusevitzky was privileged to be one of those phenomenal honoured and blessed "Chazanim in a Million". He was born on the 9th of June, 1899 at Smaragon, in the Province of Vilna, Lithuania. His Father, Avigdor, a footwear manufacturer of some standing, had strong musical leanings, and his uncle had been a chorister in the Vilna Choir-school under Chazan Bernstein. His paternal grandfather was a well-known Chazan, and his maternal grandfather, Shalom Shulman, was a noted Hebrew teacher in Smaragon: there was a tradition of Chazanut in the whole family.
Moshe's late, lamented Mother, Alta, followed him in death only a year later (1967) when she was approaching her nineties. It was she who urged her four sons to the pinnacles of Chazanut, and before Moshe's biography is examined, it might be advantageous to look into the lives of her other three sons.
PROFILE: 2
The second son, Yaakov, was born in 1902. Like his brothers, his musical life revolved around Rovno. Like Moshe, he received his first Cantonal tuition at the hands of the late Chazan Ephraim Shlepak, whose own teachers had been Baruch Shorr, Zeidel Rovner, and Nissi Belzer. Shlepak had held various positions in Besserabia, Russia and Lithuania, and the Kusevitzky brothers were fortunate that Shlepak occupied Smaragon in their formative years. Later Shlepak was to emigrate to Canada, where he officiated in Montreal from 1927 until his death in 1948.
Yaakov continued his training as a seven-year old, and graduated from the Vilna Choir-school under Chazan Bernstein. During the First World War he was in Russia - studied in Rostov - later became Chazan in Kremnitz, in the Province of Volin, then went to Luzk, and Rovno, where stayed for two years until he was 'called' to Lemberg: he had become famous as a "Zogger". He was followed in Rovno by his brother David. Yaakov's fame took him to London where he was Chazan, first in the Dalston Synagogue, Poet's Road, and then in the Western Synagogue, Marylebone. In 1939, he had taken part in a concert with his brothers David and Simcha at the Dollis Hill Synagogue, at which occasion Professor Alman was at the piano. He left England in July, 1952 for America, where he died at the early age of fifty- seven in 1959.
The third son, Simcha, when very young, obtained his musical training from the famous Chazanim Shlomo Ravetz of Charkov, and Ephraim Spektor of Russia. He returned to Vilna in 1927, where he officated for two years, and then returned to Rovno (his brother, Yaakov, had just left). He received a 'call' to Glasgow, and followed this appointment by officiating at the Stoke Newington Synagogue in Shackleweil Lane,London. Later he was to become the First Reader (Chazan Rishon) of the coveted "Duke's Place" Synagogue in London's East-End. Here, he officiated for sixteen memorable years, and in 1947, emigrated to South Africa, holding positions first in Johannesburg, then in Capetown, where he still resides.
PROFILE: 3
David, the youngest brother, is also still happily with us - "Ad meia V'esrim shana". He also trained in the Vilna choir-school, and simultaneously in the Vilna Conservatoire. He became a talented choir-master, and, as has been stated above, served for three years at Rovno. He was 'called' to the large Hendon Synagogue, in North-West London, where he served with great renown for twelve years. He emigrated to the United States in July 1948, and has made several International "Concert Tours" with great success. His first American recordings were tremendous in their range and vocal production - it was as if America's vastness had magnified his powers!
MOSHE KUSEVITZKY
The subject of our "Profile" began as an eight-year-old alto under Chazan Shlepak at Smaragon. Musicians and people in the know prophesised that here was a potential "World Chazan". After years away from the war-destroyed Smaragon, Moshe arrived at Rostov, where he soon made friends with the famous Chazan Eliyahu Zaludkovsky (1888-1943), and served in his newly-founded "Hazamir Choir", whose leader was the renowned David Eisenstadt, destined to be Kusevitzky's choir-master in the Warsaw Tlomazke Synagogue, years later!
During the intervening years, Moshe toyed with the idea of becoming an artist or sculptor - he was also talented in these fields. He met Zaludkovsky again in 1922, when his mentor officiated at the young Chazan's marriage. When Zaludkovsky left to accept a position in Liverpool, Moshe first served in the Vilna "Savel's Shul", and was then accepted with great acclaim as the "Vilner Shtot Chazan", where he served however for only three years when Chazan Mordechai Hershaman left for America.
PROFILE:4
Moshe became the twelth incumbent of the position of Chazan Rishon of the great "Vilner Shtot Shul" in 1925. In 1927, he auditioned, against talented opposition, for the most sought after position in Poland, the distinguished "Tlomazke Synagogue" of Warsaw (Sirota had retired from this position) and was accepted! He was, however, not content to 'rest upon his laurels', and obtained religious and theological instruction from the Rabbi of that illustrious congregation, Rabbi Professor Shor. He also took voice-production lessons from noted teachers. Moshe was a humble person: he possessed a deep appreciation of Jewish knowledge, and respected 'learning'. He would frequently air a 'Maamar Chazal", that is, a Talmudic teaching. When one heard his approach to Chazanut, one would realise this inherent "Yiddishkeit".
Gradually, his fame spread over Europe. He sang in Eastern Europe, in Brussels, Antwerp, Vienna, and in London's "Pavilion Theatre". But war was approaching, and Moshe and his family spent the Second World War in Russia: not wishing to use his Hebrew name, he adopted "Mikhail" and was invited by the Russian Ministry of Arts to sing operatic roles: he sang in Mussorgsky's "Boris Goudenov", Verdi's "Rigoletto", and Puccini's "Tosca". Whenever the opportunity presented itself, he Davened in the Moscow Great Synagogue, in fact, however, wherever he had the opportunity to sing before Jews, he would return to his old repertoire, and sing hebrew and Yiddish songs, and reduce his listeners to tears.
He returned to Poland after the war, and saw for himself the "Churban of Warsaw". His feelings were of deep despair, but fortune was on his side. He was invited to give a concert in one of Warsaw's remaining parliamentary halls, before a distinguished audience, among whom were the Ambassadors of the United States and the United Kingdom. The enthusiasm he engendered, permitted him to obtain visas for both countries, and he was joyfully re-united with his mother and brothers in England.
PROFILE: 5
Moshe gave a series of concerts in England, and one 'Souvenir Programme' dated 1946, listed the cities where he was to sing: Liverpool, Manchester, Leeds, Edinburgh, Glasgow, and finally the Royal Albert Hall in London, in early 1947. He had previously taken part at a concert in East London's "People's Palace" in the company of the famous pianist Harriet Cohen, and the distinguished violinist Max Rostal. This 'Programme' is illuminating, for it brings press opinions from various British sources: "The Scotsman" for instance, stated:
"It must be many years that a voice like that of Michael Kusevitzky was heard. At his recital in the Freemason's Hall last night, Mr. Kusevitzky, who comes from Poland with glowing accounts which seemed entirely substantiated, took us through a most exacting programme, such as only the robust of tenors could sustain".
Other newspapers were also high with praise: "The Evening Times" of an unspecified city (Susman published the programme. .. .) stated: "For here is undoubtedly one of the great voices of the present clay, with a timbre unquestionably tenor throughout an extensive range, backed by a forceful personality that ensures an equally expressive rendering of Italian operati excerpts, traditional folksongs, and long, emotional Hebrew melodies. And a tenor who can reach high C sharp with apparent ease, provided the kind of thrill that we rarely experience".
At the end of 1947, Moshe left England, and sailed with his family to America.
He returned to Europe in 1955, and gave two concerts. The first at the Albert Hall on March the thirtieth, with the accompaniment of the London Jewish Male Voice Choir, under the direction of the late, lamented Martin White, and Sidney Bright at the piano. The programme lists twelve items, but there were undoubtedly "encores", though not many, since Moshe confided to Chazan Faigenbluin that he had a cold, but 'one could not postpone an Albert Hall concert'!
PROFILE: 6
The second concert was at the smaller Friend's House, in the Euston Road, London. This was on the evening of June the seventh, also with the Male Choir, and consisted of thirteen items, Brun's "Umipnei Chatoeinu" being substituted for "A Chazan un a Gabbai" (one of Moshe's favourites, for it permitted him to interpolate pieces of Chazanut). Critics of the time, not knowing of Moshe's unease because of his cold, pointed out that he seemed more at home in the very much smaller Friend's House. They also forgot the notorious "Albert Hall Echo" which Moshe seemed unable to master, and thus 'place' his voice to avoid this nuisance. In passing, the writer noted that the great Gigli would always sing to the right of the Albert Hall's stage, and produce the clarity he required. Moshe, lehavdil, not being so familiar with the Albert Hall, did not know of this 'placing', and thus could not achieve his desired effect.
It will perhaps have been noted that both Moshe and his brother David's facial structure include very high cheek-bones - almost a 'Tartar' look, and this feature, coupled with skilful use of the 'resonance' in the head, and also the production from the diaphragm, made and makes their production very effective. The writer sat very near Moshe, as he strode the platform of the Albert Hall, and could detect no trace of a 'cold'. There was almost no movement from his chest, as he took even the highest notes! This was no ordinary Chazan, but a highly organised singing machine, an instrument of clarity and virtuosity. He had an enormous repertoire, and could suit his programme to his audience. He frequently sang Shorr's "Sheyiboneh Beis Hamikdosh", and would invite the audience to join in; he would revel in "Der Chazan un der Gabbai", and would reduce his hearers to tears with his supreme artistry.
PROFILE: 7
His vocal production was superlative: he began his recitatives very low, kept assiduously to the middle range, and when he finally 'opened up', wrung his audiences' hearts. In his rendition of the famous "Umipnei Chatoeinu" by Brun, for instance, when the limits of his top notes had seemingly been reached, he would suddenly commence again in a higher key, until his listeners were emotionally drained.
An interesting account of Moshe's 'off-duty' behaviour appeared in an American magazine in 1948: "For breakfast, he eats seven oranges, and drinks a glass of sour milk; no coffee, and sugar in his tea. At dinner, Kusevitzky revels in borscht, vegetables and 'steamed meat', he says. He likes to cook steaks, and the apple is his favourite fruit. He smokes two cigarettes a day. On rising, he does callisthenics (gymnastics) and swimming is the sport he favours most. His mixes this hobby with sand sculpture and modelling. Beach throngs at Belle Harbour, Queens, have cheered his heads of Roosevelt, Beethoven and Tchaikovsky, done in sand. He likes fresh air, Western movies, and singing for good causes. He has sung twice in Palestine, and longs to sing in the new State of Israel. His wife sang in an amateur Polish choir, and that is how they met. Their daughter, Sophie, a pianist, studies at the Juilard School (she was to die tragically early in 1952), and their son, Alexander (born in Vilna in 1927) is a Yeshiva University student and hopes to become a Rabbi". In fact, he has become a noted Chazan.
Friends who knew Moshe intimately, state that he would never eat anything on the day of a concert, but 'wolfed' his dinner afterwards. He was a gregarious friend, and would spend many hours with other Chazanim discussing music and technique.
During the last years of his life, he occupied the honoured position of First Cantor at the Temple Beth El of Boro Park, Brooklyn, New York. Sadly, he contacted a terminal disease, yet, in spite of his distress, went on singing. He died in New York on the twenty-third of August, 1966, and had expressed a wish that he be interred in Jerusalem. His funeral was attended by many noted Chazanim as well as lovers of Chazanut, and he was buried at Har Hamenuhot.
PROFILE: 8
Fortunately for his survivors, and the succeeding generations, he recorded a great many pieces, but most of these were pressed on wax ten or twelve inch 78's, and are therefore necessarily short - never more than six or eight minutes - when it is recalled what today's Chazanim accomplish on long-playing records, singing ten or even fifteen minute compositions, one realises one's loss. Record companies who hastened to bring his genius before the public were the Polish "Syrena" and the American "Victor", and many private companies, Most of these items have been issued on long-playing records, but it is possible that unscrupulous individuals made cassette recordings of Synagogue Performances shortly before his passing, and that these will eventually come into the open. It would be an interesting exercise to compile a "Discography" of Moshe's recordings: i.e: where and when made, arrangers and accompanists.
Those of us who were privileged to know and hear Moshe Kusevitzky in life, could undoubtedly tell many an interesting tale. There is, for instance, the brilliant acrostic dedicated to "Die Gabrider Sheidim," in other words "The Demoniac Brothers", for they were accredited with supernatural powers, and their initials Shin (Simcha), Dalet (David), Yud (Ya'akov), and Mem (Moshe) comprised the word 'Sheidim.'
Those of us who can hear his and their marvellous voices on record, would asssuredly attribute "Angelic Powers" to them,and remember Moshe "Zum Guten". 'Y'hi Zichro Boruch."
The writer is deeply indebted to Mrs. C. Zack (a daughter of the late Chazan Yaakov Kusevitzky) for her kind assistance.
(From Cantors' Review, September 1973)
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