SHEYIBANEH BEIT HAMIKDASH...
A series of articles on Beit HaMikdash-related topics by Catriel Sugarman intended to increase the knowledge, interest, and anticipation of the reader, thereby hastening the realization of our hopes and prayers for the rebuilding of Jerusalem and the Beit HaMikdash.

Hugros ben Levi on the Meshor'rim
Hugros ben Levi leaned back in his armchair and in his melodious voice continued relating the history of the Levitical Choir. As he spoke, I closed my eyes. How many times had I been privileged to ascend to Yerushalyim, enter the Azara during the Shelosh Regalim, and thrill to the ethereal sound of the Meshor'rim, the Mikdash choir! Last Pesach came to mind. As we slaughtered the Korbanot Pesach, thousands of Leviyim sang Hallel. They were accompanied by hundreds of other Leviyim playing harps, lyres, flutes, trumpets, and other instruments. The high-pitched soprano voices of thousands of young boys contrasted marvelously with the baritone psalmody of their fathers. This intense spiritual experience, hallowed and unsullied, would stay with me the rest of my life. The orchestrator of this divine euphony, the most beautiful music this side of Heaven, was none other than choirmaster and conductor par excellence, the majestic (though somewhat corpulent) Hugros ben Levi.

My reverie was interrupted by a deep voice. "Hey! Are you with me?" It was Hugros. I gave a sheepish smile and nodded.

Gazing at me with eyes very blue and penetrating, he continued. "In the period of Bayit Sheini, the Leviyim were best known as Meshor'rim and Sho'arim - singers and gatekeepers. The Meshor'rim stood on the Duchan, the step-like platform located between the Ezrat Yisrael and the Ezrat Kohanim. Unfortunately, the Mishna only gives a barebones description. 'R. Eliezer ben Ya'akov said, "Between the Ezrat Yisrael and the Ezrat Kohanim there was a step one Ama high and the [Levitical] platform was set thereon, and on it were three steps each a half an Ama high; thus the Ezrat Kohanim was 2 Amot higher than the Ezrat Yisrael"' (Midot 2:6). Since this picture is nebulous at best, the commentaries vary widely in their interpretations. As they sang, the Leviyim faced west towards the Mizbei'ach and the Bayit; their backs were turned towards the people assembled in the Ezrat Yisrael further to the east (or possibly groups of Leviyim faced each other on the Duchan). When the Kohein poured the Nisuch HaYayin, the wine libation that accompanied the morning and evening Tamid into a silver cup embedded in the southwestern corner of the Mizbei'ach, the Leviyim sang Shir Shel Yom. Other Leviyim playing lutes, harps, lyres, and a cymbal, accompanied them. Flutes were played only on special occasions, 'at the slaughtering of the first Korban Pesach, during the slaughter of the Pesach Sheini offering, on the first festival day of Pesach, on Shavu'ot, and on the eight days of Sukkot' (Arakhin 2:3)."

"The Mishna describes the Levitical choir and we follow that same basic format today!" Opening a Mishna and turning to Tamid 7:3, Hugros read, "'They gave [the Kohein Gadol] the wine for the Nisuch Hayayin and the Segan stood beside him at the corner 'horn' of the Mizbei'ach with scarves in his hand [together with] two Kohanim with two silver trumpets in their hands. They blew a prolonged blast, a quivering blast and again a prolonged blast. Then they (the two Kohanim) came and stood by Ben Arza (the choirmaster in those days) - one at his right hand, one at his left. When the Kohein bent down to pour the Nisuch HaYayin, the Segan waved the scarf as a signal, Ben Arza struck the cymbal and the Leviyim burst into song. When the Leviyim reached a break in the singing, they blew a prolonged blast on the trumpet and the people in the Azara prostrated themselves. At every break they blew a prolonged blast and the people would prostrate themselves.' The Gemara asks how do we know that the Leviyim did not sing except 'over wine'? In the Biblical parable of Yotam, the son of Gid'on, it is written, "And the vine said to them, 'Shall I leave my wine which rejoices G-d and man and go sway over the trees?'" (Shoftim 9:13) How may wine cause G-d to rejoice? "By means of the T'hilim sung by the Leviyim during Nisuch HaYayin" (Arakhin 11a). The Mishna reads, "The (young boys) did not accompany the song with lyre and harp but only with their voices to add sweetness to the melody. ...They were called Tzo'arei HaLeviyim, young Levites' (Arakhin 2:6). However, Tzo'arei can also be translated as 'tormenters'. The Tzo'arim 'torment' the older Leviyim because, unlike their fathers, they can still hit the high notes."

Assuming his best professorial air, Hugros continued. "The Mishna (Tamid 7:4), listing the Shirim Shel Yom sung by the Leviyim is part of the Siddur and is recited during the Mussaf service on Shabbat. Every day during the week, we sing the same Shir Shel Yom twice; once during the Nisuch HaYayin, that accompanies the morning Tamid and once again, during the Nisuch HaYayin that accompanies the afternoon Tamid. During the Korban Musaf offered on Shabbat, we sing P'sukim from Parshat Ha'azinu (Devarim 32:1-43) in a six-week cycle. On Shabbat afternoons, we sing excerpts from Shirat HaYam (Sh'mot 15: 1-18) and from Shirat HaB'eir (Bamidbar 21:17-20) in a three-week cycle (Rosh HaShana 31a). The Musafin offered on Rosh Chodesh and during the Shalosh Regalim are accompanied by T'hilim relating to these occasions (Sukka 55a, Rosh HaShana 30b).

Hugros ben Levi's voice suddenly grew tremendous with enthusiasm. "We have a description of the Mikdash composed by Ben Sira 250 years before the destruction of Bayit Sheini. He wrote it hundreds of years before the compilation of the Mishna! Listen to this glorious picture of Nisuch HaYayin and the accompanying Meshor'rim!"

"He (the Kohein) stretched out his hand to the libation cup
And poured out the blood of the grape:
At the foundations of the Altar, he poured out
A sweet-smelling savor to the Most High, the King of all.
Then the sons of Aaron gave a shout;
They sounded forth on trumpets of beaten work:
They made a great sound to be heard
As a memorial before the Most High.
Then all of the people hastened together
And fell to their faces, to the ground
To bow in homage to their Lord
To the Almighty, G-d Most High.
The singers than praised with their voices
Sweet was the melody made with the greatest sound.
And the people besought the Lord Most High
In prayer before the Merciful One,
Until the order of the Lord was completed
And they had perfectly completed His service...”

Hugros ben Levy concluded, "We like to think that we stand firmly in the ancient Mikdash tradition of devotion to the Avoda and to 'Him who made His name dwell in this House. Kein Yehi Ratzon. " Pausing, he added, "It is a great responsibility!"

Catriel's book in progress: The Temple of Jerusalem, A Pilgrim’s Perspective; A Guided Tour through the Temple and the Divine Service