For centuries, Western classical music propelled listeners toward Christian salvation. Then Jewish music changed everything.
In his 1944 essay The Halakhic Mind, Rabbi Joseph Dov Soloveitchik makes a striking assertion about the directionality of time:
The reversibility of time and of the causal order is fundamental in religion, for otherwise the principle of conversion would be sheer nonsense. The act of reconstructing past psychical life, of changing the arrow of time from a forward to a retrospective direction, is the main premise of penitence. One must admit with Kierkegaard that repetition is a basic religious category. The homo religiosus, oscillating between sin and remorse, flight from and return to God, frequently explores not only the traces of a bygone past retained in memory, but a living “past” which is consummated in his emergent time-consciousness. It is irrelevant whether reversibility is a transcendental act bordering on the miraculous, as Kierkegaard wants us to believe, or a natural phenomenon that has its roots in the unique structure of the religious act. The paradox of a directed yet reversible time concept remains.
R. Soloveitchik leaves open the issue of whether the reversibility of time is a “natural phenomenon” or not. The question is not as far-fetched as it sounds: Five years after R. Soloveitchik finished this essay, the great mathematician Kurt Gödel showed (in a contribution to Albert Einstein’s Festschrift) that General Relativity implies the reversibility of physical time under special conditions. In any case, physicists have not yet succeeded in making time run backwards.
Eastern European chazanim found means to reverse musical time, in the service of the religious requirement that R. Soloveitchik identified. This was not a “transcendental act bordering on the miraculous,” to be sure, but the next best thing. Chazanut in this view was one of the great Jewish religious innovations of the early modern period. It is not merely symbolic but evocative, turning an abstract point of theology into an artistic event.
The high musical culture of Eastern European chazanut is a uniquely Jewish art form, but it is not sealed off hermetically from the ambient Western musical culture. Nonetheless it is uniquely Jewish both in form and—decisively—in function. I shall argue that althoughchazanut draws on elements of Western musical culture, it employs them in an entirely original fashion for a uniquely Jewish religious purpose. Eastern European synagogue chant evokes the reversibility of time in its most characteristic gesture, namely the “Phrygian” or Freygisch descent from the flattened 2nd of the scale to the 1st degree, or tonic note. To hear this move in the Freygisch (Ahavah raba) mode as transformation of the directionality of time, we must hear it in the context of the tonality of Western music, with its clear sense of time’s forward motion. The Freygish flattened half-step, I will argue, functions as an ironic reversal of the most characteristic gesture in Western tonal music: the ascent of the sharpened 7th degree of the ordinary Western scale, or leading tone, to the tonic. This is the most characteristic pointer to the forward motion of time in Western music.