The Harp of David

The Harrari Nevel Harp

 

The Harps and Lyres of King David

 

The Prophet Jeremiah and the Five Guardians of Solomon’s Temple Treasures

Part Eleven

 

by Robert Mock MD

robertmock@biblesearchers.com

February, 2003

 

Topics

Mishnah 9

The Secret Mission of Zedekiah and

Baruk the Scribe of Jeremiah at Ein Zidkiyah

The Biblical History of Harps and Lyres

King David's Lyre and Harp

David’s Harp Therapy for King Saul

The Music of the Harpist

The Harps of Babylon

The Simon bar Kochba Coin (David’s Harp)

The Lyres and Harps and the Coming of the Messiah (Mashiach)

The Eight Gemstones in the Harps of David’s Temple

The Nehoshet Kalal, the burnished Copper Bells
 The Prophetic Ninth “Precious Stone” Quarried on Mount Sinai

Treasures Hidden for the Future Atonement of “All Israel”

 

Introduction

 

The ninth Mishnah (teaching) of the Emeq HaMelekh combines the sensory beauty of the music of the temple stringed instruments in the harps and lyres.  Here in the hidden place called Ein Zidkiyah, we are introduced to the preservation of the lyres and harps made by or under the direction of King David.   These musical instruments were over four hundred years old and today, three thousand years later, they would represent some of the oldest and most pristine musical instruments known to mankind.

 

The biblical history of the harp goes back to the antediluvian era when the House of Jubal was known as the maker and players of harps and the flutes.  (Gen. 2:40)  The first recorded harp in ancient historical records was in the Sumerian and the Ancient Egyptian societies. 

 

The most famous harp in history is the Harp of David.  This harp was a symmetrical harp known as the Kinnor Harp.  What we now know is this Mishnah is that David was not only an expert harpist and psalms composer, who used harp therapy in the royal court of King Saul, but was also a recognized musicologist and builder of classical harp designs. 

 

Beside the Kinnor or the Harp of David, there was also the Nevel Harp, most popular as a ten stringed lap harp.  Yet the most complex and mystical of the Nevel Harps was the twenty-two stringed Nevel Harp which was recognized by some rabbinic sources to produce the most perfect of music.  According to the traditions of the Jews, the Lord of hosts used a twenty-two stringed heavenly harp called the Nevel in the creation of this earth.  The transcendent energy of the twenty two frequencies became the Hebrew language with twenty-two letters from alef to tav and formed the energy matrix of this earth.

 

The three styles of harp music played in the ancient and Israeli society included:  the folk tunes and the cantoral music of the priestly choruses, the playing by inspiration in the Schools of the Prophets and hanging the harp on a tree and letting the Lord of the Winds play the music in the harp.  The last record of a harp in Jewish archeology is found imprinted on the Simon bar Kochba Coin with an image of the Harp of David. Was this a national emblem or a national instrument of music? 

 

At the same time the resurrection of the music of the lyres and harps is reserved for that future era of the messianic kingdom “when the world that is to come (the Olam Haba) is united in one harmonious whole.”  Yet the modern music of today with an eight- not octave scale is different than the music of the ten-stringed harp. Does this suggest that there will be an evolution in music to a new music scale?  What about the 144,000 who are singing a new song with harpers playing on their harps?  (Rev. 14:3)   Will the inter-dimensional music and the role of music in the mind in that transitional period at the time of the end be an evolving consciousness as man is elevated to the music of the heavenly spheres?

 

Not only the lyres and harps ‘made by David’ but also cymbals will be found in this hiding place.  The cymbals though were not made by David or Solomon but were made under the supervision of Moses on Mount Sinai. Yes, eight hundred years prior to the destruction of Solomon’s Temple, these musical instruments in the percussion section of the music department of the Mishkhan (Wilderness Sanctuary) were made and hidden for a future date in which to atone for Israel. 

 

How do we know that these cymbals were made for the sanctuary built by Moses and not relics of some ancient civilization such as Egypt, which the Israelites took a lot valuable artifacts with them in their great escape?  As stated, engraved on each cymbal were these words, “From beneath the legs of the Throne of Glory, sapphire stone, in the likeness of the Throne”.

 

The lyres were made also by the special almugim wood and overlaid or electroplated with ‘fine gold’. Also imbedded in each lyre were eight gemstones that came under the possession of Solomon but he alone the Lord of hosts gave power over the demons and forces of darkness in the spirit world.  The Lord of hosts took these talismans of the demons and transferred the electromagnetic forces of these stones to be used in the Temple of the Lord.

 

Next in this Mishnah we are introduced to another sacred musical instrument, the ‘Nehoshet Kalal’ a burnished copper bell that was attached to the lyres.  How strange, a bell attached to a stringed instrument.  What is even more fascinating is that the copper that made these bells was quarried on the top of Mount Sinai at the site where the visiting Throne of God resting on a sapphire stone with all its immense energy landed.   Not only that, a ‘priceless and precious stone’ that was quarried on the mount was mounted on each lyre.  Consider the implications of the transcendent energy of God transmitting through the crystalline matrix of the sapphire stone foundation of the Throne of God. Were these bells and stones for cosmetic beauty or did the copper and the priceless stones have a unique capacity to transmit or augment the music from the lyres?  Were they impregnated with Divine musical energy that the ancients called the ‘music of the spheres? 

 

The final statement in this Mishnah sets the conditions for all the treasures hidden by the five worthy Levites and the two hundred fittest men in all Israel. These treasures were not to be used for the restoration of Israel, but for the day ‘when Israel will return to their former stature and reclaim honor and worldly glory, and they find a man whose name is David, son of David.”  At this time ‘all Israel shall gather and make a complete Aliyah (ascent or return) to Jerusalem.” 

 

Mishnah 9

David [also] made 1,000 lyres and 7,000 harps to atone for Israel. He had Zilzalim (cymbals) for singing, extolling, thanksgiving, and praising the G-d of Israel which were handed down to him from Moses, from Sinai. The words,

"From beneath the legs of the Throne of Glory, sapphire stone, in the likeness of the Throne" (cf. Exodus 24:10), were inscribed upon them.

 

The lyres were made of Almugim wood, overlaid with fine gold, with 8 stones on each lyre, carried by the clouds, the demons and the spirits that were under Shlomo's dominion. On each lyre was a bell of "Nehoshet Kalal" (burnished copper) from before the Throne of Glory, together with a priceless, precious stone that Moses quarried on Mount Sinai from under the Throne of Glory which was upon the Sapphire Stone.

 

Shoshona and Micah Harrari

 

All these were hidden and concealed in "Ein Zidkiyah" that the fittest [men] of Israel knew in secret, lest they fall, G-d forbid, into the hands of the enemy who hated Israel.

 

For these vessels are not to be used except to atone for Israel. Baruch [ben Neriah] and Zidkiyahu thus concealed them to prevent the Chaldeans from using them, G-d forbid. They hid them until the day when Israel will return to their former stature and reclaim [eternal] honor and worldly glory, and they find a man whose name is David, son of David. The silver and gold shall then be unearthed to him, when all Israel shall gather and make a complete Aliyah (ascent) to Jerusalem. Amen.

 

The Secret Mission of Zedekiah and

Baruk the Scribe of Jeremiah at Ein Zidkiyah

 

Zedekiah, the leader of the post-exilic Jews with Baruk the scribe, before he fled to Egypt with Jeremiah had a secret mission to find a secure hiding place for the stringed instruments and percussion section of the Levitical choirs and orchestra. They were made also of Almugim wood, overlaid with gold and encrusted each with 8 jeweled stones.  Once again, we see the same almugim wood overlaid with gold, just like the carved fruited trees in the golden Garden of Eden in the Temple Complex of the Temple of Solomon.  On each lyre and harp were inscribed the words, "From beneath the legs of the Throne of Glory, sapphire stone, in the likeness of the Throne" (cf. Exodus 24:10). 

 

The Biblical History of Harps and Lyres

 

The antiquity of the harp and other stringed instruments extend back into the mystical times before the flood of Noah. In fact the first imagery and mention of the harps in ancient literature is in the Torah.  Of the descendants of Cain, sixth in descent, were two sons of Lamech which were born to Adah; Jabal and Jubal.

 

Genesis 4:20: “And Adah bore Jabal. He was the father of those who dwell in tents and have livestock. His brother’s name was Jubal.  He was the father of all those who played the kinnor (harp) and agav (flute or pipe).”

 

In 1978, a Jewish wife living in California, Shoshanna Harrari, was dreaming of owning a small lap harp, but could not find one which was comfortable for her. She and her husband, Micah Harrari four years later in 1982 made aliyah and returned to the land of their forefathers.  Living in Tiberias, they were exploring caves in the area of Megiddo and found a cave drawing dating back to about 1500 BCE. 

 

This drawing was given to a local guitar maker and from it he fashioned a harp for Shoshanna. This story was picked up by a Jerusalem journalist, whose research revealed that this was the Biblical harp known as the “Nevel” and not known for over two millenniums.

 

The Nevel according to ancient source was a lap harp with three to twenty-two strings.  The twenty-two stringed Nevel, according to the rabbis, was the most perfect music in the world because at the creation of this world, the Lord of hosts sang the twenty two letters of the Hebrew alphabet, from alef to tav, while being accompanied by a heavenly harp, a Nevel. 

 

The word 'nebel' appears 27 times and is translated lyre. In both Tehillim (Psalms) 33:2 and 92:3 it is said to have ten strings.

 

King David's Lyre and Harp

The Harp of David

 

Harps and Lyres were made from the beginning of the first recorded civilization, Sumer, around 2800 BCE.  The Sumerian lyre was asymmetrical, with one Òarm longer than the other.  Engraved on the lyre was often a figure of a bull or bull’s head engraved near the joint of the sound box at the bottom and the one of the arms holding from 9-11 strings.

 

The Egyptian lyre appeared about 2000 BCE having curved or straight arms with different lengths.  The musician would play it with the plectrum being held in the right hand plucking all the strings at once, while the left hand would fan over the strings to silence or dampen the vibration on any unwanted string. The lyre was held horizontally away from the player.

 

The Ancient Egyptian Trapezoid Arched Harp

from an 18^th dynasty tomb in Egypt

 

The Hebrew lyre was trapezoid or in a triangle and had 3 to 12 sheep gut strings. This Egyptian lyre as depicted on an 18^th century Egyptian tomb had only two supporting arches and was not as sturdy as the Kinnor Lyre.

 

About 1000 BCE in the days of David, a smaller and more symmetrical lyre was imported to Egypt from Asia. It was held upright with parallel arms. 

 

The Kinnor Lyre Harp was used throughout the temple services until the destruction of the Second Temple in 70 CE by the Roman forces of Titus. Using the Biblical scale of ten notes, its music would swell in anthems of praise during the great festivals of the Lord. The Kinnor Harp was known as the Lyre of David and in ancient times had three to twelve strings. Whereas we do not know how many strings were on the Lyre of David, we do know its effect on the human psychic. 

 

David’s Harp Therapy for King Saul

 

The youth David was introduced to the court of Saul, the king of Israel as one who was “skillful in playing (the harp), a mighty man of valor, a man of war, prudent in speech, and a handsome person; and the Lord is with him.” (1 Samuel 16:18).

 

King Saul was sent on the most important mission of his reign. The one people in the Middle East whose sole passion was the utter destruction of the Children of Israel were the Amalekites.  As the Israelites were fleeing from Egypt, the Amalekites ambushed them in the wilderness by attacking from the rear in order to destroy their women and children.  So Saul was given the most important mission given to any Israelite warrior in their history.  He had the opportunity to forever eradicate the most hated enemy of God.  And so Samuel, commanded Saul;

 

1 Samuel 15:1- -“The Lord sent me to anoint you king over His people and over Israel.  Now therefore, heed the voice of the words of the Lord.  Thus says the Lord of hosts: “I will punish Amalek for what he did to Israel, how he ambushed him on the way when he came up from Egypt. Now go and attack Amalek and utterly destroy all that they have, and do not spare them. But kill both men and woman, infant and nursing child, ox and sheep, camel and donkey.’”

 

Saul disobeyed and spared the life of Agag plus the best of the flocks and in turn lost his kingdom.  The prophet Samuel had to do only in part what Saul refused to do that was to destroy forever the seed of Agag.  This seed was perpetuated later in the life of Haman the Amalekite in the Persian court of Ahasuerus and Esther, who sought to destroy the Jewish people in the region of Susa.  The seed of Agag is perpetuated today in Yasser Arafat, the Hamas and other Syrian and Lebanese based terrorists, who also are spiritual and may also be genetic Amelakites, who’s sole identity is the destruction and annihilation of the Jewish people and to “drive them out to the Sea”. 

 

So Samuel responded to Saul’s disobedience;

 

1 Samuel 15:26 - “I will not return with you, for you have rejected the word of the Lord, and the Lord has rejected you from being king over Israel.”

 

            1 Samuel 16:14 - “But the Spirit of the Lord departed from Saul, and a distressing       (evil) spirit from the Lord troubled him.”

 

Here we see the first record of harp therapy for mental illness.  The bipolar personality of King Saul with bouts and fits of depression associated with anger and paranoia were only soothed by the tranquil music of the harp. Here we see the power of music in combating the spiritual forces of evil, the powers of darkness.

 

The youth David was introduced to the court of Saul, the king of Israel as one who was “skillful in playing (the harp), a mighty man of valor, a man of war, prudent in speech, and a handsome person; and the Lord is with him.” (1 Samuel 16:18).  Here we see David, still a youth but already renown as a warrior, sitting before the king with his harp,

1 Samuel 16:23 - “And so it was, whenever the spirit from God was upon Saul, that David would take a harp and play it with his hand.  Then Saul would become refreshed and well, and the evil spirit would depart from him.”

 

Kinnor Lyre Harp

This hollow bodied lyre uses the biblical scale of ten notes that was common to the instrument during the time of King David.

 

 

The Music of the Harpist

 

As a skilled harpist, David, whether he was playing the Nevel or the Kinnor, he would play according to three standard methods of harp playing.  According to ancient musicologists, the first way would be to play tunes known well to the Israelites, such as the top folk artists in America seek to get on the Top Forty Hits today. These songs may have been the Hatikvah or Yerushalyim Shel Zahav, songs well known to the Orthodox Jew today.

 

Besides playing a popular and known song they also accompanied the cantorical music of the priestly choruses.  The music as recorded by the sages tells that the anthems would swell as the throngs of pilgrims would flock into Jerusalem during the three great festivals of the Lord, at Passover, Pentecost, and Succot.  With great power and might, the anthems sung by the multiple priestly choruses echoed in antiphony against each other across the valley of Kidron, held against the background of a thousand harps that would produce a harmonious cacophony of music floating into the stratosphere, in which the lyrics and harmony would travel all the way to Jericho a full fifteen miles away.

 

The Shoshanna Nevel by the House of Harrari

 

Secondly, the harpist could play according the inspiration of God.  This form of playing was very common to the ancients.  One of the methods of producing the prophetic gift in the Schools of the Prophets would allow the prophet to allow his hands to play freely over the harp strings and then they would be a pressure on the shoulder.  To the prophet, at this time, he knew that the music was flowing from the Lord of hosts and the prophecy would be within the words of the song.

 

Then there was a third method of playing.  One Midrash tells of David while watching his flock of sheep, would hang his harp in the evening on a tree.  In the midst of the night the north winds would blow causing the vibration on the strings like the wind chimes on a porch.  When David awakened, he would then study the Torah.

 

The Holy Spirit called the Ruach HaKodesh was felt to be in spirit that would cause the symphonic sounds to emit from the harp without any human hands. Today, this is depicted in the words when we casually state, “The Hand of God.”

 

Shoshanna’s harp is called now the Harrari Nevel and uses a Hebrew invention which is a half-tone lever system which can alter each string on the harp exactly one-half tone. Known to have been used at least in the Second Temple era from Zerubabbel to the time of Yeshua, the musicians could quickly reposition a tone, even in the middle of a song, playing in different scales at the same time.  The beauty of the Levitical harp choruses using these alterations in harmonics created the specter of the awe and grandeur of the Temple services. 

 

The Sumerian Golden Harp of Ur - Baghdad Museum

 

The Harps of Babylon

 

According to the Psalms, the Jewish harpist from the Temple harp choirs refused to play their harps while in exile in Babylon. Since the harp was a representation of the angelic choruses and the services in the heavenly temple, the use of the harp died when the temple was destroyed.

 

The Bull’s Head on the soundbox of the Golden Harp of Ur - Baghdad Museum

 

Psalms 137:1-6 - “By the rivers of Babylon, there we sat down, we also wept, when we remembered Zion.  We hung our lyres on the willows in its midst.  For there those who carried us away captive required of us mirth, saying, sing us one of the song of Zion.”

 

“How shall we sing the Lord’s song in a foreign land?  If I forget you, O Jerusalem, let my right hand forget her cunning.  If I do not remember you, let my tongue cleave to the roof of my mouth; if I do not set Jerusalem above my highest joy.”

 

Whether the music of the harp playing was resurrected in the Second Temple music services is not truly known. Yet the symbol of the Harp of David was used throughout the second temple until the final destruction of Herod’s temple by the Roman forces in 70 CE.

 

The Simon bar Kochba Coin (David’s Harp)

 

After the fall of Jerusalem in 70 CE, the Romans planned to rebuild the city of Jerusalem into a Roman town dedicated to the Roman god Jupiter Capitolinus.  A new temple was built on the Temple Mount supposedly over the site of Herod’s Temple. 

In 132 CE, a band of Jewish rebels under the command of Simon bar Kochba, fought the forces of Rome for three years until their final demise at Masada.

 

Coin of Simon bar Kochba, “For the Freedom of Jerusalem”

132-135 CE

 

During this era, they stamped over Roman coins the inscription “For the Freedom of Jerusalem” using the Kinnor lyre as a central symbol on these coins. 

 

After the fall of Jerusalem the use of the harp and the lyre disappeared from use.  The sounds of the anthems sung from the temple walls with the blast of the shofars and the trumpet, set against the vast symphonic strings of the harps and lyres were silenced.  The Jewish people went underground to develop a spiritual understanding of their ‘chosenness’ and how to preserve it without being able to obey the commandments that pertained to the temple service. 

 

The Christian Church split from their Jewish Mother Ecclesia, the Jerusalem Nazorean Church under the leadership of James the Just, the brother of Yeshua, Peter the Apostle to the world Jewish believers in Yeshua, John the Beloved, the Apostle to the 12 Churches of Revelation and Paul, the Apostle to the Gentiles. 

With this split, the Christian Church set up a non-Jewish identity, took the vast symbols and motifs of the Jewish Temple services and the Festivals of the Lord, separating them away from the Hebrew Philosophy that the Lord of hosts gave to Moses (Moshe) on Mount Sinai and imbedded these symbols and motifs on a Greco-Roman philosophy of power, greed and control. 

 

 

The Lyres and Harps and the Coming of the Messiah (Mashiach)

 

According to the rabbis, the Talmud states, “The harp of the ten strings is reserved for the day when the world that is to come (the Olam Haba) is united in one harmonious whole.”  To the rabbabim, the re-appearance of the kinnor lyre harp, as depicted in the discovery and recreation of the harp by Micah and Shoshanna Harrari, would be a herald to the coming of the future Messiah (Mashiach). (Mas. Arachin 13b)

 

Ten String Rosewood Lyre

 

The modern music scale is set to an octave, known as the eight-note scale.  This is an ancient music scale probably coming from Phoenicia, is to evolve into a new harmonics at the time of the end.

 

In the Book of Revelation we witness the earthquake of the sixth seal (Revelation 6:12-17). “After this earthquake” (vs. Revelation 7:1) John saw “another angel rising our of the east, carrying the seal of the living God (vs.2) which was to be placed on the foreheads of His servants.” (vs. 3)  Then the sights of John was directed even farther upwards into the heavens into an other-dimensional scene where he saw 144,000 genetic Israelites (vs. 4-8) and a vast throng were standing before the throne of God shouting, praising and worshipping the Lord of hosts. (Vs.9-12) This vision to John was a mystical epiphany.  Then there was silence in heaven (Revelation 8:1) and the seventh seal was broken by the Lamb of God.  The word of God portrays this all in one sequence.

 

This same scene was revisited again by John, for when the Lord of hosts was placing his seal on the foreheads of his saints, the Earth Beast was sealing his adherents with the “Mark of the Beast” on their forehead and their right hands.(Revelation 13:11-18)  “Then” John’s sights were fixed on Mount Zion, once again in that heavenly epiphany, where the Lamb (Yeshua) and the 144,000 who had been sealed with the Father’s name on their foreheads were seen. (Revelation 14:1). And then John heard a sound of great majesty;

 

Revelation 14:2-3 - “I heard a sound from heaven like the noise of rushing water and the deep roar of thunder; it was the sound of harpers playing on their harps. There before the throne, and the four living creatures and the elders, they were singing a new song.  That song no one could learn except the hundred and forty four thousand who alone from the world had been ransomed.” (vs2-3)  

 

Today, as stated, our music is set up on an ancient eight-note scale called an octave, yet as we have seen, the ransomed, the 144,000, will be singing a “new song”. The commentaries of the rabbis are universal in that the ‘new song’ will be sung when the messiah (Mashiach) comes. To the Apostle John, they are singing that “New Song” prior to the Seventh Seal that will be poured out without wrath from the Throne of God. To the 144,000 and the Vast Multitude, they are selected by the Lord of hosts to herald the coming of the Messiah Yeshua (Moschiach ben Joseph ben David). This “New Song” will be moving music to a new harmonic scale. Were the rabbi’s correct that this new scale will be the ten-note scale using sound frequencies that are presently veiled from our musical enjoyment today?   

 

With a little Harp and Lyre history, let us now relook at this Mishnah

 

David [also] made 1,000 lyres and 7,000 harps to atone for Israel. He had Zilzalim (cymbals) for singing, extolling, thanksgiving, and praising the G-d of Israel which were handed down to him from Moses, from Sinai. The words, "From beneath the legs of the Throne of Glory, sapphire stone, in the likeness of the Throne" (cf. Exodus 24:10), were inscribed upon them.

 

The first part of this Mishnah we identify that it was King David that was responsible for setting up the Department of Music in the Temple of Solomon.  Not only that King David supervised the making of 1,000 lyres and 7,000 harps and it was stated that they were used to “atone for Israel”. We run into a problem with the number system in this Mishnah for is we take a conservative route and decrease it by a 1000 fold, we have only 1 lyre and 7 harps. 

 

Yet at the same time the Zitzalim (cymbals) had a greater antiquity. These were preserved in the museum archives of the Sanctuary of the Congregation, kept in the custody of the high priest from the time of Moses (Moshe) at Mount Sinai and then given to the custody of David.  These ancient bronze Cymbals, almost five centuries old, were not kept in the archives, but with the resurrection of the Holy Dance as performed by David when he took the Ark of the Covenant from Bethel to Jerusalem, were not put back into the service of the Lord in the Temple of Solomon. On these cymbals was engraved,

 

"From beneath the legs of the Throne of Glory, sapphire stone,

in the likeness of the Throne" (cf. Exodus 24:10)

 

Consider this phrase carefully.  Is this Throne of God actually real or is it only a mystical ethereal experience of the mind? The Sapphire Stone that is the floor of the Throne, is the corundum or silicon composition used in part to transfer energy from the Throne of God?   What came or was produced from beneath the legs of the Throne of Glory? Does it suggest that the copper or bronze that was used to make the cymbals was actually smeltered in the intense Energy of the Almighty?  What was the chemical composition? Did this heat and energy furnace beneath the Throne of God, where the coals are burning do something to the fusing of the metals that cannot be replicated today?  Does the metallic content of these cymbals produce a sound that has not been reproduced in music since the fall of the Temple of Solomon?  I invite you to read the Creator and the Throne of God and maybe a deeper, more literal and profound understanding can be made of the God of Abraham, Isaac and Jacob.

 

The Nevel / Atara Harp by the House of Harrari

 

Historians of the temple services are in agreement that musical sector of the temple was vast and the molding of the senses of sound, sight and smell were used to their fullest extent to elevate the mental powers of the Israelites into a mystical connection with the Lord of hosts, who sat on His Throne in the heavenly spheres.  The rhapsody of sound, the awesome power and glory of God as He entered His Holy Temple, the rhythmic movements of the priests performing the temple sacrifices and the Levites singing in anthems of praise and thanksgiving to the God of Abraham, Isaac and Jacob, the wafts of frankincense filled the air in a cloud as it was poured on the golden Altar of Incense, were all used to enhanced and consume the senses of the worshippers in the Temple. 

 

The Eight Gemstones in the Harps of David’s Temple

 

The lyres were made of Almugim wood, overlaid with fine gold, with 8 stones on each lyre, carried by the clouds, the demons and the spirits that were under Shlomo's dominion.

 

We now return back to the story of Shoshanna Harrari, and her quest for a harp that she could play.  Her husband, Micah, a Levite and a recognized master harp craftman had a Nevel, built for his wife and was recognized as building the first harp in the land of Israel since before the fall of the Temple of Herod in 70 CE.  The Harrari family searched the archeological, Biblical and Talmudic literature in order to recreate the mystical sounds of the ancient harp once again in the streets of the City of David.

 

Created in a small workshop, The House of Harrari, in the Jerusalem Forest, this Levitical family is now demonstrating the craftsmanship demanded by the Lord of hosts to build the musical instruments that evoke lifting the human spirit to the levels of awe and rhapsody before the Throne of God.  As stated by the Harrari family, “Because they are built in the Holy Land, inspired by the Ruach HaKodesh, these harps are more than lovely instruments, they are spiritual harps that join heaven and earth.”

 

The construction of the Lyres of David was described.  They were to be made of Almugim wood, which we presently have identified as the Oriental red sandalwood from India. The Lyres were then overlaid with ‘fine’ gold and eight Gemstones were embedded in golden mounts on each Lyre.  Wow! What beauty.  The Lord of hosts does not waste His energy on cheap construction. 

 

Notice how the harp construction is imbedded like the harps that King David made for the Temple of Solomon with gemstones.  This modern Harrari harp built today in Israel is with 12 gemstones rather than 8 stones that were embedded in the Almugim wooden harps that were then covered with ‘fine’ gold. 

 

The Burma Hixon Ruby (196 carats)

Los Angeles County Museum of Natural History

 

Is there a significance of the eight stones built into the harps of David and the fact that the harps will not be played again until the time of the end?  Is there significance that at the time of the end the harpists of the 144,000 will introduce a ‘new song’ with a new music scale?  Are we envisioning a time in the near future when the ‘sons of God’, the children of Adam will once again be able to observe and sing again with the archons of the angelic hosts and perform with the angelic harpist choirs before the throne of God and the heavenly temple?

 

What is the significance of the number eight?  What are the relevance of this number eight and the harps of David that will be given to the use of the messiah (Mashiach) for the atonement of “all Israel”?

 

Our minds are now forced to connect with the hidden mysteries of the Universe.  When Solomon was given kingship over Israel, at his request, he was also given ‘Wisdom’.  According to the ancient rulers that governed nations surrounding the Kingdom of Israel, they realized that Solomon commanded powers that mere mortals had the privilege and responsibility to command. Solomon was given power over the demonic powers and the spirits of the dark forces.  With these dark forces held in check by divine intervention, the glory of the Lord and the majesty of the kingdom that God gave to Solomon were unsurpassed.  Is it no wonder that the glory of the reign of Solomon has been unsurpassed in any subsequent empire that has ruled the world?

 

The Nehoshet Kalal, the burnished Copper Bells

 

On each lyre was a bell of "Nehoshet Kalal" (burnished copper)

from before the Throne of Glory,

 

together with a priceless, precious stone that Moses quarried on Mount Sinai from under the Throne of Glory which was upon the Sapphire Stone.

 

The majestic implications of this Mishnah go now even deeper.  Here we see the most mystical and mysterious of musical instruments, small bells were attached to each lyre and harp made from “Nehoshet Kalal" (‘copper made complete’) which ‘came from before the Throne of Glory.  Yes, this was a metal irradiated by the immense energy of the Throne of God. The question must be asked, what did this Divine Energy, immense in its source, do to the metal itself?  The quality of the tone emitting from each bell would potentially be the purest of tone and used in harmony with a thousand lyres could transfer and recreated the epiphany of the angelic choruses in heaven into musical sounds that could be received and understood by the human ear.  

 

The Hope Diamond, 45.52 carats from India - The Smithsonian Institute.

 

 

The Prophetic Ninth “Precious Stone” Quarried on Mount Sinai

 

That is not all, each lyre, which already had eight gemstones, was also imbedded with a special stone, quarried by Moses on the peaks of Mount Sinai.  These stones were also irradiated with the immense energy of the Throne of Glory.  Did the Divine Energy embedded in the crystalline matrix of the silicon, corundum or carbon based crystal (diamond) give it a power to drive away the forces of evil, to enhance the frequencies of energy that could be emitted from it or synthesize new frequencies that could elevate the worshippers to a higher and more enhanced worship experience?  

 

Would the music of the Davidian lyres, with their pure vibration energy, energized by  the eight gemstones, which would then open up new energy source in the ‘Precious Stone that Moses quarried on Mount Sinai.  Here under the Throne of Glory resting on a huge Sapphire Stone, would the Energy of the Holy One irradiate and flash like a laser sound and light show? 

 

The Star of India, the largest Star Sapphire in the World (563 carats) found in Sri Lanka, American Museum of Natural History  

 

Something special was happening here in the Temple of the Lord that was built by Solomon and not comprehended nor appreciated to this day.   Once again we find a special future atoning mission for their use in a day still into the future of our era.  How does a Lyre or a special Stone atone for the Children of Israel?  We are now on the verge of entering into the mysteries of the Lord of hosts.

 

Treasures Hidden for the Future Atonement of “All Israel”

 

All these were hidden and concealed in "Ein Zidkiyah" that the fittest [men] of Israel knew in secret, lest they fall, G-d forbid, into the hands of the enemy who hated Israel. For these vessels are not to be used except to atone for Israel. Baruch [ben Neriah] and Zidkiyahu thus concealed them to prevent the Chaldeans from using them, G-d forbid.

 

They hid them until the day when Israel will return to their former stature and reclaim [eternal] honor and worldly glory, and they find a man whose name is David, son of David. The silver and gold shall then be unearthed to him, when all Israel shall gather and make a complete Aliyah (ascent) to Jerusalem. Amen.

 

Here at Ein Zidkiyah, we see the scribe of the Prophet Jeremiah, Baruk, son of Neriah and Zidkiyahu, one of the future national leaders of the restored Jewish people seventy years later, hiding these harps and lyres made by King David. Yet apparently it was clear even to them that the return of the citizens of Jerusalem over fifty years later did not really fulfill the prophetic oracles given to them about the destiny of these temple music instruments. 

 

They were to look for a man whose name would be David, son of David at a day at the time of the end when ‘all Israel’ would restored and make a complete return (aliyah) to Jerusalem. That day the Lord of hosts promised would come in the future. With the blessings of the Lord, it will be a very near future. 

 

Bible Searchers Sites

The Oracles of Zechariah by Robert D. Mock MD

Jeremiah and the Five Guardians of Solomon’s Temple Treasures  by Robert D. Mock MD

 

Vendyl Jones Research Institute Sites

Vendyl Jones Research Institute Home Page

Emeq HaMelekh  by the Vendyl Jones Research Institute

The Copper Scroll and the Excavations at Qumron by Vendyl Jones

Dead Sea Scroll Deception Part One by Vendyl Jones

Dead Sea Scroll Deception Part Two by Vendyl Jones

Dead Sea Scroll Deception Part Three by Vendyl Jones

The Ark of the Covenant by Vendyl Jones

A Door of Hope by the Vendyl Jones Research Institute

Ashes for Beauty--The Mysterious Ashes of the Red Heifer by Jim Long

The Gate between Two Walls, by Vendyl Jones

Vendyl Jones and the Ark of the Covenant by Gerard Robins

 

Temple Mount Sites

The Temple Institute on recreation the Furnishing for the New Temple in Jerusalem

The Temple Mount in Jerusalem by the Temple Mount Organization

The Gihon Springs Temple Site by Ernest Martin

 

Emeq HaMelekh Sites

Emeq HaMelekh   by Robert D. Mock MD

Emeq HaMelekh  by the Vendyl Jones Research Institute

The Temple and the Copper Scrolls by the Order of the Nazorean Essenes

Emeq HaMelekh and the Ark in King Tut’s Tomb by Emeq HaMelekh  by the Vendyl Jones

The Treasures in the House of the Lord by Lambert Dolphin

 

Harps and Lyres

The History of the Harp  by Gary Garritan

The Harp of David by The House of Harrari  

The Return of the Biblical Harp by Hatikva Ministries

The Harrari Harps by The House of Harrari

Biblical Lyres by Lark in the Morning

Psalms played by the Harrari Harp

Unlocking the Secrets of the Kinnor and the bar Kochba Coins by Harp of David

Gaelic Harps & Harpers in Ireland & Scotland The Honourable Robert Ruadh of the Isles

 

Gemstone of the World

The Gemstone Collections of the World

The Hope Diamond, (45.52 carats) from India - The Smithsonian Institute.

The Star of India, largest Star Sapphire (563 carats) from Sri Lanka, American Museum of Natural History

The Burma Hixon Ruby (196 carats) Los Angeles County Museum of Natural History

 

 

  

Message from BibleSearchers

 

 

BibleSearchers scans the world for information that has relevance on the time of the end.  It is our prayer that this will allow the believers in the Almighty One of Israel to “watch and be ready”.  Our readiness has nothing to do trying to halt the progression of evil on our planet earth.  In our readiness, we seek to be prepared for the coming of the Messiah of Israel so that goodness and evil will be manifested in its fullest.  Our preparation is a pathway of spiritual readiness for a world of peace.  Our defender is the Lord of hosts. The time of the end suggests that the Eternal One of Israel’s intent is to close out this chapter of earth’s history so that the perpetrators of evil, those that seek power, greed and control, will be eliminated from this planet earth.  The wars of the heavens are being played out on this planet earth and humans will live through it to testify of the might, power, justice and the love of the God of Israel.  In a world of corruption and disinformation, we cannot always know what the historical truth is and who is promoting evil or mis-information.  We cannot guarantee our sources but we will always seek to portray trends that can be validated in the Torah and the testimony of the prophets of the Old and the New Testament.

 

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