Who is eliyahu hanavi

You must go back for Shabbat Shuva. Again, bring food, again go to the same part of the woods. Avraham listens, and the same thing happens again. The food that he has brought by Rosh HaShana had been finished, and the kids needed the new round of food just as badly. After a wonderful Shabbat, Avraham leaves the shack and goes back to the Rebbi-I still haven't met Eliyahu HaNavi, and I've followed your instructions to the letter!

The Rebbi says, go back one more time, early in the morning on Erev Yom Kippur. Avraham packs a sack full of food and sets off for the forest. He arrives, looks around, and sees no Navi.

Upset and disappointed, he approaches the shack and is about to knock when he hears one of the kids ask their mother-how will we prepare for the fast tonight? We have no food! And the mother responds, don't worry. The provenance, age, and origin of the tune—which has accrued several variants, some with more free-flowing melismatic passages than the presently established one—remain undetermined.

But it was already common among Ashkenazim in America by at least the dawn of the 20th century. It was also known much earlier in the 19th century among eastern European Jewry, who probably hosted either its birth or its adaptation for these words; and Western variants were known as well to German-speaking Jewry in the 19th century.

One of the latter appears in the Braunschweig-Tempel Hymnbook , which has been cited as the earliest known notation of the tune. A similar variant is also found in the aforementioned Sabbatgesange, edited by Arno Nadel in Berlin. The continuation of the melody into the second line of text may, therefore, have been a later accretion.

Despite its inclusion in a German-Jewish hymnbook, the tune is notable for its polonaise rhythmic pattern and for the mazurka-like stress on the second beat, both of which elements reflect Polish characteristics.

It is true that the mazurka had come to Germany as a dance form as early as the midth century. However, the extension of the incipit in the current variation, together with its basic rhythmic pattern, speaks additionally for possible Polish-Lithuanian influence. In the course of the twelve variations of this original work, the theme is treated with many of the conventional compositional devices typically employed in classical thematic variation.

They include inventive and idiomatic ornamentation of phrases, exploitation of intervallic content through broad extensions and wide leaps, repeated arpeggios, diminution of motives, and development of compact pitch cells. All these techniques are applied to components of the basic melody, which is stated at the outset.

The tenth variation exhibits a subtle degree of jazz treatment. While each variation focuses on a particular melodic or rhythmic property extracted from the theme, the work displays an audible sense of unity throughout.

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