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Bashana Haba'ah: Where to breathe?

Greetings! I am conducting Bashana Haba'ah for a Choral Conducting course, and I have a question about where to place breath marks for my chorus. For this particular assignment, I was paired up with a classmate who didn't quite agree with my breath mark placements. For example, looking at the first phrase, I placed a breath mark as a shown below: the breath marks will be labeled in the following manner (')
 
Bashana haba'ah neshev al hamirpeset (') v'nis por tsiporim nod'dot.
 
However, my classmate had a slightly different interpretation of the phrase:
 
Bashana haba'ah (') neshev al hamirpeset v'nis por (') tsiporim nod'dot.
 
We continued to have different interpretations of where to place breath marks throughout the piece, in a similar manner as exemplified above. My question to the ChoralNet Community would be this: is there a "right or wrong way" to decide where to place these breath marks? What should I consider when choosing where the placement of breath marks will go, in a piece that doesn't offer "natural breathing room?" Thank you very much for your time!
 
-Shawn McKeown
MuE, University of Southern Maine
on April 22, 2012 6:11am
I think you need to think about the text.  I like the first breath mark.  In English it's next year we will sit on our Mirpeset - it's like an enclosed porch common in Israel.
Then you breathe to say "and we will count migrating birds."
The other way is ok:  Next year (breath) we will sit on our porch and count (breath) migrating birds.
Most people breathe after Hamirpeset.
Good luck!
Naomi Cohen
Music director, SAR Academy - Orthodox Yeshiva
on April 22, 2012 6:31am
If the song were in English, you would look for the natural phrasing. The same holds even though the song is in Hebrew. (nispor, by the way, is a single word: "we will count".) 
 
Here are how the breath marks fall in the translation of the examples:
 
Next year we will sit on the balcony' and count migrating birds.
 
versus
 
Next year' we will sit on the balcony and count' migrating birds.
 
Faedra Weiss
on April 22, 2012 8:11am
Bashana is a popular song in Israel, pretty much familiar throughout the general population, and not immediately identified with choral repertoire.  You can inform your decision-making process by listening to the way Israeli singers (professional and non) approach the issues you face.  My guess is that youtube and iTunes will give you a plethora of options. While these arrangements may be radically different from the octavo versions known to us in the choral ed/performance community, they give us a window into the vibrant life of a beautiful song in its original environment. 
 
And btw, maybe brace yourself for a surprise.  In Israel, the song is often associated with community band repertoire, played at a fast tempo with tubas providing oompah bass.  I'm not suggesting that you superimpose an oompah tempo on the arrangement you're conducting.  But at the tempo most frequently used in Israeli performances, these problems of breath and phrasing settle themselves.  At the faster tempo, it is physically awkward (nearly impossible, in fact) to breathe between successive eighth notes.
 
But don't take my word for it.  I am just a dude in Chicago.  Go to Israeli resources more closely connected to the original material.
 
Paul Caldwell
on April 23, 2012 10:56am
Naomi Cohen and Faedra Weiss are absolutely correct.  One additional factoid, the Hebrew 'v'  means 'and', so taking a breath before v'nispor  is logical as well.
Cantor Janice Roger
Indianapolis Hebrew Congregation
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