The A Cappella Roundup

It’s the Nine Days of Av, a time when we mourn the destruction of the Beit HaMikdash. One of the customs during this time is not to listen to music. However, many also have to the custom to listen to singing as long as there are no instruments. Therefore, the two periods in the Jewish calendar when a cappella takes center stage are Sefirah (between Pesach and Lag B'Omer) and the Three Weeks. And these are usually the times of the year when Jewish musicians release a cappella singles.

This year, a few new a cappella songs have been released. Let’s review some of them.

Ariel Borzutzky has a new single called “Yediat HaEmet (Knowing the Truth).

Borzutzky’s life story is nothing short of amazing. He’s originally from Chile, in South America. He grew up in a family where his mother was the second person in all of Chile to become a ba’alat teshuva, while on the other hand, his father lived a completely secular life and didn’t even fast on Yom Kippur. Borzutzky attended a Jewish school where non-Jewish students also studied. Eventually, he came to Israel to study at the Rimon School of Music in Israel – where, of all places, he discovered the Jewish spark buried deep within him.

Since then, he has made aliyah, fully returned to his roots, and started a family. He continues to create music, has released two songs, and performs across the country with a unique musical show that blends original Jewish content and his personal life story alongside original songs and familiar classics.

About a year and a half ago, in November 2024, Borzutzky launched “Yediat HaEmet,” a single inspired by the writings of the Ramchal (Rabbi Moshe Chaim Luzzatto). He arranged and musically produced the track together with Brad Rubinstein. Now, he has released an a cappella version of the song in time for the period known as Bein HaMeitzarim.

“Yediat HaEmet,” which received a warm reception from radio stations in its original version, reveals an additional layer in this new rendition, placing vocal harmonies at the center and allowing the lyrics to resonate with power. Without musical instruments, the text takes on a renewed meaning, conveying its message in a direct and crystal-clear way.

Borzutzky wrote the moving lyrics and melody himself, stemming from a profound connection to the teachings of the Ramchal, author of Mesilat Yesharim. The words touch the deepest chords of the soul, dealing with a person’s constant search for clarity in the service of G-d – a message that takes on a particularly special meaning during these days of mourning for the destruction of our Holy Temple.

The spectacular vocal production was entrusted to esteemed arranger and musical producer Udi Damari. Damari crafted rich vocal harmonies for the track, mimicking an entire orchestra using only human voices, while strictly adhering to halachic guidelines.

Now, who’s the first musician who comes to mind when you hear the term a cappella? Of course – Mordy Weinstein! I’m sure you already know his story because you read my column about him (if not, check the Jewish Press website).

Weinstein just released a new a cappella song called “Hashivenu.” “Hashivenu Hashem eleicha venashuva, chadesh yameinu kekedem” – Turn us back to You, Hashem, and we will return; renew our days as of old.

With three acclaimed Jewish a cappella EPs (mini-albums) already under his belt, Weinstein has become one of the most recognizable voices in Jewish a cappella today. Now he’s putting his signature vocal style on Hanan Ben Ari’s smash hit “Hashivenu,” transforming the fan favorite into a soaring, harmony-filled a cappella anthem. Blending heartfelt emotion with the lush vocal production that has become his trademark, Weinstein’s latest release offers a fresh take on one of the biggest Jewish songs of the year.

When I first listened to the track, I wasn’t entirely sure it was 100% a cappella. Honestly, the intro sounds exactly like a musical instrument. Needing to verify, I messaged Weinstein on WhatsApp:

“Quick question – is it 100% or some instruments? Like the intro…”

“Zero instruments,” Weinstein responded. “All my voice.”

“Wow!” I wrote. “The intro sounds like a musical instrument. Amazing. Great job!”

“Thank you! That’s the idea,” he replied.

Next up is Yonatan Stern, who has just released a beautiful, emotionally stirring a cappella performance of the famous “Ani Ma’amin.”

To give you the full context of this release, here is the translated description from the song’s official YouTube clip: “Yonatan Stern hosts singers Moshe Zaretsky, Josh Wolmark, and Elad Chassidim in a polished and moving vocal version of the song ‘Ani Ma’amin,’ composed by R’ Azriel David Fastag.

“R’ Azriel David Fastag, a cantor and composer, composed the melody of ‘Ani Ma’amin’ while he was in the death cars with his family on their way to the Treblinka extermination camp. Packed in without air or water, Fastag began to sing ‘Ani Ma’amin’ with the last of his strength to a melody created in his heart during the journey, while the occupants of the car joined him, expressing faith and hope even in the most difficult moments.

“During the journey, Fastag promised that whoever managed to deliver the melody to the Modzhitzer Rebbe would win half of his portion in the World to Come. Two young men tried to jump off the train; one was shot, and the other was saved and managed to deliver the melody to the Rebbe.

“When the Modzhitzer Rebbe heard the melody, he said: ‘With this melody, Jews marched to the gas chambers, and with this melody, Jews will march to greet our righteous Mashiach.’”

Speaking of Yonatan Stern, Berel Faiden has just released a brand-new a cappella version of his recent hit Anachnu Nes, featuring Stern. Even in its vocal-only format, the track still sounds absolutely great.

A Final Note: From Destruction to Rebuilding

Last year, I wrote a column about “Eli Tziyon” – The Melody of Tisha B’Av. Shortly after the piece was published, I happened to interview Cantor Netanel Hershtik. As we were chatting, I mentioned that column to him, and he shared an absolutely fascinating musical insight.

He pointed out that the exact same melody of “Eli Tziyon” is actually used for a pivotal prayer we say during the High Holidays: “Benei Beitcha” (Build Your House as in the beginning, and establish Your Sanctuary upon its site; show us its rebuilding, and gladden us in its restoration).

In the High Holiday liturgy, this segment appears immediately following the solemn “Mipnei Chata’einu” (Because of our sins, we were exiled from our land) prayer. It is traditionally recited across various nusachim within the framework of piyyutim – liturgical poems and heartfelt requests for the final redemption.

It is a profound spiritual connection – taking us directly from mourning the destruction on Tisha b’Av to the ultimate prayer for the rebuilding of the Beit HaMikdash.