This is written in Hebrew for a synagogue service. It has a rather interesting provenance insofar that it was thought to be lost until a few years ago.
Robert Mannheimer had the honor of being the rabbi to found the first new synagogue in Vienna in centuries. He was something of a reformer, and he chose a conservative cantor to keep his congregants happy.
Solomon Sulzer was the cantor, and he was invited to attend a Schubertiade, a party where Franz played the piano for dancing and also premiered some of his songs and other pieces. (The Schubert circle had no religious prejudices.) During a break at the party, Sulzer introduced himself to Schubert, and he sight-read Schubert’s song “The Wanderer” to Franz’ accompaniment. Schubert said it was perfect but not flawless. Sulzer sang it a second time after Schubert showed him the slight changes he wanted him to make. This was a case of two professionals at work.
Now Sulzer approached Schubert with a commission. He had tried to approach Beethoven for a piece for the opening service of the synagogue, but the composer was on his deathbed, which tends to be a bad career choice.
Schubert got the commission for Psalm 92 – but he knew not a word of Hebrew. Sulzer walked him through the words phonetically and showed him where the emphasis should be. The result could have opened a door for Schubert had he not died a year later. Death was the worst career choice Schubert ever made.
The piece was logged into Schubert’s list of pieces, but it didn’t show up until recently in a book of hymns for Jewish worship services. It’s one of the oddest corners of Schubert’s output.
I REALLY loved that low note at 4:07.
I am not used to hearing Jewish Liturgical music in a major key.
Even most Israeli Pop songs are in a minor key, or bounce between major and minor (kind of like “Blue Skies” by Irving Berlin)
“Osea shalom” is a prime example of that.