For Healing — JR007

An crann ubhall/Clear as a Bell
Seven stars
Par grant franchise
Co a ni mire ri Màiri?
Avinu malkenu
Miriam waiting
Lekha dodi niggùn
Fanny Power
Uva’ir yerushalayim
Eleanor Plunkett/Bridget Cruise 1
Ir me kero madre a yerushalayim
The serenity waltz
Joce’s tune
Si hei lwli mabi
Shalom aleikhem medley
Di zun vet arunter geyn
Ce fut en mai
Tant m’abelis joys et amors et chants
Seoithín seothó
Ma viele/A l’entrée de l’estée
Is ar Éirinn ní neósfhainn cé h-í
Keli ata

PLEASE NOTE: As of September 2021, Jill is working on the information on this website regarding the online availability of her albums and individual tracks, and other technical matters. Jill will update the information here — and on other pages — as soon as she can.

Meanwhile, if you urgently want an album or a track, please contact Jill directly.

Click here to hear a sample of each track. [to come]

Jill Rogoff – Triplett Nova harp*

All pieces traditional except where stated otherwise.
All Jill’s tunes are copyright, ACUM.
This recording & all arrangements ©Jill Rogoff 2013 ACUM. All rights reserved.

Recorded at Muso Productions, Jerusalem, 2012 without any sound effects.
Abbey Road EQ was used throughout.

Producers: Jill Rogoff & Mitch Clyman
Front cover: Tal Oriana Rogoff & Jill Rogoff©

Thanks to Mitch Clyman, for his sterling work (as ever); Deborah Weiss for her help with the graphics; Eli, for finding me the full quotation from the Talmud, and my family, for their belief in me and my therapeutic work, and for their assistance.

Dedicated, with love, to the memory of Joce Lederman, David Freeman & S.T.L., z”l.

“For good, for a blessing, and for healing and for life, for happiness
and for joy and for peace”

לטוב לברכה ולרפואה ולחיים, לשמחה ולששון ולשלום
(Jerusalem Talmud, Berakhot perek 5: halakha1 [ל”ז ב])

Music has been used for millennia in therapeutic settings, but this was gradually forgotten in some regions of the world. Over the past fifty years, people in the West have begun to rediscover the soothing beauty of the harp for the troubled and the sick.

I have been playing the lever harp in a Jerusalem hospital for many years, adapting melodies to the needs of the patients. Songs that I might play quickly in a concert — or that have strong texts or high-pitched sections — are adapted in order to ease the patients’ spirits, minds and bodies. I tend to play pieces with a regular beat for those who are ambulatory or sitting in public areas, and less-rhythmic pieces for those who are lying down or bed-ridden. I play quietly, without dramatic flourishes, using only the tiniest, subtlest decoration to render variations in the melody: this, too, is a conscious adaption to the needs of those whose bodies and spirits welcome a restful, but uplifting, atmosphere.

Let the music wash over you and bring your spirit respite.
To those who are troubled: may you find peace.
To those who are ill: refuah shlemah (רפואה שלמה) — may you recover completely.

*This is Jill’s eighth solo album, presenting just a part of the repertoire that she uses in playing harp for the troubled, the sick and the terminally. That being said, people in good health can also enjoy and benefit from this gentle, soothing music. It’s the perfect tonic at the end of a grueling day (or week).

Please note: this is an entirely instrumental album. There are no vocals on it at all.

To see reviews and comments on this album, click here.

For Healing was initially available in CD format directly from Jill only. This was a limited edition, and soon sold out. Jill may have more discs made in the near future. Watch this space.

For samples of the tracks, see the Music Samples page on this site.

However, this recording is available as a download from CD Baby.

An crann ubhall/Clear as a Bell (© Jill Rogoff). The first tune is a traditional song from Ireland, in which the girls sit under the trees, gossiping about the men in their village. Jill wrote the second tune in 2002, to honour the memory of the late Derek Bell, harper and instrumentalist extraordinaire with The Chieftains.

Seven stars. This is a traditional Irish jig.

Par grant franchise. This is one of only two songs by the Jewish trobador Mahieu le Juif, who flourished in 13th-century France.

Haleluya. This is a much-loved Hasidic setting of Psalm 150:5-6.

Co a ni mire ri Màiri. A traditional Scots dandling song in a slip-jig rhythm (9/8).

Einíní. A traditional Irish lullaby about the various birds going to sleep.

Avinu malkenu. A traditional Hasidic setting of a High Holy Days prayer.

Miriam waiting (© Jill Rogoff). Jill wrote this in honour of a friend and colleague.

Lekha dodi niggùn. An hypnotic setting of the much-loved Shabbat song, Lekha Dodi, this time by the beloved Jewish mystic Rabbi Nahman of Bratslav (1772-1810).

Suo-gân . This is one of the better-known traditional Welsh songs, a lullaby, made famous in Spielberg’s film, The Empire of the Sun .

Fanny Power. One of the best-known planxties by the famous Irish poet/harper Turlough O’Carolan (1670-1738).

Uva’ir yerushalayim. A traditional Ashkenazic tune, a setting for a poem by the great poet of the Golden Age of Spain, Rabbi Yehuda Halevi (ca.1075-1141).

Eleanor Plunkett/Bridget Cruise I. Turlough O’Carolan wrote many tunes to honour his patrons, of whom Eleanor Plunkett was one. Bridget Cruise was the love of his life, and he wrote for pieces for her. This — the first of the group — is my favourite. He never did manage to win her.

Ir me kero madre a yerushalayim. A traditional Sephardic songs from the Balkans, about the Jews’ longing for Jerusalem. It is written in a traditional scale commonly called ahava raba (‘great love’), because the prayer of that name is sung in this scale.

The serenity waltz (© Jill Rogoff). In the summer of 2007, I spent ten days studying Gregorian chant (a type of music I like very much). I refused to sing or play any other kind of music during that period, so that I might feel the full legendary effect of the chant. This harp tune is the result.

Joce’s tune (© Jill Rogoff). A harp tune that I wrote in memory of my late mother, Joce Lederman z”l. It seems to come from the Irish/Polish border, but she would have understood completely.

Si hei lwli mabi. Another traditional Welsh lullaby.

Shalom aleikhem medley. This medley of traditional tunes includes the songs Shalom aleikhem (about the Shabbat angels — Ashkenazic) , Mi yitneni of (a Bulgarian melody) and Tzur Mishelo. The latter is also known as Los bilbilikos, in which a traditional Sephardic text in Ladino is used (about sad love, of course). It is a traditional Greek melody.

Wiegenlied. The famous lullaby (Opus 49) by Johannes Brahms (1833–1897). I remember my maternal grandmother (z”l) singing this to me, over and over, when I was very little. I suppose that is why it always touches me so deeply.

Di zun vet arunter geyn. One of my favourite Yiddish songs, this is a beautiful lullaby by writers Ben Yomen (1901-1970)© and Moyshe-Leyb Halpern (1886-1932).

Ce fut en mai. A pastourelle by the trouvère Moniot d’Arras (fl. ca. 1225).

Tant m’abelis joys et amors et chants. One of my favourite trobador songs, by Berenguier de Palazol (fl. 1160–1209).

Seothín seothó. Another traditional Irish lullaby.

Ma viele (Gautier de Coincy, ca. 1177-1236)/A l’entrée de l’estée (Blondel de Nesle, ca. 1155-??). A medley of two trobador songs. Blondel was the trobador at the court of Richard Coeur-de-Lion (Richard I), and accompanied him to the Holy Land at the time of the Crusades. When Richard was captured by an Austrian royal and held for ransom, Blondel searched high and low for him. The story goes that he would whistle part of a melody that Richard himself had composed (and which few people would have heard). Finally, one day in Austria, high up a mountain in Durnstein, he heard somebody whistle back to him the next part of the melody… He had found his king! Today, in that same location, there are two hostelries side-by-side on the main street. One is called “Richard Coeur-de-Lion”; and the other? “Blondel de Nesle”.

Is ar Éirinn ní n-eósfhainn cé h-í. One of the most beautiful Irish melodies I’ve ever heard. This song is given two interpretations: one is political, in which the woman in the song symbolises Ireland. The other is a simple love story. A young man falls in love with a lovely young woman but says nothing about it, as he is poor and cannot offer her marriage. He goes away to earn his fortune. Meanwhile, unaware of the young man’s feelings for her, the woman marries his brother. When the putative lover returns to ask for her hand, he finds he must remain silent still. I know which interpretation I prefer.

Keli ata. Among the many tunes that he composed, the greatly-respected Alter Rebbe, Rabbi Schneur Zalman of Liadi (1745-1812) wrote this setting of Psalm 118:28.