1961 CONCERT Program IPO 25th Anniversary HUBERMAN - TOSCANINI Numerous PHOTOS

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1961 CONCERT Program IPO 25th Anniversary HUBERMAN - TOSCANINI Numerous PHOTOS:
$115.00

DESCRIPTION : Here for sale is the EXTREMELY RARE and sought after 1961 GIANT JUBILEE CONCERT PROGRAM for the festival 25th years jubilee concert which took place in 1961 in ISRAEL. The giant program ( Actualy a book which holds over 100 throughout photographed and illustated pp ) is a genuine treasure of PHOTOS, DUCUMENTS, SIGNED GREETING LETTERS , ARTICLES regarding the birth of the orchestra in 1936 with ARTURO TOSCANINI and BRONISLAW HUBERMAN and the annals of the orchestra in its 25 fruitful years of existance. Photos and letters by Huberman , Toscanini, Weingartner, Szenkar, William Steinberg, Jascha Heifetz, Jean Martinon, Charles Munch, Leonard Bernstein , Arthur Rubinstein , Francescatti , Giulini , Pnina Salzman , Rafael Kubelik , Casals, Arrau, Bachauer, Menuhin , Leinsdorf, Ormandy, Piatigorsky, Danny Kaye, Mitropoulos , Barbirolli , Solti Milstein and many others. The ISRAEL PHILHARMONIC ORCHESTRA under the batons of GARY BERTINI and JOSEF KRIPS played the NATIONAL ANTHEM \"HATIKVAH\" and also pieces by BOSCOVITCH and BEETHOVEN ( 9th Symphony ) .The PHOTOGRAPHED program is in ENGLISH and HEBREW , Consists of ARTICLES regarding the birth of the IPO and the played pieces . PHOTOS ofboth TOSCANINI as well as HUBERMAN . A detailed LIST of all the ORCHESTRA MEMBERS and STAFF. A photo of TOSCANINI in front of the 1936 ORCHESTRA and a photo of MOLINARI in front of the 1946 orchestra. Illustrated wrappers. 12 x9 \" . Around 110 pp ( Except the illustratedcovers ) . Hebrew & English. Very goodcondition. ( Pls look at scan for accurate AS IS images ) . Will be sent inside a protective rigid envelope .
PAYMENTS : Payment method accepted : Paypal .SHIPPMENT :SHIPP worldwide via registered airmail is $ 18 .Will be sent inside a protective envelope . Will be sent within3-5 days after payment . Kindly note that duration of Int\'l registered airmail is around 14 days. The Palestine Symphony Orchestra was founded in 1936 under the leadership of Bronislaw Huberman. Huberman, a violinist, at first envisioned an international center for the arts, but instead focused on developing a critically acclaimed symphony orchestra. Conditions in Europe had become such that the orchestra could serve as a haven for persecuted Jewish musicians. Many immigration certificates became available, as the orchestra could provide employment for the refugees. The new immigrants themselves provided fresh talent and energy for cultural pursuits in the yishuv. While Huberman continued to work on behalf of the orchestra, Arturo Toscanini agreed to become its first conductor. He was quick to help establish the orchestra\'s reputation. In addition to drawing talented musicians to the orchestra itself, many other chamber orchestras and groups formed throughout the yishuv. In 1948, the orchestra changed its name to the Israel Philharmonic Orchestra.****** The Israel Philharmonic Orchestra The internationally renowned musicians who began their careers with the Israel Philharmonic Orchestra (IPO) loyally returned home for its 60th anniversary celebrations in December 1996. The artists included Yitzhak Perlman, Daniel Barenboim, Pinchas Zuckerman, Yefim Bronfman, Shlomo Mintz and the young virtuoso Gil Shaham. Coincidentally, or perhaps not so because their fates have been so intertwined, the ]PO celebrated its 60th birthday together with conductor and Music Director for life, Zubin Mehta, the Indian-born maestro who took charge of the IPO in 1968, and who also turned 60 last year. It was Arturo Toscanini, the greatest conductor of his time, who presided over the orchestra\'s first performance in 1936. Italian-born Toscanini, who was not Jewish, despised Nazism and saw the formation of a Jewish orchestra as an act of defiance against Hitler. Most of the original members of the orchestra, then called the Palestine Philharmonic Orchestra, were assembled by the Polish Jewish violinist Bronislaw Huberman, and were fortunate enough to get out of Europe before the Holocaust began. Re-named the IPO after the establishment of Israel in 1948, the orchestra has always acted as the country\'s foremost cultural ambassador, carrying the joy of music and the message of peace from Israel to music lovers around the world. Zubin Mehta recalls that one of his most moving moments was when the IPO agreed to play in Germany in 1971 and he was able to conduct \"Hatikvah,\" Israel\'s national anthem, in the country that had unintentionally caused the establishment of the IPO through its persecution of Jews. In the late 1980s, the IPO visited Auschwitz on a concert tour of Poland, Hungary and the former Soviet Union. And in 1994 Mehta was able to lead the IPO to China and his native India, shortly after Israel established diplomatic relations with the two Asian powers. The sell-out success of the 12 celebration concerts around Israel characterizes the local popularity of the IPO, which has the largest subscription public per capita in the world. In its 60th year the IPO recruited 6,200 new subscribers, a world record for a symphony orchestra. In fact, the IPO has always managed to break even without the need for government subsidies. With plentiful local talent, the IPO has never needed to offer fabulous salaries to entice musicians from overseas. About half of the orchestra\'s 110 musicians are native-born Israelis, 35% were born in the former Soviet Union and Eastern Europe, and 15% hail from North America. In addition, the IPO\'s many worldwide friends, such as the late Leonard Bernstein, conductors Kurt Masur and Lorin Maazel, and violinists Isaac Stern and Yehudi Menuhin, have been frequent guest players. The IPO also regularly records for leading companies such as Sony Classical, Teldec, EMI and Deutsche Grammophon. Recent recordings include the best of the IPO\'s concert repertoire such as Brahms\' four symphonies, Prokofiev\'s Piano Concertos and Mahler\'s symphonies. Based in Tel Aviv at the Mann Auditorium, the challenge facing the IPO over the next 60 years is to maintain and enhance the high standards that have been established. The Young Israel Philharmonic Orchestra, supported by scholarship funds, should ensure that the next generation of musicians is no less talented than the present. ******* The Israel Philharmonic Orchestra (abbreviation IPO; Hebrew: התזמורת הפילהרמונית הישראלית, ha-Tizmoret ha-Filharmonit ha-Yisre\'elit) is the leading symphony orchestra in Israel. History The IPO was founded by violinist Bronisław Huberman in 1936, at a time when many Jewish musicians were being fired from European orchestras. Its inaugural concert took place in Tel Aviv on December 26, 1936, and was conducted by Arturo Toscanini. In 1958, the IPO was awarded the Israel Prize, in music, being the first year in which the Prize was awarded to an organization.[1] The IPO enjoys frequent international tours, and has performed under some of the world\'s greatest conductors, including Leonard Bernstein and Zubin Mehta, both of whom are prominent in the orchestra\'s history. Bernstein maintained close ties with the orchestra from 1947, and in 1988, the IPO bestowed on him the title of Laureate Conductor, which he retained until his death in 1990. Mehta has served as the IPO\'s Music Advisor since 1968. The IPO did not have a formal music director, but instead \"music advisors\", until 1977, when Mehta was appointed the IPO\'s first Music Director. In 1981, his title was elevated to Music Director for Life.[2] Kurt Masur is the IPO\'s Honorary Guest Conductor, a title granted to him in 1992. Gianandrea Noseda is Principal Guest Conductor, a role previously occupied by Yoel Levi. With Mehta, the IPO has made a number of recordings for Decca. Under the baton of Bernstein, the IPO also recorded his works and those of Igor Stravinsky. The IPO has also collaborated with Japanese composer Yoko Kanno in the soundtrack of the anime Macross Plus. As of 2006, the composers whose works have been most frequently performed by the IPO were Beethoven, Mozart, Brahms, Mendelssohn and Dvořák. The initial concerts of the Palestine Orchestra in December 1936, conducted by Toscanini, featured the music of Richard Wagner.[3] However, after the Kristallnacht pogroms in November 1938, the orchestra has maintained a de facto ban on Wagner\'s work, due to that composer\'s antisemitism and the association of his music with Nazi Germany.[4] The Secretary-General of the orchestra is Avi Shoshani. The IPO has a subscriber base numbering 26,000.[5] Commentators have noted the musically conservative tastes of the subscriber base.[6] Musical Advisors/Music Directors Zubin Mehta (1968–) (Musical Advisor 1968–77; Music Director thereafter) Jean Martinon (1957–59)Bernardino Molinari Paul Paray (1949–51) Leonard Bernstein (1947–49; Laureate Conductor 1947–90) William Steinberg (1936–38) ***** Bronisław Huberman (19 December 1882 – 16 June 1947) was a Jewish Polish violinist. He was known for his individualistic and personal interpretations and was praised for his tone color, expressiveness, and flexibility. The Gibson ex-Huberman Stradivarius violin which bears his name was stolen and recovered twice during the period in which he owned the instrumen Biography Huberman was born in Częstochowa, Poland. In his youth he was a pupil of Mieczyslaw Michalowicz and Maurycy Rosen at the Warsaw Conservatory, and of Isidor Lotto in Paris. In 1892 he studied under Joseph Joachim in Berlin. Despite being only ten years old, he dazzled Joachim with performances of Louis Spohr, Henri Vieuxtemps, and the transcription of a Frederic Chopin nocturne. However, the two did not get along well, and after Huberman\'s fourteenth birthday he took no more lessons. In 1893 he toured Holland and Belgium as a virtuoso performer. Around this time, the six year old Arthur Rubinstein attended one of Huberman\'s concerts. Rubinstein\'s parents invited Huberman back to their house and the two boys struck up what would become a lifetime friendship. In 1894 Adelina Patti invited Huberman to participate in her farewell gala in London, which he did, and in the following year he actually eclipsed her in appearances in Vienna. In 1896 he performed the violin concerto of Johannes Brahms in the presence of the composer, who was stunned by the quality of his playing. In the twenties and early thirties, Huberman toured around Europe and North America with the pianist Siegfried Schultze and performed on the most famous stage (Carnegie in New York, Scala in Milan, Musikverein in Vienna, Konzerthaus in Berlin....). During many years, the duet Huberman-Schultze were regularly invited in private by European Royal Families. Countless recordings of these artists were done during that period at the \"Berliner Rundfunk\" and unfortunately destroyed during the second war. In 1937, a year before the Anschluss, Huberman left Vienna and took refuge in Switzerland. The following year, his career nearly ended as a result of an airplane accident in Sumatra in which his wrist and two fingers of his left hand were broken. After intensive and painful retraining he was able to resume performing. At the onset of the Second World War, Huberman was touring South Africa and was unable to return to his home in Switzerland until after the war. Shortly thereafter he fell ill from exhaustion and never regained his strength. He died in Corsier-sur-Vevey, Switzerland, on June 16, 1947, at age 64. Palestine Philharmonic Orchestra In 1929 Huberman first visited Palestine and developed his vision of establishing classical music in the Promised Land. In 1933, during the Nazis\' rise to power, Huberman declined invitations from Wilhelm Furtwängler to return to preach a \"musical peace\", but wrote instead an open letter to German intellectuals inviting them to remember their essential values. In 1936 he founded the Palestine Philharmonic Orchestra, which gave its first performance on 26 December with Arturo Toscanini conducting. Upon the establishment of the State of Israel in 1948 the orchesra was renamed as the Israel Philharmonic Orchestra. Stradivarius theft Before 1936, Huberman\'s principal instrument for his concerts was the 1713-vintage Stradivarius \"Gibson\", which was named after one of its early owners, the English violinist George Alfred Gibson. It was stolen twice. In 1919, it was stolen from Huberman\'s Vienna hotel room, but recovered by the police within 3 days. The second time was in New York City. On February 28, 1936, while giving a concert at Carnegie Hall, Huberman switched the Stradivarius \"Gibson\" with his newly acquired Guarnerius violin, leaving the Stradivarius in his dressing room during intermission. It was stolen by a New York nightclub musician, Julian Altman, who kept it for the next half century. Huberman\'s insurance company, Lloyd\'s of London, paid him $US30,000 for the loss in 1936. Altman went on to become a violinist with the National Symphony Orchestra in Washington, D.C. and performed with the stolen Stradivarius for many years. In 1985, Altman made a deathbed confession to his wife, Marcelle Hall, that he had stolen the violin. Two years later, she returned it to Lloyd\'s and collected a finder\'s fee of $US263,000. The instrument underwent a 9-month restoration by J & A Beare Ltd., in London. In 1988, Lloyd\'s sold it for $USD 1.2 million to British violinist Norbert Brainin. In October 2001, the American violinist, Joshua Bell, purchased it for just under $4,000,000. The price, or the value, had more than tripled in 13 years - a 340% appreciation. Recordings Huberman made several commercial recordings of large-scale works, among which are: Beethoven: Violin Concerto (w. Vienna Philharmonic Orchestra, cond. George Szell) (Columbia Records, LX 509-13) (18–20 June 1934). Beethoven: Kreutzer Sonata (no 9) (w. Ignaz Friedman, pno) (Columbia Records, C-67954/7D) Lalo: Symphonie Espagnole (omits 3rd movt.) (w. Vienna Philharmonic, cond. George Szell) (Columbia Records, C-68288/90D) Tchaikovsky: Violin Concerto (w. Berlin State Opera Orchestra, cond William Steinberg) (Columbia Records, C-67726/9D) (December 1928; originally for Odeon) Mendelssohn: Violin Concerto (2nd & 3rd movts) (w. Siegfried Schulze, pno) (Brunswick Records, PD-27242: acoustic) Also Bach Concerti 1 & 2, and Mozart Concerto 3. Several other large works exist in off-air broadcast recordings, including the Brahms concerto. ******* (1882–1947), violinist. Bronisław Huberman was born in Częstochowa, Poland and was a child prodigy who began to take violin lessons at the age of six. He appeared in public for the first time a year later, playing at a benefit concert for the poor. Huberman studied violin in Warsaw, with, among others, Isidor Lotto at the Warsaw Conservatory. He began to study with Joseph Joachim in Berlin in 1892, and also took lessons briefly with Hugo Heermann in Frankfurt and Martin Marsick in Paris. As a youth, Huberman combined study with frequent public appearances throughout Germany, Austria, Holland, and Belgium. At his concerts in Vienna in 1896, the audience included Antonin Dvorak, Gustav Mahler, Anton Bruckner, Johann Strauss, and Johannes Brahms. In 1896, he made his debut at Carnegie Hall in New York City. After returning to Europe, he produced his first recordings in 1900. In 1903 and again in 1908, he was invited to play Paganini’s violin in Genoa. In 1912, Huberman published Aus der Werkstatt des Virtuosen (In the Workshop of the Virtuoso), in which he discussed the role of a performer of his caliber. The bloodshed of World War I triggered Huberman’s interest in politics. Convinced that peace could only be achieved through European unification (modeled on the economic and political integration of the United States), he became involved in the Pan-European movement. He toured the United States repeatedly in the 1920s, explaining his political ideas in Mein Weg zu Paneuropa (My Road to Pan-Europa; 1924). In 1929, Huberman visited Palestine for the first time, where he was enthusiastically received. With Hitler’s rise to power, Huberman decided not to return to Germany and rejected an offer of employment by conductor Wilhelm Furtwängler. In September 1933, Huberman published a letter in German, French, and English, explaining his motives in defense of universal European culture and freedom. In 1936, he also published an “Open Letter to German Intellectuals” denouncing Nazism. In the early 1930s, Huberman took on the responsibilty of creating a symphony orchestra in Palestine. To that end, he organized the American Association of Friends of the Palestine Orchestra, with Albert Einstein as its chair, and in 1936 founded the Palestine Philharmonic Orchestra in Tel Aviv with refugees from Europe. The orchestra made its debut under Huberman’s leadership. Huberman left for America in 1940. He returned to tour Europe after the war and died at Nant-sur-Corsier in Switzerland. His archives were placed in the Central Music Library in Tel Aviv. \"Hatikvah\" (Hebrew: הַתִּקְוָה, pronounced [hatikˈva], lit. English: \"The Hope\") is the national anthem of Israel. Its lyrics are adapted from a poem by Naftali Herz Imber, a Jewish poet from Złoczów (today Zolochiv, Ukraine), then part of the Kingdom of Galicia and Lodomeria, Austria-Hungary. Imber wrote the first version of the poem in 1877, while the guest of a Jewish scholar in Iași, Romania. The romantic anthem\'s theme reflects the Jews\' 2,000-year-old hope of returning to the Land of Israel, restoring it, and reclaiming it as a sovereign nation. Contents 1 History 1.1 Lyrics1.2 Before the establishment of the State of Israel1.3 Adoption as national anthem1.4 Music 2 Official text3 Text of Tikvateinu by Naftali Herz Imber4 Alternate proposals and objections 4.1 Religious objections to Hatikvah4.2 Objections by non-Jewish Israelis 5 See also6 Notes7 References8 External links History Lyrics The text of Hatikvah was written in 1878 by Naphtali Herz Imber, a Jewish poet from Zolochiv, a city often referred to by its nickname \"The City of Poets\",[1] in the Kingdom of Galicia and Lodomeria, Austro-Hungary, today Zolochiv, Ukraine. Imber emigrated to the Land of Israel in the early 1880s and lived in two or more of the first Jewish colonies. The foundation of Hatikvah is Imber\'s nine-stanza poem named Tikvatenu [Our Hope]. In this poem Imber puts into words his thoughts and feelings in the wake of the establishment of Petah Tikva, one of the first Jewish settlements in the Land of Israel under Ottoman rule. Published in Imber\'s first book Barkai [The Shining Morning Star], Jerusalem, 1886,[2] the poem was subsequently adopted as an anthem by the \"Hovevei Zion\" and later by the Zionist Movement at the First Zionist Congress in 1897. The text was later revised by the settlers of Rishon LeZion, subsequently undergoing a number of other changes. Before the establishment of the State of Israel Hatikvah was chosen as the anthem of the First Zionist Congress in 1897.[3] The British Mandate government briefly banned its public performance and broadcast from 1919, in response to an increase in Arab anti-Zionist political activity.[4] A former member of the Sonderkommando reports that the song was spontaneously sung by Czech Jews in the entryway to the Auschwitz-Birkenau gas chamber in 1944. While singing they were beaten by Waffen-SS guards.[5] Adoption as national anthem When the State of Israel was established in 1948, Hatikvah was unofficially proclaimed the national anthem. It did not officially become the national anthem until November 2004, when an abbreviated and edited version was sanctioned by the Knesset[3] in an amendment to the Flag and Coat-of-Arms Law (now renamed the Flag, Coat-of-Arms, and National Anthem Law). In its modern rendering, the official text of the anthem incorporates only the first stanza and refrain of the original poem. The predominant theme in the remaining stanzas is the establishment of a sovereign and free nation in the Land of Israel, a hope largely seen as fulfilled with the founding of the State of Israel. Music The melody for Hatikvah derives from La Mantovana, a 16th-century Italian song, composed by Giuseppe Cenci (Giuseppino del Biado) ca. 1600 with the text \"Fuggi, fuggi, fuggi da questo cielo\". Its earliest known appearance in print was in the del Biado\'s collection of madrigals. It was later known in early 17th-century Italy as Ballo di Mantova. This melody gained wide currency in Renaissance Europe, under various titles, such as the Pod Krakowem (folk song) (in Polish), Cucuruz cu frunza-n sus [Maize with up-standing leaves] (in Romanian) and the Kateryna Kucheryava (in Ukrainian).[6] The melody is also very similar to a musical theme famously used by the Czech composer Bedřich Smetana in his symphonic poem celebrating Bohemia, Má vlast, as Vltava (also known under the German title as Die Moldau). Smetana\'s theme was based on a Czech folk song, \"Kočka leze dírou\". The adaptation of the music for Hatikvah was done by Samuel Cohen in 1888. Cohen himself recalled many years later that he had hummed Hatikvah based on the melody from the song he had heard in Romania, Carul cu boi [The Ox Driven Cart]. The harmony of Hatikvah follows a minor scale, which is often perceived as mournful in tone and is rarely encountered in national anthems. There is a modulating shift to Major key as the words Tikvatenu and Hatikva appear, both mingled with a romantic octave leap which gives new dramatic energy to the melodic line. As the title \"The Hope\" and the words suggest, the import of the song is optimistic and the overall spirit uplifting. Official text The official text of the national anthem corresponds to the first stanza and amended refrain of the original nine-stanza poem by Naftali Herz Imber. Along with the original Hebrew, the corresponding transliteration[a] and English translation are listed below. Hebrew Transliteration English translation כֹּל עוֹד בַּלֵּבָב פְּנִימָה Kol ‘od balevav penimah As long as in the heart, within, נֶפֶשׁ יְהוּדִי הוֹמִיָּה Nefesh yehudi homiyah, A Jewish soul still yearns, וּלְפַאֲתֵי מִזְרָח, קָדִימָה, Ul(e)fa’atei mizrach kadimah, And onward, towards the ends of the east, עַיִן לְצִיּוֹן צוֹפִיָּה, ‘Ayin letziyon tzofiyah; an eye still gazes toward Zion; עוֹד לֹא אָבְדָה תִּקְוָתֵנוּ, ‘Od lo avdah tikvateinu, Our hope is not yet lost, הַתִּקְוָה בַּת שְׁנוֹת אַלְפַּיִם Hatikvah bat sh(e)not ’alpayim, The hope of two thousand years old, לִהְיוֹת עַם חָפְשִׁי בְּאַרְצֵנוּ, Lihyot ‘am chofshi b(e)’artzeinu, To be a free nation in our land, אֶרֶץ צִיּוֹן וִירוּשָׁלַיִם. ’Eretz-Tziyon viy(e)rushalayim. The land of Zion and Jerusalem. Hatikvah Menu0:00 Recorded in 2004 Problems playing this file? See media help. Vocal Menu0:00 BBC recording from 20 April 1945 of Jewish survivors of the Bergen-Belsen concentration camp singing Hatikvah, only five days after their liberation by Allied forces. The words sung are from the original poem by Imber. Problems playing this file? See media help. Some people compare the first line of the refrain, “Our hope is not yet lost” (“עוד לא אבדה תקוותנו”), to the opening of the Polish national anthem, Poland Is Not Yet Lost (Jeszcze Polska nie zginęła) or the Ukrainian national anthem, Ukraine Has Not Yet Perished (Ще не вмерла Україна; Šče ne vmerla Ukrajina). This line may also be a Biblical allusion to Ezekiel’s \"Vision of the Dried Bones\" (Ezekiel 37: \"…Behold, they say, Our bones are dried, and our hope is lost\"), describing the despair of the Jewish people in exile, and God’s promise to redeem them and lead them back to the Land of Israel. The official text of Hatikvah is relatively short; indeed it is a single complex sentence, consisting of two clauses: the subordinate clause posits the condition (\"As long as… A soul still yearns… And… An eye still watches…\"), while the independent clause specifies the outcome (\"Our hope is not yet lost… To be a free nation in our land\"). Text of Tikvateinu by Naftali Herz Imber Below is the full text of the original nine-stanza poem Tikvateinu by Naftali Herz Imber. The current version of the Israeli national anthem corresponds to the first stanza of this poem and the amended refrain. Hebrew Transliteration English translation –I– כל עוד בלבב פנימה Kol-‘od balevav penimah As long as in the heart, within, נפש יהודי הומיה, Nefesh yehudi homiyah, A Jewish soul still yearns, ולפאתי מזרח קדימה, Ul(e)fa’atei mizrach kadimah, And onward, towards the ends of the east, עין לציון צופיה; ‘Ayin letziyon tzofiyah; An eye still looks toward Zion; חזרה Refrain עוד לא אבדה תקותנו, ‘Od lo avdah tikvateinu, Our hope is not yet lost, התקוה הנושנה, Hatikvah hannoshanah, The ancient hope, לשוב לארץ אבותינו, Lashuv le’eretz avoteinu, To return to the land of our fathers, לעיר בה דוד חנה. La‘ir bah david k\'hanah. The city where David encamped. –II– כל עוד דמעות מעינינו Kol ‘od dema‘ot me‘eineinu As long as tears from our eyes יזלו כגשם נדבות, Yizzelu kegeshem nedavot, Flow like benevolent rain, ורבבות מבני עמנו Urevavot mibbenei ‘ammeinu And throngs of our countrymen עוד הולכים על קברי אבות; ‘Od hol(e)chim ‘al kivrei avot; Still pay homage at the graves of (our) fathers; חזרה Refrain –III– כל עוד חומת מחמדינו Kol-‘od chomat mach(a)maddeinu As long as our precious Wall לעינינו מופעת, Le‘eineinu mofa‘at, Appears before our eyes, ועל חרבן מקדשנו Ve‘al churban mikdasheinu And over the destruction of our Temple עין אחת עוד דומעת; ‘Ayin achat ‘od doma‘at; An eye still wells up with tears; חזרה Refrain –IV– כל עוד מי הירדן בגאון Kol ‘od mei hayarden bega’on As long as the waters of the Jordan מלא גדותיו יזלו, Melo’ gedotav yizzolu, In fullness swell its banks, ולים כנרת בשאון Uleyam kinneret besha’on And (down) to the Sea of Galilee בקול המולה יפֹלו; Bekol hamulah yippolu; With tumultuous noise fall; חזרה Refrain –V– כל עוד שם עלי דרכים Kol ‘od sham ‘alei drachayim As long as on the barren highways שער יכת שאיה, Sha‘ar yukkat she’iyah, The humbled city gates mark, ובין חרבות ירושלים Uvein charvot yerushalayim And among the ruins of Jerusalem עוד בת ציון בוכיה; ‘Od bat tziyon bochiyah; A daughter of Zion still cries; חזרה Refrain –VI– כל עוד דמעות טהורות Kol ‘od dema‘ot tehorot As long as pure tears מעין בת עמי נוזלות, Me‘ein bat ‘ammi nozlot, Flow from the eye of a daughter of my nation, ולבכות לציון בראש אשמורות Velivkot letziyon berosh ’ashmorot And to mourn for Zion at the watch of night עוד תקום בחצי הלילות; ‘Od takum bachatzi halleilot; She still rises in the middle of the nights; חזרה Refrain –VII– כל עוד נטפי דם בעורקינו Kol ‘od nitfei dam be‘orkeinu As long as drops of blood in our veins רצוא ושוב יזלו Ratzo’ vashov yizzolu, Flow back and forth, ועלי קברות אבותינו Va‘alei kivrot avoteinu And upon the graves of our fathers עוד אגלי טל יפלו; ‘Od eglei tal yippolu; Dewdrops still fall; חזרה Refrain –VIII– כל עוד רגש אהבת הלאום Kol ‘od regesh ahavat halle’om As long as the feeling of love of nation בלב היהודי פועם, Beleiv hayhudi po‘eim, Throbs in the heart of the Jew, עוד נוכל קוות גם היום ‘Od nuchal kavvot gam hayyom We can still hope even today כי עוד ירחמנו אל זועם; Ki ‘od yerachmeinu ’eil zo‘eim; That a wrathful God may still have mercy on us; חזרה Refrain –IX– שמעו אחי בארצות נודִי Shim‘u achai be’artzot nudi Hear, O my brothers in the lands of exile, את קול אחד חוזינו, Et kol achad chozeinu, The voice of one of our visionaries, כי רק עם אחרון היהודִי Ki rak ‘im acharon hayhudi (Who declares) That only with the very last Jew — גם אחרית תקותנו! Gam acharit tikvateinu! Only there is the end of our hope! חזרה Refrain –X– (unofficial) לֵךְ עַמִּי, לְשָׁלוֹם שׁוּב לְאַרְצֶךָ, Lech ʻammi, leshalom shuv le’artzecha Go, my people, return in peace to your land הַצֱּרִי בְגִלְעָד, בִּירוּשָׁלַיִם רוֹפְאֶךָ, Hatzeri vegilʻad, biYrushalayim rofecha The balm in Gilead, your healer in Jerusalem, רוֹפְאֶךָ יְיָ, חָכְמַת לְבָבוֹ, rofecha YY (adonai), chochmat levavo Your healer is God, the wisdom of His heart, לֵךְ עַמִּי לְשָׁלוֹם, וּרְפוּאָה קְרוֹבָה לָבוֹא... lech ʻammi leshalom, ur(e)fuʼah k(e)rovah lavoʼ...` Go my people in peace, healing is imminent... Alternate proposals and objections Religious objections to Hatikvah Main article: HaEmunah Some observant Jews object to Hatikvah on the grounds that the anthem is too secular and lacks sufficient religious emphasis, such as not mentioning God or the Torah. Thus, some religious Zionists have altered the song by switching the word \"חופשי\" (free, which in modern Hebrew can allude to a secular Jew being free of mitzvot) with the word \"קודש\" (holy), thus reading the line: \"To be a holy nation\", referring to the verse in Exodus 19:6 \"וְאַתֶּם תִּהְיוּ לִי מַמְלֶכֶת כֹּהֲנִים וְגוֹי קָדוֹש\" (you shall be for Me a kingdom of priests and a holy nation). Rabbi Abraham Isaac Kook objected to the secular thrust of Hatikvah and wrote an alternative anthem titled “HaEmunah” (\"The Faith\") in the hope that it would replace Hatikvah as the Israeli national anthem. Rav Kook did not object to the singing of Hatikvah (and in fact endorsed it) as he had great respect for secular Jews, indicating that even in their work it was possible to see a level of kedushah (holiness).[7] Objections by non-Jewish Israelis Some Arab Israelis object to Hatikvah due to its explicit allusions to Judaism. In particular, the text’s reference to the yearnings of “a Jewish soul” is often cited as preventing non-Jews from personally identifying with the anthem. In 2001, Saleh Tarif, the first Arab appointed to the Israeli cabinet in Israel\'s history, refused to sing \"Hatikvah\".[8] Ghaleb Majadale, who in January 2007 became the first Muslim to be appointed as a minister in the Israeli cabinet, sparked a controversy when he publicly refused to sing the anthem, stating that the song was written for Jews only.[9] In 2012, Salim Joubran, an Israeli Arab justice on Israel\'s Supreme Court, did not join in singing Hatikvah during a ceremony honoring the retirement of the court\'s chief justice, Dorit Beinisch[10] From time to time proposals have been made to change the national anthem or to modify the text in order to make it more acceptable to non-Jewish Israelis.[11][12] To date no such proposals have succeeded in gaining broad support.[citation needed]