ย Rabbiย Benjamin Sprattย has written a D’Var Torahย and Rabbiย Juliana Karolย has written a Davar Acher about this week’s Parsha, Vayikra, for reformjudaism.org.ย We are pleased to share their thoughts here.ย 
From Rabbi Spratt:
Inย Shโmot Rabbah,ย we read:
Rabbi Abahu said, โWhen the Holy One gave the Torah, no bird cried out, no fowl flew, no ox bellowed, the angels did not move, the seraphim did not say โHoly, Holy, Holy,โ the sea did not stir, the creatures did not speak. The whole world fell into a total silence.โย (Shโmot Rabbahย 29:9)
In a world filled with every color, taste, and sound under the heavens, if there is one powerful component of life that is absent, it is silence. We have erased it from every area. We have put speakers in subway cars and buses; music plays in grocery stores and woos shoppers off the sidewalks. Blaring TVs are in our cabs and cars. And rare is the person who doesnโt plug in music or podcasts amidst his or her daily journeys through cities of sound. Auditory cacophony and visual din are so needed for many of us that we use white noise to sleep, and Twitter and email feeds to wake up.
The French philosopher Blaise Pascal wrote, โAll of humanity’s problems stem from a person’s inability to sit quietly in a room alone” (Pensees,ย 139). According to a recent meta-study published inย Science Magazine,ย we are so uncomfortable with undistracted silence that the majority of participants in the study would rather receive electric shocks than sit for even a few minutes in silence (โJust Think: The Challenges of the Disengaged Mind,โย Science,ย July 4, 2014).
Take away our sensory distractions, and discomfort descends. For in silence we are forced to hear the things we so often drown out. The cries of the soul. The existential solitude. The questions of person, place, and purpose.
Silence points not only to what comes at us, but also to what comes out of us. The Vilna Gaon used to go for days fasting, not on food, but on words. According to his ethical letter,ย Iggeret HaGra,ย a person should afflict himself the entirety of his remaining days, not by fasting of food, but rather, by the fasting of oneโs own mouth (Iggeret HaGraย 8). And, the Chasidic masters believed the highest form of spiritual practice was not the uttering of prayers or the sound of study, but ratherย hitbodedut,โembracing silenceโ (also known as โself-seclusionโ or โself-isolationโ). A spiritual silence. A silence of noticing. A silence of connecting.
This Shabbat we begin the ever-popular Book of Leviticus. We are often distracted by its details of dashed blood and disease, priestly purity, and sacred slaughter. The book opens with the wordย Vayikraย โ โAnd [God] called,โ โ a word that gives us the Hebrew names for the first portion and for the book as a whole. After near-constant talking and speaking from God, we encounter what feels oddly out of place: God calls to Moses. For the philosopher Franz Rosenzweig, this single word summarizes the substance of all that was revealed to the Israelites on Sinai โ God called to humanity; the Torah and all the subsequent writings are simply our response (See letter to Martin Buber, June 5, 1925 inย The Letters of Martin Buber).
There is also an orthographic oddity in this single word,ย vayikra.ย Written in the Torah, the final letter is always scribed in miniature form: a tiny, 12 point fontย alephย next to the 24 point font of the rest of the word. In theย Zohar, this points to the mysticsโ teaching that the silence of theย alephย inspires God to see it as the only conduit for unity and connection (Zoharย 1:3b). Later thinkers imagined that of all the words and letters in the Torah, the only thing God uttered was the first letter of the Ten Commandments โ the letterย aleph.ย The letter of silence. The space of Godโs Presence (seeย Radical Judaism: Rethinking God and Tradition).
If you have ever sat with someone in silence, you know there are different kinds of silence: silence of sadness, of joy, of uncertainty, of love. In silence we are given the chance to feel presence beyond words. And for most of us, the most profound and powerful moments of our lives are never about words, but about feelings: the sense of belonging, the yearning for wholeness, the heart-shattering feeling of loss.
And, out of that silence, God may speak. Our early Sages imagine that since the dawn of time God has been calling out to every person at every moment: Abraham was simply the first person to be silent enough to notice. (Inย Bโreishit Rabbahย 39:1ย Rabbi Yitzhak imagines this as the call of wonder or horror at either the majesty or the monstrosity of the world.) God has been calling out of a bush aflame. Moses was simply the first person silent enough to notice. (In the Chasidic work,ย Degel Machaneh Ephraim,ย this encounter at the bush becomes an example of the divine encounter possible at any moment and place.) In another example, God was whispering in the quiet: Elijah was the first to notice it on the mountaintop, as we read about the famous โstill, small voiceโ or soft whisper of silence (I Kings 19:12).
Our tradition, which imagines the universe created with words, and encourages us to fill our homes and sanctuaries with speaking and song, believes that God calls out of theย alephย โ the small spaces of silence.
We live in a world in which it is so hard to stumble upon silence. And when we do, we would often prefer receiving an electric shock to staying within it. And yet,ย Vayikra, God calls out to us, in each moment of each day. The prophet Zephaniah, envisioning what will happen on the day we enter the Messianic era, offers our ancestors these words of God: โOn that day…ย I will make silence in loveโ (Zephaniah 3:17, translation by Rabbi Ben Spratt).
For even but a moment, may we leave behind the buzz and hum, the storms and the fires, the words and the tweets, and may we fall into the small spaces of theย aleph.
And there, we may just hear Godโs voice.
From Rabbi Karol:
As we readย Parashat Vayikra, the diminutive letterย alephย at the end of the wordย vayikraย (vav-yud-kuf-reish-aleph) epitomizes the idea that we can derive mountains of meaning from every jot and tittle in the Torah (Babylonian Talmud,ย Mโnachotย 29b). There is so much to say about that tinyย aleph!ย Rabbi Rachel Barenblat teaches that theย alephย in the wordย vayikraย makes the difference between the verb โhappened uponโ (vayikar), as in โGod happened upon Moses,โ and the verb, โcalledโ (Rabbi Rachel Barenblat, โWhat Silence Conceals โ And Revealsโ). She highlights a midrash in which Moses argues forย vayikarย while God insists uponย vayikra.ย They compromise on the smallย aleph, a miniscule monument to Mosesโ humility and also to Godโs intention to call his name. That singleย alephย contains the spectrum of a universe that brims with randomness as well as one that adheres to a Divine order.
Rabbi Dvora Weisberg, Ph.D., points out another anomaly about the wordย vayikra:ย Leviticus 1:1ย is the only verse in Torah where the verb โto callโ precedes the verb โto speakโ (The Torah: A Womenโs Commentary,ย p.588). We read, โThe Eternal Oneย calledย to Moses andย spokeย to him from the Tent of Meeting. In the Book of Exodus, we learn that Moses could not enter the Tent of Meeting while God was present (Ex. 40:35). Just four verses later in the beginning of Leviticus, God calls to Moses, indicating he now has permission to stand before the Divine Presence (Lev. 1:1). What happened in those four verses that transformed Mosesโ capacity to encounter God? Perhaps that small, silentย alephย contains the answer.
When we still our lips and step away from our devices, as Rabbi Spratt contends, we can hear God calling out to us from the small spaces of silence symbolized by thatย aleph.ย Torah challenges us to consider the calls we miss when we spend so much time speaking, generating noise, ignoring the hushed hum of holiness hidden in the quiet. In Leviticus, the Israelites learn about Godโs needs. Articulating our reliance on others engenders vulnerability. Maybe God was shy or bashful, declining to yell over us.ย Moses, who describes himself as slow of speech and tongue (Ex. 4:10), persists in silence until God calls him to the Tent of Meeting. Those four verses then, show Mosesโ patience; putting his faith in the possibilities of a pause, he waited. Amidst the space Moses created, God could consider and then voice Divine hopes and expectations for our ancestors, further concretizing our covenant and empowering the Israelites to reciprocate Godโs love.
Justin Callis (he/him), our Cantorial Intern, is a fourth-year student at Hebrew Union College-Jewish Institute of Religion in the Debbie Friedman School of Sacred Music. He is the recipient of the Reuben Peretz Abelson Prize for dedication to Yiddish Song, the Temple Israel of Boston Cantorial Prize, and the Lee Gura Memorial Prize for Aptitude in Synagogue Choral Music.
Sarah Adams, viola, performs locally with the New York Chamber Ensemble, theย Claring Chamber Players, the Sherman Chamber Ensemble, the Friends of Mozart, and the Saratoga Chamber Players.
Violinist Michael Roth is a native of Scarsdale, NY and received his early musical training with Frances Magnes at the Hoff-Barthelson Music School. He attended Oberlin College and Conservatory, continuing his studies with Marilyn McDonald. At Oberlin, he won the Kaufman Prize for violin and First Prize in the Ohio String Teacher’s Association Competition. He completed his Master of Music degree at the University of Massachusetts where he worked with the distinguished American violinist and pedagogue Charles Treger and was a recipient of the Julian Olevsky Award.ย Mr. Roth is currently associate concertmaster of the New York City Ballet Orchestra and has appeared in chamber music and as a soloist with the company, most recently in the debut of “Slice Too Sharp”, a ballet of Biber and Vivaldi violin concerti, and “After the Rain”, violin music of Arvo Part. In addition he is a member of the Mostly Mozart Festival Orchestra, Principal 2nd violin of the Westchester Philharmonic, the American Composers Orchestra and the New York Pops. He was concertmaster of the Vermont Mozart Festival Orchestra for many years and often appeared as soloist there, as well as at the Caramoor and Bard Music Festivals. He has played and toured internationally with the Orpheus Chamber Orchestra and the New York Chamber Soloists.
Known for his sweet and โsumptuousโ (New York Times) tone, American-born Doori Na took up violin at the age of four and began his studies with Li Lin at the San Francisco Conservatory of Music. He quickly made his first performance with orchestra at age seven with the Peninsula Youth Symphony as the first prize winner of the concerto competition. Thereafter Mr. Na went on to win top prizes in The Sound of Music Festival, The Korea Times Youth Music Competition, the Chinese Music Teacherโs Association, The Menuhin Dowling Young Artist Competition, The Junior Bach Festival, VOCE of the Music Teacherโs Association of California, and The Pacific Musical Society. Receiving full scholarships to private high school Crossroads School of Arts and Sciences in Santa Monica, he moved to Los Angeles to study with renown violin teacher, Robert Lipsett, at The Colburn Music School. There he appeared as soloist with the Palisades Symphony, Brentwood Symphony, and Torrance Symphony. During that time, the summer of 2004 was Mr. Naโs first time at the Perlman Music Program where his expression and musical identity were greatly influenced. He has been a part of the program ever since and participated in many of their special residencies in Florida, Vermont, New York, and Israel.
Alan Goodis is a touring Jewish musician playing over 150 events a year. Born and raised in Toronto, Alan is a proud product of URJ Goldman Union Camp Institute. Noted for his dedication to building relationships and community through music, Alan tours throughout the US to serve as an Artist-In-Residence and performer at Temples, Youth Conventions and Jewish summer camps.
Julie Silver is one of the most celebrated and beloved performers in the world of contemporary Jewish music today. She tours throughout the world, and has been engaging audiences with her gorgeous compositions and liturgical settings, her lyrical guitar playing, her dynamic stage presence, and her megawatt smile for over 25 years.
Dan is a product of the URJ Jewish camping movement. He has toured Jewish summer camps across North America for the last 15 years. A classically trained singer, Dan received his Bachelor of Music degree in vocal performance at the University of North Carolina. In 1995, realizing the potential of music to make powerful connections with Jewish youth, Dan established the Jewish rock band Eighteen. Since that time, Dan and Eighteen have released 13 albums. Songs like, Lโtakein, Bโtzelem Elo-him, Kehillah Kedoshah, Chazak, Sweet As Honey, and Asher Yatzar have become Jewish communal anthems throughout North America.
Naomi Less is an internationally celebrated singer/songwriter, ritualist and educator. Beloved for her warm smile and inviting presence, communities celebrate her imagination and innovation, tenderness and pizzazz! Her original music is sung in worship communities worldwide. Naomi serves as Co-Founder, Ritual Leader and Associate Director of Lab/Shul and is a leader in amplifying women’s voices through her work at Songleader Boot Camp and her Jewish Women Rock show on Jewish Rock Radio. Naomiadvocates for people struggling with fertility journeys as a performance artist and speaker for Uprooted: A Jewish Response to Fertility Challenges. Fun fact: Naomi and her husband wrote the song shine/Yivarech’cha, a Friday night blessing, specifically composed for URJ Crane Lake Camp, sung every Friday night in the dining hall.
Her destiny became obvious to Joanie Leedsโ parents when, at the tender age of 2, Joanie grabbed the performerโs mic at a party and belted out the entire songโTomorrowโ from Annie. Jaws dropped! No one could remember ever hearing a big voice like that coming from one so tiny and certainly no one would have thought she would one day earn a GRAMMYยฎ Award for her original music.
A composer, multi-instrumentalist, and prayer leader, Elana Arian is one of the leading voices in contemporary Jewish music. Elanaโs music is part of Jewish life across the globe, and her compositions are sung in spiritual communities, summer camps, and synagogues from Louisville to London, from Chicago to the CzechRepublic, and everywhere in between. Elana just released her fourth album of original music, The Other Side of Fear, and her compositions have been published in countless Transcontinental Music collections. Elana serves proudly on the faculty of Hava Nashira (Oconomowoc, WI), the Wexner Heritage Foundation (Aspen, CO), Shirei Chagiga (London, England), and as an instructor at the Hebrew Union College in New York, where she teaches in the Debbie Friedman School of Sacred Music. Elana has performed at Carnegie Hall, Lincoln Center, Tanglewood, and perhaps most memorably, five separate appearances at the (Obama) White House. She lives in New York with her wife, Julia, and their two daughters, Maya and Acadia.
Known for his unique, engaging, and deeply soulful approach, Noah Aronson is considered one of the most sought after Jewish musicians in North America, making over 65 community appearances each year.
There is a reason why Time Magazine has listed Michelle in their Top Ten list of Jewish rock stars.
Kol BโSeder has been composing and performing contemporary Jewish music since the early1970s. Rabbi Dan Freelander and Cantor Jeff Klepper met as college students; over the past 50years they have released numerous CDs and songbooks. With Debbie Friedman (z”l) and others, they forged a new musical sound for American Jewish camps, schools and synagogues. Their songs, such as “Shalom Rav,โ โModeh Ani,โ and “Lo Alecha,” have become traditionalJewish melodies around the world. They are delighted to be inaugurating their fiftieth anniversary celebration by appearing in support of URJ camps, where they first composed and incubated many of their early songs.
Rabbi Mira Weller (she/her) received her ordination at Hebrew Union College-Jewish Institute of Religion in Los Angeles in May 2022. She studied Culture and Politics at Georgetown Universityโs School of Foreign Service and received her Masterโs in Jewish Education at the Rhea Hirsch School of Education at HUC-JIR. She is the proud recipient of awards for her studies in rabbinic literature, her work in Jewish education, and she was granted the Myrtle Lorch Pfaelzer-Monroe Pfaelzer Award for an Outstanding Female Rabbinical School Student (2022). Rabbi Mira speaks Hebrew and Spanish (so please practice with her!). She has a passion for uncovering new possibilities in the great wealth of our tradition and for making music inspired by Judaismโs many cultures. Her guilty pleasures include cupcakes, classical music, and philosophy.
New York bassist Roger Wagner enjoys a long and diverse career. As soloist, chamber musician, and orchestral bassist, Mr. Wagner has appeared on many of the world’s great concert stages.
Sarah Adams 
Leonard Bernstein described 
Praised by the New York Times as โirresistible in both music and performance.โ flutist, 
Margaret Kampmeier, 
Michael Roth
Our initiative for young children and their grown-ups provides a slate of offerings including Shabbat and holiday celebrations, music, classroom readiness programs, and new parent experiences. During the pandemic, we have leaned on $1m of seed funding for Sholom Sprouts established through this campaign as we offer age-appropriate virtual programs for our families with young children, who are the future of our community. We look forward to welcoming our littlest members and their grown-ups back to our new fifth floor, as well as hiring a Program Assistant to increase the capacity of Sholom Sprouts to grow. This program provides a crucial entry-point to the congregation and membership for young families.
