December 5, 2020 ~ VAYISHLAH. SABA/SIGAH.

H Moshe Dwek - ח' משה דוויק ע"ה

ח' משה חי בן רוז נזהה ע"ה

Special acknowledgements to the following individuals: Rabbi Hayim Arking, Alan Kishk, Rabbi Moses Hidary, and the family of H Moshe Dwek A"H

 

H Moshe Dwek A"H, born in Aleppo, Syria, was the Hazzan of Congregation Ohel Simha (Park Avenue Synagogue) in Elberon, NJ, for sixteen years.

 

 

Index of Recordings

Section Pizmon Page Song CommentaryRecordings Application
Qiddush 0.01 1 יגדל אלהים חי Thirteen Primary Jewish Beliefs according to Maimonides. R' Daniel ben Yehuda HaDayan- 13th century- Italy Moshe Dwek - Yigdal - AJAM
Moshe Dwek - Yigdal - HOSENI
Moshe Dwek - Yigdal - NAHWAND
Qiddush 0.05 6 קדוש לליל שבת Qiddush for Friday Night. Moshe Dwek - Qiddush - NAWAH
Moshe Dwek - Qiddush - NAHWAND
Qiddush 0.15 7 קדוש ליום שבת Qidusha Rabbah for Saturday Morning. Moshe Dwek - Qiddush Raba - RAST
Moshe Dwek - Qiddush Raba - AJAM
Moshe Dwek - Qiddush Raba - NAHWAND
Moshe Dwek - Qiddush Raba - BAYAT
Moshe Dwek - Qiddush Raba - NAWAH
Moshe Dwek - Qiddush Raba - SABA
Moshe Dwek - Qiddush Raba - SIGAH
Moshe Dwek - Qiddush Raba - HIJAZ
Qiddush 0.2 7a צור משלו אכלנו Pizmon for Birkat HaMazon. Each blessing of Birkat Hamazon is alluded to. Maqam Hijaz. Moshe Dwek - Haleluya
Moshe Dwek - Naqdishakh
Baqashot 10 20 ה' בוקר Shelomo Ibn Gabirol Maqam Hoseni Hoseni. Psalms 5:4. Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek
Moshe Dwek - HM
ה' מלך
Baqashot 17 26 מה נכבד Mordekhai Labaton Maqam Saba Saba. Written by H Mordekhai Labaton (1780-1869). About the importance and centrality of Shabbat. Saba. Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek
שועת עניים
Baqashot 21 29 יום זה שירו Mordechai Abadi Maqam Mehayar-Bayat This song (MEHAYAR / RAHAW, page 29), considered the most popular of the Baqashot collection, is composed by the great rabbi H Mordekhai Abadi (1826-1884) of Aleppo, Syria. Other compositions by H Abadi can be found in "Dibre Mordekhai" (Aleppo, 1873). Although the acrostic is “Yosef Binyamin Hazaq," H Abadi's name is hinted to in the song. The theme of the song is to encourage the people to enjoy the Shabbat by singing to God. According to the chorus, the Sabbath is special because it is a time of rest from work, and it is our inheritance to be happy on this very blessed day. Throughout the 5 stanzas, there are many allusions to verses from the Tanakh. The final verse is a charge to strengthen those in the community who wake up pre-dawn to sing the Baqashot; reminding them “these are your lives to reach strengths and to dwell in the courtyards in the House of God." Besides for singing this during the Baqashot, this song is also customarily heard on the table during the Shabbat meal. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek
Baqashot 23 30 כי אשמרה שבת Abraham Ibn Ezra Maqam Saba Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek - Nahwand melody
Moshe Dwek - Semehim (AJAM)
שמחים
Baqashot 31 39 יודוך מלך Mordechai Abadi Maqam Rahawi Nawah Written by H Mordekhai Abadi (1826-1883). Rahawi Nawah. Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek - HM / Halleluya
אל ההודאות
Baqashot 35 43 שלום וצדק נשקו Shelomo Laniado Maqam Hoseni Hoseni. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek
אל ההודאות
Baqashot 37 45 מלא פי שירה Raphael Tabbush Maqam Ajam Ajam. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek - Qaddish
Moshe Dwek - Qaddish , Rau Banim
נקדישך
Baqashot 38 46 אשא לבי Eliahu Sasson Maqam Hoseni Written by H Eliahou Sasson (?-1869). Hoseni. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek
Moshe Dwek - Mimisrayim
ממצרים
Baqashot 43 52 משמים שלום לעם Mordechai Abadi Maqam Rast Written by H Mordekhai Abadi (1826-1883). Rast. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek
Moshe Dwek - Naqdishakh
Moshe Dwek - Naqdishakh
Moshe Dwek - Naqdishakh
נקדישך
Baqashot 59 67 אדון יחיד Menashe Sitehon Maqam Sigah Alludes to the Ten Sefirot that God used to create the world. Written by Menashe Sittehon (?-1876), in honor of Isaac Harari. Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek
Moshe Dwek - Semehim
שמחים
Baqashot 61 69 ידיד נפש Elazar Azkari Maqam Sigah 16th century. He defines this piyut as “a supplication for union and the desire of love”. Sigah. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek - Nahwand melody
Moshe Dwek - Sigah version
Moshe Dwek - Mimisrayim (Sigah)
Moshe Dwek - Naqdishakh (Sigah)
ממצרים
Baqashot 62 70 אגדלך אלהי Abraham Ibn Ezra Discussing the relationship between man and the Creator. There are many emotions here including the mortality of man. There is more than one melody to this song; According to H. Kaire, it could be in Sigah (melody: Adon Yahid Yasad), Nahwand (Atah El Kabir), other popular Nahwand tune, or Mehayar Bayat (Mamlekhot Ha'ares). Attiah Manuscript Yabess Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917 Moshe Dwek - Qaddish (Nahwand)
קדיש
Mossaei Shabbat 67 76 במוצאי יום מנוחה Yaakob Manoi Very old pizmon. Found in Mahzor Vitry. Its composer is Ya'acob Manoi, whose name is spelled in the acrostic beginning with the second stanza. It begins with a plea that God gather Israel together from exile during the coming week. It asks that He redeem Israel from its current state of degradation and bring it to the Temple. Closes with a prayer for Elijah the prophet, traditionally the herald of the Messiah. Moshe Dwek - Rau Banim
ראו בנים
Mossaei Shabbat 72.03 85 הבדלה All of these Habdalot recordings, courtesy of Steven M Ashear, took place in the Edmond J Safra Synagogue of South Deal (Hathaway) by Cantor Yehiel Nahari. Mahzor Aram Soba 1560 Moshe Dwek - Habdalla
Mossaei Shabbat 75 91 על בית זה ויושבהו Ben Ish Hai Moshe Dwek - Qaddish
Moshe Dwek - Rau Banim
Rast 114 111 אחבירה לך Moshe Dwek
Moshe Dwek - Nishmat
Moshe Dwek - Naqdishakh
ואני תפלתי
Rast 123 115 יה אל מגן Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - Nishmat
Moshe Dwek - Nishmat
Moshe Dwek - Naqdishakh
נשמת
Rast 124 116 אתה יודע Raphael Tabbush Moshe Dwek
Moshe Dwek - Naqdishakh
Moshe Dwek - Naqdishakh
נקדישך
Rast 125 116 רפא צירי Raphael Tabbush Refa Siri is a special composition written by H Raphael Tabbush A"H. The melody is attributed to a Judeo-Spanish song entitled "Triste Vida" (A Sad Life). The song has an acrostic of "Refael" and has been viewed as a prayer for good health. The first stanza of the song recognizes God as the ultimate doctor and healer. The song also contains a prayer for God to open the gates of mercy and to send freedom to our nation. The pizmon was used by H Moshe Ashear A"H (d.1940) for the PIZMON SEFER TORAH in 1940 for Shabbat Vayera because Abraham is thought to have been recovering from the Berit Mila at the opening of the perasha. Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - Naqdishakh
Moshe Dwek - Naqdishakh
אל ההודאות
Rast 130 119 הנה זה עומד Moshe Dwek
Moshe Dwek - Mimisrayim
Moshe Dwek - Naqdishakh
ממצרים
Rast 131 119 יה תאיר לאורי Raphael Tabbush Dor: yah talah il sa'adi. Moshe Dwek
Rast 132 120 יחיד נורא Raphael Tabbush This jovial pizmon (RAST, page 120), composed by H Raphael Antebi Tabbush (deceased December 1918) of Aleppo, Syria, is one of the most important and popular songs for the festival of Pesah. There are four stanzas in this pizmon; corresponding to the four letter of name of God (Tetragrammaton). Within each stanza, there are multiple rhyming clauses. Although the melody of this song should not be applied to any of the pieces of prayers, this pizmon is used for the PIZMON SEFER TORAH (typically on Shabbat HaHodesh or 1-2 Pesah). Many aspects of the month of Nisan, including the Haggadah and the counting of the Omer, are alluded to in this special pizmon. In general, the composer gives praise to God for all of His kindness to mankind, and specifically to the Jewish nation for the Exodus from Egypt and the splitting of the sea. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 Moshe Dwek
Rast 142 124 אני לשמך אהלל Raphael Tabbush סימן רפאל. Birth of a baby boy and the Pidyon HaBen. Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - Mimisrayim
Moshe Dwek - Naqdishakh
Moshe Dwek - Naqdishakh
אל ההודאות
Rast 143 125 רם לחסדך יקוו Raphael Tabbush Same melody as "Frere Jacques" (French). This song is sometimes used for Berit Milah. Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
ממצרים
Rast 144 125 מימים ימימה Moses Ashear Ashear Manuscript Moshe Dwek
שועת עניים
Rast 146 127 מגן ישעי Moses Ashear This pizmon, "Magen Yish'ee" (RAST, page 127), is composed by H Moses Ashear (acrostic: Moshe Hazaq), in honor of the wedding of Mr Ezra Obadia Labaton In Brooklyn, NY, circa 1920-25. The melody of this song is from the Dutch folk song entitled "Trip a Trop a Tronjes." As the melody sounds, this is a very happy song that celebrates the occasion of a wedding in the Labaton family. The last stanza contains a reference to H Mordekhai Labaton (1780-1869); the great Aleppian Rabbi and patriarch of this family. The last stanza also contains a prayer to return to the sanctuary of the Temple and to rebuild the city of Zion (Jerusalem). This melody is commonly applied to Shav'at Aniyim on weeks of Maqam RAST. On December 7, 2013, two days after the passing of Rabbi Ezra Labaton, Rabbi of Congregation Magen David of West Deal and the grandson of the individual mentioned above, this song was used as the PIZMON SEFER TORAH in over ten community synagogues as a tribute to the Rabbi. Ashear Manuscript Photograph of Rabbi Dr Ezra Labaton Moshe Dwek
שועת עניים
Rast 149 128 תען לשוני ותגיד Moses Ashear (Maqam Sigah). Ashear Manuscript Moshe Dwek
Moshe Dwek - Semehim
Moshe Dwek - Semehim
ממצרים
Rast 151 130 מלכי לעם איתני Moses Ashear For the Hatan (groom), David Abraham Sutton. Ashear Manuscript Moshe Dwek
כתר
Rast 155.04 132b חי אל נאדר Haim S Aboud Moshe Dwek - Naqdishakh
Rast 157 133 מה נאוו רגלי מבשר Moses Ashear Shabbat Qorah. Moshe Dwek
Moshe Dwek - Naqdishakh
כתר
Rast 159 135 ממרום קולם Moses Ashear Moshe Dwek
Moshe Dwek - HM
Moshe Dwek - Naqdishakh
ה' מלך
Rast 162 138 דגלך ישא על הרים Moses Ashear Nissim Shaul Dabbah Bar Misvah. February 23, 1935. Leaflet Moshe Dwek
Moshe Dwek - SA
Rast 164 140 אב הרחמן אהבת Ezra Dweck and Gabriel Shrem Wedding of Lew Grazi on his wedding day, 15 Tammuz, 1956. The melody is from "Bint Il Jiran." Moshe Dwek
כתר
Rast 167 144 נאוה יפה צביה Ezekiel Hai Albeg This pizmon (RAST, page 144), whose title translates as "Lovely, Pretty Gazelle," is the first, and possibly only, pizmon to be written in honor of a baby girl. In the 1950's, some complained that there were many songs written for baby boys, yet nothing for girls. In 1954, master poet Ezekiel H Albeg corrected this by composing this for the birth of his daughter, Nina. Today, this song is used for an Abi HaBat before going up to the Torah. There are four stanzas in this song; corresponding to name "Nina." The first stanza also serves as a chorus; to be repeated after each subsequent stanza. The melody of this is from the Arabic song "Ya Widel Widalakh." In this song, there are many references to Shir HaShirim; containing imagery that illustrates the relationship between God and the Jewish people. One such reference from Shir HaShirim is the repeated phrase at the end of each stanza "Bo'ee Legani, Legani Beshir, Mizmor Halleli" (Come to My garden in song...); referring to Israel's joyous return to Jerusalem in song and in praise. Although the song is officially classified as Maqam RAST, the word 'Nava' in the beginning of the song hints that it can also be classified as NAWAH. Moshe Dwek
אל ההודאות
Mahour 170 146 אל חון על בת המענה Baby Girl. Moshe Dwek
Moshe Dwek - EH
Moshe Dwek - Qaddish
Moshe Dwek - Mimisrayim
Moshe Dwek - Naqdishakh
Moshe Dwek - Naqdishakh
ה' מלך
Mahour 179 149 ידך תנחני ישראל Yadekha Tanheni is a composition written by the legendary poet and Sephardic rabbi H Israel ben Moshe Najara (1555-1625). Based on the words in Psalms 139:10, the pizmon opens with the words "Your hand will guide me, O Living God, my maker." Throughout his life as a refugee (from Safed, to Damascus, and then to Gaza) filled with personal tragedy (loss of his wife and daughter at an early age), Najara manages to keep his faith in the Almighty and relies on Him for support. Still questions are asked of God, "Where is David? Where is Ben Yishai?" - referencing the Messiah and a promised redemption. In the prayers, H Moshe Ashear uses the MAHOUR melody of this pizmon on Shabbat Toledot for Semehim. This relates to the narrative of this perasha, because we are introduced to Jacob, also named Israel; an individual who also had a very difficult life but nevertheless relies on God for support. Hamaoui Manuscript Attiah Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923 Moshe Dwek
Moshe Dwek - Semehim
Moshe Dwek - Yadekha Tanheni
ה' מלך
Mahour 180 150 יתן טל יה מימינו Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
ממצרים
Mahour 182 151 שבתי שבתי Raphael Tabbush Aseret Yeme Teshuba. Moshe Dwek
שמחים
Mahour 186 153 נעימה לי Moses Ashear Eli S Haddad. Ashear Manuscript Moshe Dwek
שועת עניים
Mahour 187 154 ריבה ריבה Moses Ashear Gabe Shasho. Ashear Manuscript Moshe Dwek
Moshe Dwek - Halleluya
Moshe Dwek - Naqdishakh
Moshe Dwek - Naqdishakh
ואני תפלתי
Mahour 189 155 מלכי צורי יה ידידי Moses Ashear Ezra Obadiah HaKohen. Same tune as the Syrian National Anthem of prior to 1936. Ashear Manuscript Moshe Dwek
Mahour 191 156 בואי ברנה Moses Ashear Bo'ee BeRina is one of the most beautiful compositions authored by H Moshe Ashear (d. 1940). This pizmon was written for the groom, Seymour Charles Semah, in honor of his wedding to Sara Ashkenazie (daughter of Lulu and Aharon Ashkenazie). The content of the pizmon is written from the point of view of the Hatan talking to his new wife. Although the acrostic is Moshe- named after the author, the names Shaul, Sion, and Semah are alluded to in the first, second, and last stanzas, respectively. The melody of this pizmon is from the Arabic "Hawad Min Hina," sung by Egyptian singer Munira al-Mahdiya (1884-1965). Although this song is only listed in Maqam MAHOUR, Ashear made another melody to this pizmon in Maqam HIJAZ. It is the HIJAZ version that Ashear applied to Semehim on Shabbat Haye Sara in 1940. The pizmon relates to this Torah portion, because Isaac becomes a groom. Ashear Manuscript Moshe Dwek
Moshe Dwek - Qaddish
Moshe Dwek - Naqdishakh
Moshe Dwek - Naqdishakh
שמחים
Mahour 192 157 יה הרם סלה Moses Ashear Haddad. Ashear Manuscript Moshe Dwek
Moshe Dwek - SA , BY , EH
Moshe Dwek - Naqdishakh
Mahour 193 157 ישירו לאלהים Moses Ashear Shabot. Ashear Manuscript Moshe Dwek
Mahour 196 161 יה ניבי לך Moses Ashear Isaac Harry Franco wedding. Kislev 1931. Leaflet Moshe Dwek
Mahour 197 162 האהבה האהבה Ezra Dweck Dweck Bar Misvah. 1962. Leaflet Moshe Dwek
Ajam 201 165 ישא ברכה Raphael Tabbush This pizmon (AJAM, page 165) is composed by H Raphael Antebi Tabbush in honor of the installation of Rabbi Yaaqob Shaul Elyashar (Safed, 1817- Jerusalem, 1906) as the new Rishon LeSion (Sephardic Chief Rabbi) in 1893. The debut of this special song took place at the Rabbi Yohanan Ben Zakai synagogue in the Old City of Jerusalem by two choirs of boys (one from the Talmud Torah Doresh Zion and the other from the yeshiva Tiferet Yerushalayim) under the direction of H Raphael Tabbush. At the end of the performance, the Chief Rabbi thanked H Tabbush greatly and as a token of his gratitude, gave him 3 napoleon gold coins; hence the song became referred to as the "Golden Song". The title of this song "Yisa Berakha" refers to the abbreviation of Rabbi Elyashar's name (יש״א), and the acrostic of the four stanzas of this song is Yaaqob (יעקב); a reference to his first name. The melody of this song can be applied to Nishmat on weeks of Maqam AJAM, and is specifically associated with Shabbat Shofetim due to the Deuteronomy 17:20 reference of "Ya'arikh Yamim Al Mamlakhto" (translated as "long days for his reign") in the second stanza of the song. Tabbush Manuscript Moshe Dwek
Moshe Dwek - Nishmat
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
נשמת
Ajam 202 166 מעוז צור "Maoz Sur Yeshuati" (AJAM, page 166), a piece from the 13th century Eastern Europe, is considered the most famous Jewish hymns for the festival of Hanukkah. The name of the song, meaning "Strong Rock, My Salvation," is a reference to God, and the song, throughout its 6 stanzas (acrostic: מרדכי חזק), recounts the many times that God saved the Jewish people. The hymn retells Jewish history in poetic form and celebrates deliverance from four ancient enemies, Pharaoh, Nebuchadnezzar, Haman, and Antiochus. In the first stanza, it says that God saved us during the times when the enemies are about to slaughter us, and this is when we rededicated the altar, a reference to the festival Hanukkah. The melody of this piece, according to Cantor Birnbaum of Konigsberg, is adapted from the old German folk-song "So weiss ich eins," and has been widely spread among German Jews as early as 1450. It has become tradition to sing the first verse of this song after lighting the Hanukkah candles. Moshe Dwek
Moshe Dwek
כתר
Ajam 203 167 שיר אגיד Alludes to the ten sefirot that God used to create the world. Tabbush Manuscript Moshe Dwek
שמחים
Ajam 205 168 מלך רחמן Raphael Tabbush Melekh Rahman (AJAM, page 168), or "Merciful King," is considered the ultimate wedding song. It was composed in Aleppo, circa 1897, by H Raphael Tabbush (d. 1918), for his close student, H Moshe Ashear (d. 1940), in honor of his wedding to Salha, the daughter of Mr Yaaqob Shamah. The acrostic is "Moshe" and names of family members (Moshe, Yaaqob, Shaol, Simha, Shelomo) are alluded to. The melody is from the Arabic song "Doom Ya Zaman." There are three stanzas in this song. The first two stanzas are from the point of view of the community; asking God to save the nation, and also to join in the happiness of the Hatan and Kallah on their wedding day. The third stanza, however, is from the view of the Hatan; asking to be blessed with the Blessing of Abraham. For Shabbat Vayesse, this melody can be applied in the prayers for Nishmat. The pizmon can be associated with this perasha, because we read about Jacob's wedding. Moshe Ashear and Family Manuscript Moshe Dwek
נשמת
Ajam 208 169 איברי יאמרו הב Raphael Tabbush Tabbush Manuscript Moshe Dwek
נשמת
Ajam 212 171 מקדש בנה בו Shabbat Teruma or Vayaqhel. About building of the temple. Tabbush Manuscript Moshe Dwek
פזמון
Ajam 213 171 הללו אל יה Raphael Tabbush Maqam Sasgar Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Ajam 214 172 אני לקראת Raphael Tabbush Engagement or Wedding. Manuscript Moshe Dwek
Moshe Dwek - Mimisrayim
Moshe Dwek - Rau Banim
ממצרים
Ajam 215 173 מקהלות עם Mordechai Abadi This pizmon (AJAM, page 173), whose opening words translate as "In the assembly of the nation God is blessed," is a popular celebratory song associated with weddings. It is composed by the prominent rabbi, judge, and poet, H Mordekhai Abadi (b. Aleppo, 1826 - 1883), who is the author of "Dibre Mordekhai" (Aleppo, 1873), a collection of sixty nine pizmonim assorted by maqam, as well as "Miqra Qodesh," a collection of Baqashot. This song has four stanzas (acrostic: מ-ר-ד-כי) and a repeating chorus ("Haleluhu Gadeluhu"). The song seems to honor a bridegroom with the first name 'Jacob,' but this name is a metaphor for the entire nation of Israel. The song is an ongoing blessing to this bridegroom (i.e. wealth, honor, and longevity), as well as an ongoing praise to God for His generosity and kindness. The song ends with a remembrance of the strength that Israel had at the exodus from Egypt as well as a blessing for us to merit a future redemption when we will all live in Jerusalem. A Z Idelsohn notes, 1923 British Library Or. 10375 Moshe Dwek
Moshe Dwek - Naqdishakh
נקדישך
Ajam 216 173 יחיד רם שוכן בשחק Moshe Dwek - Halleluya
Ajam 221 176 אלה אלה הבה Raphael Tabbush Tabbush Manuscript Moshe Dwek
Moshe Dwek - HM
ה' מלך
Ajam 224 177 ינון שמו Matan Torah. Tabbush Manuscript Moshe Dwek
Moshe Dwek - SA
שועת עניים
Ajam 227 179 רועה נאמן הוא Raphael Tabbush The pizmon "Ro'eh Ne'eman Hu" (AJAM, page 179), translated as "Faithful Shepherd Is He," is a song associated with the festival of Shabuot. It is composed by H Rephael Antebi Tabbush (d. Cairo, 1918), and the acrostic of his name, "Raphael," is spelled out in the song's four stanzas. The melody of this pizmon is adapted from "Salam Affandina" (translated as "Salute of our Lord"); a melody composed by Giuseppe Pugioli. This melody is well known because it was Egypt's national anthem from 1871-1958. The theme of the pizmon is about receiving of the Torah and the importance of it. In the last stanza of this pizmon, it says "Learn from it (the Torah) day by day, and all your days, you will find peace." The song concludes by saying that the way of the Torah will "save you from troubles and your words [of prayer] will be listened to by God." According to the Hazzanut notes of H Moshe Ashear, this pizmon is traditionally used as the PIZMON SEFER TORAH on the first day of Shabuot. Tabbush Manuscript Moshe Dwek
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
כתר
Ajam 231 181 שמך יתרומם Raphael Tabbush Maqam Sasgar Hamaoui Manuscript Moshe Dwek
Moshe Dwek - HM
ממצרים
Ajam 238 189 מפעלות אלהים חזו Moses Ashear Sam Franco. PS 62 song. Ashear Manuscript Moshe Dwek
Moshe Dwek - EH
Moshe Dwek - Rau Banim
אל ההודאות
Ajam 244 193 בקול רנה גילה וצהלה Moses Ashear Wedding song. Ashear Manuscript Moshe Dwek
Moshe Dwek
Ajam 253 202 מלכי אתה פודי Murad Maslaton Bar Misvah of Sion Maslaton. Moshe Dwek
כתר
Ajam 254.6 204c הודו לה' כי טוב Bar Misvah of Eddie Sitt, grandson of Mr Ralph Tawil. 1982. Moshe Dwek
Moshe Dwek - Nishmat
Ajam 254.7 204e רמ"ח אברי "The Wheat Song." Bar Misvah of Moe Abraham Tawil (May 23, 1982). Moshe Dwek
254.93 אנא פדה יה Maqam Ajam Melody is a Turkish march. Pizmon is by R Meir Waknin, 1882. Ana Pede Yah (Pizmon from 1882) Moshe Dwek - Halleluya
Moshe Dwek - Naqdishakh
הללויה
Nahwand 262.1 208a ירושלים של זהב Naomi Shemer The pizmon "Yerushalayim Shel Zahab" (NAHWAND, page 208A), translated as "Jerusalem of Gold," is an Israeli song written by Naomi Shemer (1930-2004). This song, written in May 1967, became an unofficial second national anthem after Israel won the Six Day War (June 1967) and liberated Jerusalem. It's melody is based on the Basque lullaby "Pello Joxepe." The song originally had 3 stanzas but a fourth one was added after the Six Day War. The theme of the song is about the Jewish people's longing for Jerusalem. There is a stark contrast between the second stanza, which mourns over the sad, dry, and empty streets, and the amended fourth stanza, which celebrates the return to Jerusalem with happy streets full of life. Some say that the timing of the composition of this song is nothing short of prophetic. The melody of this song made its way to synagogue services and is usually heard transposed to various pieces of prayer around Yom Yerushalayim (28 Iyar). Moshe Dwek
שמחים
Nahwand 265 210 אתה אל כביר Raphael Tabbush The initials at the beginning of each stanza form the acrostic 'Ani Refael'. The song talks about Israel's redemption. The beginning of the pizmon has the composer turning to God to ask for mercy. The composer says that he will not stop praying until his prayers are accepted. He prays for the redemption of the Jewish people, the gathering of the exile, and returning to the Land of Israel. Tabbush Manuscript Moshe Dwek
Moshe Dwek - Nishmat
Moshe Dwek - Rau Banim
נשמת
Nahwand 266 210 לעיר חנה דורשה דודי Raphael Tabbush Moshe Dwek - Qaddish
נשמת
Nahwand 267 211 רם ונעלם אדון עולם Raphael Tabbush Tabbush Manuscript Moshe Dwek
שועת עניים
Nahwand 268 211 תכון לעד Moshe Dwek
נשמת
Nahwand 271 213 אחזה בנועם Raphael Tabbush "Ehze BeNoam" (NAHWAND, page 213), translated as "I will gaze at the pleasantness of Your face," is a song written by master composer, H Raphael Antebi Tabbush (d. 1918). The 6 stanzas of the song form the acrostic: "Ani Refael" (אני רפאל). Though a favorite at the Shabbat afternoon Sebbits, this melody is almost never applied to any of the pieces of prayers. This composition describes what the author envisions he will do once he leaves the exile; dwelling in the House of the Lord, bowing in the holy sanctuary, and offering the burnt sacrifice in the Temple. He then asks for the Blessing of Abraham and not to be humiliated while in exile. He continues by asking for God to hasten the redemption for the Jewish nation. The battered Jewish nation, at times, feels "chained" (עגונים) in their exile, but finds comfort in their study of the Torah. The author asks God to accept the praises and songs of His beloved nation, because He is a merciful God that forgives transgressions and is eternally kind. Tabbush Manuscript Moshe Dwek
פזמון
Nahwand 273 214 למה הקץ נסתם נא Raphael Tabbush This pizmon, written in the 19th century by Refael Antebi, is based on a very popular Arabic (Egyptian) song of the times. This pizmon is commonly sung on Shabbat. Moshe Dwek
Moshe Dwek - Naqdishakh
נקדישך
Nahwand 274 214 יה נחלה המצחה Raphael Tabbush Moshe Dwek
Moshe Dwek - Qaddish
קדיש
Nahwand 275 215 אודך אודך Raphael Tabbush Tabbush Manuscript Moshe Dwek
Moshe Dwek - Semehim / Mimisrayim
Moshe Dwek - Naqdishakh
שמחים
Nahwand 276 215 רעיוני יחיד Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - Qaddish
Moshe Dwek - Rau Banim
Moshe Dwek - Qaddish
ממצרים
Nahwand 278 216 רחום אתה Raphael Tabbush "Rahum Ata" (NAHWAND, page 216) is composed by H Rephael Tabbush (Aleppo, ~1830 - Cairo, 1918), author of the "Shir Ushbaha" pizmonim book (1888). According to the notes of H Moshe Ashear, this song is reserved for Shabbat Beshalah (Shabbat Shira), and the Seventh Day of Pesah. There are 4 stanzas in this pizmon; corresponding to ר-פ-א-ל. The melody of this pizmon is called "Bafta Hindi," and can be applied to Mimisrayim on weeks of Maqam NAHWAND. "Merciful are You for redeeming us from captivity," the pizmon opens; referring to the captivity of slavery under Pharaoh. The second verse is a prayer to redeem us now and to send Eliahu the Prophet to herald the redemption. After we hear of the redemption, the third verse says that we will sing praises to God. The fourth verse mentions how on the seventh day after the Exodus, God rescued our nation by overpowering nature and splitting the Red Sea. Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - Mimisrayim
ממצרים
Nahwand 279 216 יחיד רם חי לעולם Isaac Abadi Dahab Turkish melody. Moshe Dwek
Moshe Dwek - EH
Moshe Dwek - Rau Banim
אל ההודאות
Nahwand 284 220 מלך רם Moses Ashear The pizmon “Melekh Ram” (NAHWAND, page 220), which translates as “Exalted King,” is a very popular song composed by H Moshe Ashear (acrostic: משה). It was composed in honor of the wedding of Mr. Joseph Ezra Tawil (alluded to in the third paragraph). Prominently mentioned in this song are Joseph’s three brothers: Abraham, Shaul, and Mordekhai Tawil; distinguished leaders of Congregation Magen David of Bensonhurst in the 1920’s. This individual, Joseph, ended up moving permanently to Mexico for business opportunities. In this song, we praise God for being the “Exalted King,” and we ask Him to send a savior and redeemer to his chosen nation. We also ask for God to raise our fortunes (with many happy occasions such as weddings) and return His children to their borders so that they can sing and praise Him for all eternity. The melody of this is from a “Chopin March." This melody is popularly applied to Shav’at Aniyim when praying in Maqam NAHWAND. Ashear Manuscript Photograph of Shaul, Joseph and Abraham Tawil Moshe Dwek
Moshe Dwek - SA
שועת עניים
Nahwand 285 220 אהלל ואביע Moses Ashear "Ahallel Veabia" (NAHWAND, page 220), a pizmon associated with the festival of Shabuot, is composed by H Moshe Ashear (1877-1940). There are fifteen stanzas in this pizmon; all rhyming with one another. The acrostic of the pizmon is "Anokhi Hashem Elohekha, Lo Tahmod Asher Lere'ekha" (אנכי ה׳ אלהיך לא תחמד אשר לרעך); referring to the first and tenth commandments, respectively. The melody of this pizmon is called “Izmir Sefasi”; named after Izmir, Turkey. This pizmon is a poetic rendition of the narrative in Exodus 19 and 20; the narrative that discusses Israel's preparation, receiving, and acceptance of the Ten Commandments on Mount Sinai. The song concludes with a plea for God to listen to our prayers of returning the Jews to Zion so that they can live there in peace. The melody of this pizmon is traditionally applied to Halleluya (Psalm 150) on Shabuot, as well as on Shabbat Yitro and Shabbat Vaethanan. Ashear Manuscript Moshe Dwek
Moshe Dwek - Ahallel VeAbia
הללויה
Nahwand 286 222 מלך אב רם Moses Ashear In honor of the birth of Joseph Bijou. Written by M. Ashear. Arabic is "Ya Dounia Ya Gharami", by Abdel Wahab. Ashear Manuscript Moshe Dwek - Haleluya
Moshe Dwek - Nishmat
הללויה
Nahwand 287 223 יעלוזו ביה Moses Ashear Shabot. Ashear Manuscript Moshe Dwek
Moshe Dwek - HM
Moshe Dwek - SA , BY
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
ה' מלך
Nahwand 289 225 מה עצמו Moses Ashear Wedding of Selim and Nizha Gindi. Photograph is courtesy of David Catton, grandson. Ashear Manuscript Photograph of Selim and Nizha Gindi Moshe Dwek
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
קדיש
Nahwand 291 226 יעטר יה Moses Ashear Wedding of Sam and Renee Esses. Shabbat Vayesse. Photograph is courtesy of grandson Ike Esses in Phoenix. Names of family members scattered throughout this pizmon. Photograph of Sam and Renee Esses Moshe Dwek
Nahwand 296 231 ירומם צורי Moses Ashear Ashear composed this pizmon in honor of the birth of his grandson Moshe to his son Yosef. The initials at the beginning of each main stanza form the acrostic 'Yosef HaCohen Hazak'. June 8, 1935. Leaflet Moshe Dwek
קדיש
Nahwand 299 236 כל עוד בלבב פנימה Naftali Imber Israel National Anthem. Moshe Dwek - Naqdishakh
Moshe Dwek - Rau Banim
נקדישך
Nahwand 299.01 237a מלכי צורי אל כביר Haim S Aboud Moshe Dwek
Moshe Dwek - EH
Moshe Dwek - Qaddish
Moshe Dwek - Semehim
Moshe Dwek - Qaddish
Moshe Dwek - Rau Banim
Nahwand 299.02 237b החיש לצירך Haim S Aboud Moshe Dwek
Moshe Dwek - Qaddish
Moshe Dwek - Yimlokh
Moshe Dwek - Qaddish
Nahwand 299.04 237d רוממו לו בקול Raphael Yair Elnadav Composed for the Bar Misvah of Ezra Tawil to the melody of "Inta al-Hubb", a popular Arab song performed by Umm Kulthum. Moshe Dwek - Rau Banim
Bayat 300 238 יחיד רם Raphael Tabbush First song at all Sebets. The initials at the beginning of each stanza form the acrostic 'Yosef'. Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
פזמון
Bayat 305 240 יפת עין Ezra Attiah Siman "Yeshaya". Yeshaya is the name of his father. Pizmon for Abi HaBat. Moshe Dwek
Moshe Dwek - Nishmat
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
נשמת
Bayat 319 246 מעזי אז כלה קץ Raphael Tabbush “Mauzi,” or “My Fortress” (BAYAT, page 246), is a song that is very popular. H Raphael Tabbush is likely the author of this pizmon, but this is uncertain. The melody of this song is from the Arabic song “Baladi Askara Min Araf il Lama.” This song is associated with the Shalosh Regalim festivals due to a brief reference to them. The melody of this pizmon is typically applied to Shav’at Aniyim for weeks of Maqam BAYAT. Despite this being a song for the most happy of holidays, this song is actually very sad. It asks why has God abandoned us and why has the Messiah not yet arrived? It describes how our enemies have taken over our vineyards and have killed us. The climax of the song, “Al Damam,” describes how “my tears fall on their blood" (the blood of fellow Jews) and how our tears are enough to fill rivers. The four verse piece concludes with an open question: “Where has my Beloved gone; to Whom I rejoice three times a year?” Commentary on Pizmon Moshe Dwek
Moshe Dwek
Moshe Dwek - SA
Moshe Dwek - Mauzi
שועת עניים
Bayat 326 249 ארוממך This pizmon (BAYAT, page 249), “I Will Exalt Thee,” is associated with the Shalosh Regalim festivals, and specifically Sukkot. This rhyming song is composed by H Raphael Antebi Tabbush (d. 1918). The theme of the song is praising God during the joyous pilgrimage to the Temple in Jerusalem. Among the reasons listed of why God is praised are: He performed miracles for us, destroyed our enemies, gave us the Torah, lifted us from bondage, forgives our transgressions, listens to our cries, and heals the sick. In this song, there are 22 stanzas, corresponding to the letters of the Hebrew alphabet, and each stanza ends with the chorus: “Le’ir Sion, Har Qodshekha, Sham Nismah Ve’naale” (To the City of Zion, Your Holy Mountain; There will we rejoice and ascend). The last stanza is a prayer for the arrival of Eliahou to herald the redemption, which "everyone is yearning for.” In addition to singing “Aromimkha” on the Shalosh Regalim, it is commonly chanted during the Haqafot of Simhat Torah. The melody of this can be applied to Mimisrayim on Shabbat Hol Hamoed. Tabbush Manuscript Moshe Dwek
ממצרים
Bayat 328 252 אנא קץ לי Nissim Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
ה' מלך
Bayat 336 257 רנה ותהלה ישראל Raphael Tabbush This pizmon (BAYAT, page 257), translated as "Rejoice and Praise," is the flagship song for Rosh Hashana. It is composed by H Raphael Antebi Tabbush and it's five stanzas spell the acrostic "Rephael Hazaq." The melody is from the Arabic song "Ghussnu Ban Jabinahu El Badru." According to H Moshe Ashear, this song is used as the Pizmon Sefer Torah on the second day of Rosh Hashana, as well as for Semehim on Shabbat Mishpatim. There are many themes of Rosh Hashana that are alluded to in this song. In the first stanza, Israel prepares a song in order to praise God. The second stanza says that our mouths and our hearts will become pure, and at the beginning of the year (Rosh Hashana), our hearts awaken from the sounds of the Shofar. It is during this time, the Days of Awe, that we say the Confessions, in order to refrain from all transgressions, and in order to become pure before God (third stanza). In the fourth stanza, the author prays for God's children to be written in the Book of Life and for the destruction of Israel's enemies. The final verse is a charge for the nation to strengthen and to observe the Sabbath in order for God to speedily bring us to the end of days. Tabbush Manuscript Moshe Dwek
שמחים
Bayat 337 258 ידי אשא לדבירך יוסף חזק Mossaei Shalosh Regalim. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Moshe Dwek
Moshe Dwek
ראו בנים
Bayat 340 260 בעדי יה בעדי Moses Ashear Ashear Manuscript Moshe Dwek
Moshe Dwek - EH
Moshe Dwek - Qaddish
אל ההודאות
Bayat 341 261 הבו גודל Moses Ashear Bar Misvah. Ashear Manuscript Moshe Dwek
שועת עניים
Bayat 342 262 אבות הבנים Moses Ashear Gindi Bar Misvah. Ashear Manuscript Moshe Dwek
Bayat 346 266 אל מאד נעלה Moses Ashear The pizmon “El Meod Na’ala” (BAYAT, page 266) is one of the most famous compositions written by cantor H Moshe Ashear (1877-1940). This was written in honor of the groom Mr Elie J Gindi (born in 1900, Syria) for his wedding (circa 1924 in Brooklyn, NY). The acrostic of the pizmon is “Eliah Moshe” with the first word of each of the three stanzas spelling “Eliah” and the second word of each stanza spelling “Moshe.” The names of the bride’s father, Moses (Attieh), and the bride, Rachel, are alluded to in the first and third stanza’s respectively. The melody of this pizmon is from polka music from Istanbul, Turkey. In the prayers, this melody is commonly applied to Semehim on weeks of Maqam BAYAT. This song is also traditionally used as the PIZMON SEFER TORAH for Shabbat Shemot because of it mentioning Moshe and Aharon, two important people introduced in this Torah portion. Ashear Manuscript Moshe Dwek
Moshe Dwek - HM
Moshe Dwek - Semehim
Moshe Dwek - Naqdishakh
שמחים
Bayat 357 274 אות אלף מאלפת א''ב Aleph Bet Song. Attiah Manuscript Shrem Manuscript Abraham Sitehon Manuscript Yabess Manuscript Mosseri-Kozli Manuscript Moshe Dwek
Moshe Dwek - Nishmat
אל ההודאות
Bayat 358 276 אל דורשה נפשי Raphael Tabbush Tabbush Manuscript Moshe Dwek
ממצרים
Bayat 360 277 יוצר אדמה Bar Misvah. British Library Or. 10375 Moshe Dwek
Moshe Dwek - HM
Moshe Dwek - Semehim
ה' מלך
Bayat 372 292 דברי שירתי- מגן בעדי Moses Ashear In honor of birth of Moshe Ashear's grandson. December 10, 1937. Shrem Manuscript Leaflet Moshe Dwek
Moshe Dwek - Haleluya
Moshe Dwek - EH
Moshe Dwek - Qaddish
ראו בנים
Bayat 375 296 מרום יחיד Moses Ashear Joseph Isaac Shalom Bar Misvah. Kislev 1930. Leaflet Photograph of Isaac Shalom Moshe Dwek
Moshe Dwek - Naqdishakh
נקדישך
Bayat 376 297 מאל עליון Moses Ashear Joseph Isaac Shalom Bar Misvah. Kislev 1930. Leaflet Isaac and Alice Shalom Family Moshe Dwek
Bayat 381 302 שבחך אני אגידה Ezra Mishaniye Composed by Hakham Ezra Mishaniye for Nissim Franco, Hazzan of Congregation Magen David and subsequently Shaare Zion (Brooklyn, New York), for the occasion of the Bar Misvah of his son, Steve Franco (yeshaya) . It is sung to the Arabic melody of ANI MANI RAYISAH. Can be applied to Odecha or Keter. Bar Misvah on January 19, 1950. Leaflet Photograph of Nathan Nissim Franco Moshe Dwek
Moshe Dwek - SA, BY
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
Moshe Dwek - Rau Banim
כתר
Bayat 388 312 שירו שיר חדוה Ezekiel Hai Albeg Benjamin Becker (Red Book) or Albert Levy (Mizmor Shir Book) Bar Misvah. Moshe Dwek
נשמת
Bayat 391.02 318a חביבי Asher Mizrahi Maqam Kourd Siman: Asher. Lahan: Habibi Dah Habibi. Moshe Dwek
נקדישך
Bayat 391.09 318h לך אנה עורך NLevy Maqam Nahwand Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
קדיש
Mehayar-Bayat 397 323 יה מתנשא Moses Ashear Meyer Salem wedding. Ashear Manuscript Moshe Dwek
Mehayar-Bayat 398 324 מלכי יוצרי Moses Ashear Composed by H Moshe Ashear in honor of the wedding of Ezra Moshe and Nahmo Azar Cohen, on February 25, 1925. Photographs courtesy of descendents Jack and Ezra Azar. Ashear Manuscript Wedding of Ezra and Nahmo Azar 2-25-1925 Photograph of Ezra Moshe and Nahmo Azar Moshe Dwek
שועת עניים
Mehayar-Bayat 403 328 מדבש ונפת צוף Moses Ashear Written pre 1928 in honor of Ma'oz Laebyon. Ashear Manuscript Moshe Dwek
Mehayar-Bayat 406 331 מלך הדור Moses Ashear Maqam Kourd Wedding of Isaac Haim Massri; March 20, 1934. Leaflet Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
קדיש
Hoseni 409 334 דעת ומזמה דוד חזק This pizmon, entitled “Knowledge and Discretion” (HOSENI, page 334), is a very sacred song in Aleppo tradition reserved for Matan Torah, the giving of the Ten Commandments. This song pre-dates most other pizmonim in our tradition; being older than 1850. The opening verse says “Knowledge, discretion, and words of wisdom; more than them, on the day Moses spoke; her (Wisdom’s) profit is greater than fine gold; this is the Law that Moses place.” There are a total of eight stanza’s in the original manuscripts; all ending with the word “Moshe,” and each phrase, containing rich biblical allusions, rhyme with one another. The acrostic of this pizmon, “David Hazaq,” indicates that the first name of the author is David, but his specific identity is unknownto us. The melody of the pizmon is from the Arabic song “Tazri Bel Ajafen,” and is only applied for Naqdishakh three times a year: Shabbat Yitro, Shabbat Kallah (the Shabbat prior to the Shabuot festival), and Shabbat Vaethanan. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Commentary on Pizmon British Library Or. 10375 Moshe Dwek
נקדישך
Hoseni 413 337 אשרי האיש יודע שמי Classified also as Maqam NAWAH. Tabbush Manuscript Moshe Dwek - Nishmat
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
נשמת
Hoseni 416 339 יה חסדך גלי Raphael Tabbush Aseret Yeme Teshuba. Moshe Dwek
Moshe Dwek - SA
שועת עניים
Hoseni 417 340 אל הנאזר בגבורתיה Raphael Tabbush Tabbush Manuscript Moshe Dwek - Version 1
Moshe Dwek - Version 2
Moshe Dwek - Nishmat
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
קדיש
Hoseni 424 345 אוחיל יום יום אני דוד בר אהרן בר חסין חזק Maqam Kourd Original older version of the song; written by R' David Hassin chiefly about Tiberias and the new resettlement efforts in Israel. Talks about the holiness of the Land of Israel and its Rabbis. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript Moshe Dwek
Moshe Dwek - Haleluya
Moshe Dwek - Haleluya
כתר
Hoseni 425 348 יהיו כמוץ Israel Najara Attiah Manuscript Abraham Sitehon Manuscript Moshe Dwek
אל ההודאות
Hoseni 427 350 אשים תהלה Moshe Dwek
ה' מלך
Hoseni 430 353 אמרי פי והגיוני אברהם Maqam Hoseni or Tahir. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript Moshe Dwek
Moshe Dwek - EH
שמחים
Ashiran 432 355 בני בגילך Moses Ashear Bar Missva. Moshe Dwek
נקדישך
Rahawi Nawah 434 358 מגן אל צורי Moshe Tabbush Manuscript Moshe Dwek
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
קדיש
Rahawi Nawah 436 359 אמונים ערכו שבח אהרן כהן Emunim (RAHAW, page 359), or "The Faithful," is an important Sephardic hymn for Pesah; specifically for the Leil HaSeder. It can be found in Mahzor Aram Soba (1527), making it one of our oldest pizmonim still in active transmission. It has the acrostic of "Aharon Kohen." Each of the 7 stanzas end with the words "Va'amartem Zebah Pesah..." (ואמרתם זבח פסח); referring to the commandment mentioned in Exodus 12:27 to offer the Qorban Pesah to God. Other Missvot relating to Pesah are also referred to, such as, eating Massa and Maror, drinking the four cups of wine, and retelling of the story of the exodus from Egypt (ending with receiving the Torah). The last verse ends "Your doings are wondrous; Your miracles are powerful; all those who seek refuge in You will say 'It is good to take refuge in the Lord' (Psalm 118:8)." The hymn is traditionally sung at the Seder in the Magid portion, and the melody of this hymn is applied to the prayers for Semehim of Shabbat Hagadol, and Naqdishakh of Ereb Pesah. Mahzor Aram Soba 1527 Abraham Sitehon Manuscript Yabess Manuscript A Z Idelsohn notes, 1923 Moshe Dwek
Moshe Dwek - Semehim / Mimisrayim
Moshe Dwek - Emunim
שמחים
Rahawi Nawah 438 361 בנה לי זבול משכני רפאל חזק Pesah melody. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375 Moshe Dwek
Moshe Dwek - Naqdishakh
Moshe Dwek - Rau Banim
נקדישך
Rahawi Nawah 441 365 דר רומה Shabbat Vayera. A Z Idelsohn notes, 1923 Moshe Dwek - EH
Moshe Dwek - Rau Banim
אל ההודאות
Rahawi Nawah 443 367 שמרתני וחיתני Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
ממצרים
Rahawi Nawah 445 368 מתי תשיר Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - SA
Moshe Dwek - Rau Banim
שועת עניים
Rahawi Nawah 448 370 מפי אל מפי אל א״ב Maqam Girkah The pizmon “Mipi El” (RAHAWI-NAWAH, page 370), or “From the Mouth of God,” is commonly used for the Haqafot of Simhat Torah. The author is unknown, and renditions of this song are found in 19th century Aleppo manuscripts. The theme of "Mipi El" is the greatness of the Torah, and praise is given to four subjects; (1) God (author of the Torah), (2) Moses "Ben Amram" (who received the Torah), (3) the Torah itself, and (4) the nation of Israel (who receives the Torah from Moses). The song uses the Hebrew alphabet to provide adjectives for the four subjects above. In one version of the song, the long version, there are four adjectives of each letter to provide praise for the four subjects above (for a total of 22 stanzas). In the short version, however, there is only one adjective per letter (for a total of 6 stanzas). The use of the word “Ein” (translated as: 'there is none') in the song is based on the verse from the Prayer of Hanna in 1 Samuel 2:2 which says “Ein Qadosh KaHashem, Ki Ein Biltekha, v’Ein Sur Kelohenu.” In addition to Simhat Torah, the melody of this song is also used in association with Shabbat Vayesse due to the words “Yebarekh Et Yisrael” (He will bless Israel). Hamaoui Manuscript Attiah Manuscript Yabess Manuscript A Z Idelsohn notes, 1923 Moshe Dwek
אל ההודאות
451.2 במה מדליקין Maqam Rahawi Nawah Moshe Dwek - Bameh Madliqin
דוגמא
Saba 452 375 עליון רם גדול Ezra Attia Manuscript British Library Or. 10375 Moshe Dwek
נשמת
Saba 458 380 יחיש מבשר This pizmon (SABA, page 380), which translates as "Our Father Will Hasten the Messenger," is an important song about praying for the redemption. This song is composed by H Raphael Tabbush (d. 1918) to the Arabic melody of "Ya'ish WeYe'Shaq Qalbi". In this song, the author asks God to answer our prayers, to forgive our transgressions, to save us from our enemies who are planning acts of violence on us, and to hasten the arrival of Eliahou the Prophet who will announce the redemption of the Jewish people. Traditionally, this song is associated with the last day of a Shalosh Regalim festival (Pesah, Shabuot, Sukkot); the time when we most yearn for the redemption and the rebuilding of the Bet HaMiqdash. H Moshe Ashear applied this melody for the Qaddish of Shabbat Naso in 1937 and 1938 (the Shabbat after the Shabuot festival). In addition, Cantor Isaac J Cabasso applies this melody to Nishmat on the last day of Pesah and Shemini Asseret. Moshe Dwek
נשמת
Saba 466 385 יומא טבא דרבנן Yeshaya Bar Misvah. Moshe Dwek
Saba 484 399 יה הוריד נא Hamaoui Manuscript Moshe Dwek
Moshe Dwek - Mimisrayim
ממצרים
Saba 490 403 אל חי ונורא Abraham Shabbat Bereshit. Moshe Dwek
קדיש
Saba 491 404 ערבים שבת אחים Moshe Dwek
Moshe Dwek - HM
Moshe Dwek - SA , BY
שועת עניים
Saba 492 405 יהי שלום Milah. For the birth of a baby boy. This pizmon is used at the Berit Milah. The initials at the beginning of each stanza form the acrostic 'Yehoshua'. This pizmon is taken from Mahzor Aram Soba, Sefer Shirim, Baghdad, 1906. An older version of this same song is found in Mahzor Aram Soba of 1560 (words vary slightly). Mahzor Aram Soba 1560 Shire Zimrah, Algiers, 1889 Moshe Dwek
בפי ישרים
Saba 493 406 אערך מהלל ניבי אנכי דוד בן אהרון חסין חזק This pizmon (SABA, page 406), Eerokh Mahalal Nibi, is composed by the most celebrated Moroccan poet, Rabbi David b. Aharon Hasin (1727-1792). There are 19 stanzas in this long pizmon, making the acrostic: אנכי דוד בן אהרון חסין חזק. The chorus of "Likhod Hemdat Lebabi Eliyahu HaNabi,” translated as "In honor of the beloved of my heart Eliyahu the Prophet,” is repeated after each stanza. This song provides a poetic compilation of the various reasons why Eliyahu HaNabi, discussed prominently in 1 Kings, is honored. In addition, the song makes references to Midrash; saying that Eliyahu “is” [a reincarnation of] Pinehas the Priest. The main association of this pizmon is for a Berit Milah, because it is traditionally said that Eliyahu's presence is at each Milah. It is also associated with Shabbat Pinehas (or Balaq), because it is when we read about the story of Pinehas and his heroic actions. In addition, the story of Eliyahu HaNabi is read in the Haftara of this Torah portion. Yabess Manuscript Moshe Dwek
שמחים
Saba 495 410 אתה אהובי Abraham I Antebi Ata Ahubi (SABA, page 410), translated as "You are my Beloved," is the first song heard in a young boy's life; at his Berit Milah at eight days old. Composed by the illustrious H Abraham I Antebi (1765-1858), Chief Rabbi of Aleppo, the song has the acrostic "Abraham Hazaq." Each of the 6 stanzas end with the word "Eyn," meaning eye. In the first stanza, the author thanks God for "Him giving happiness in my heart" and is comforted that "in You, I can lean." The next four stanzas refer to the Berit Milah, the covenant between God and Abraham, and allude to some of its festive rituals. The last stanza, in the original version of the song, states "Strengthen Aram Soba (Aleppo), the good city, and also the [resting] place of the master, Ezra [HaSofer], a fine pearl that the eye shall see." In later publications, in an attempt to standardize the song, this last stanza was altered to remove the references to Aleppo. This melody is applied to Naqdishakh preceding a Berit Milah as well as on Shabbat Lekh Lekha and Tazria. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Shire Zimrah, Algiers, 1889 Moshe Dwek
Moshe Dwek - Naqdishakh
נקדישך
Saba 496 411 מה טוב מה נעים Mordechai Abadi This pizmon (SABA, page 411), whose opening words are “How Good, How Nice Are Things In Their [Proper] Time,” is a song for the Mila; the circumcision ceremony. It is composed by the Aleppian sage, H Mordekhai Abadi (1826-1884), author of “Dibre Mordekhai.” The acrostic is “Mordekhai Hazaq Abadi,” and each of the 6 stanzas is followed by the famous chorus “Eliahou, Mebaser Hu...”. In the chorus, we recall Eliahou the Prophet as one who announces the redemption and who attends every Mila ceremony. There are references in the song to three blessings recited: "HaGefen," “Al HaMila,” and “Koret HaBerit," as well as a reference to the tradition of setting up a special chair for Eliahou, who is referred to as the “angel of the covenant.” At the song's conclusion, in the merit of Abraham (the father of the covenant), there is a prayer to rescue (like in the days of Mordekhai) all those who partake in the festive meal of this very special Misvah (one which weighs equivalent to all the other laws combined). In differing sources, this song is classified as either Maqam SABA, BAYAT or NAWAH, and in the morning prayers of a Mila, this melody can be heard for El Hahodaot. Abraham Sitehon Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375 Moshe Dwek
אל ההודאות
Saba 505 422 אנה אלך מרוחך ישראל Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Moshe Dwek
Moshe Dwek
Moshe Dwek - Semehim
אל ההודאות
Saba 508 423 עזי עזי Ezekiel Hai Albeg This pizmon (SABA, page 423), whose chorus alludes to the Song of the Sea (Exodus 15) as well as Isaiah 54, has opening words that are translated as "My Strength and My Defense is from God; You will not be put to shame or disgrace for God will comfort you". This song is composed by Cantor Ezekiel Hai Albeg as indicated by the acrostic: Yehezqel Hai. In this song, the author laments about his inability to go back to the Land of Israel due to being stuck in exile and surrounded by his enemies. The opening words in the Hebrew song "Ozi Ozi Ozi Ozi VeZimrat Ya" closely resembles the opening words in the corresponding Arabic song "Hizee Hizee Hizee Hizee Mahrumatekh." The Arabic song is by a famous Syrian Jewish singer named Rachel Samocha (1895-1955), also known as Fayrouz Al Halabiya. There are 4 stanzas in this song and a recurring chorus (Ozi Ozi). The melody of this song can be applied to El Hahodaot on weeks of Maqam SABA. This melody, as well as the pizmon itself, is said to be closely linked to Shabbat Ki Tesse due to the words of consolation "Lo Teboshi Lo Tikalmi" from that weeks Haftarah portion (Isaiah 54:4). Moshe Dwek
Moshe Dwek - EH
אל ההודאות
Saba 510.5 426a לי יה לי יה יבנה יה NLevy Moshe Dwek
Moshe Dwek
Moshe Dwek - Nishmat
Saba 511 427 רצני אהוב Ezra Dweck and Gabriel Shrem In honor of Hakham Baruch Ben-Haim when his son, Eli Ben Haim was born. Also, a song for the month of Nissan. Leaflet Photograph of H Barukh Ben Haim Moshe Dwek
Moshe Dwek - Halleluya
Moshe Dwek - Qaddish
הללויה
Sigah 518 435 אתה מרום Shalosh Regalim. Not clear if should be classified as Sigah. Some say Maqam Kuzam. Tabbush Manuscript Moshe Dwek
קדיש
Sigah 527 442 הימי סתמי Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - EH
Moshe Dwek - Naqdishakh
אל ההודאות
Sigah 528 443 אל יצרני לעמל Raphael Tabbush Maqam Awj-Oj Moshe Dwek
Moshe Dwek - Pizmon
Moshe Dwek - Nishmat
נשמת
Sigah 529 443 מצפה לזמן Raphael Tabbush Maqam Awj-Oj Moshe Dwek
Moshe Dwek - SA , BY
Moshe Dwek - Naqdishakh
ה' מלך
Sigah 536 447 אדיר ונורא Tabbush Manuscript Moshe Dwek - Qaddish
קדיש
Sigah 540 449 ארך זמני Pesah association. Moshe Dwek
Moshe Dwek - SA , BY
שועת עניים
Sigah 542 451 יחיד אל דגול מרבבה This pizmon (SIGAH, page 451) is composed by H Yeshaya Sutton Rabia, a mid-nineteenth century Aleppo rabbi who composed many pizmonim. The acrostic of the song is Yeshaya, and it contains four rhyming stanzas. It is possibly written in honor of an "Ezra Shalom," whose name is alluded to in the third stanza. The song intends to give praise to an important person, such as a Rabbi. Here is a translation: "Only God stands out in the tens of thousands; He will bless this big man; the one my soul likes; with love and much endearment. The Lord will bless him and protect his arrival and departure; the whole nation goes out to greet him and exclaim to him "welcome." Above will exalt his fortune, and He will be a help to him; His good treasure will be open to him, and he will merit a good ending. God will bless his efforts, years of life will be added for him, peace will be placed in his borders, because he will have a high wall." When praying in Maqam SIGAH, this melody can be applied to "Befi Yesharim." Hamaoui Manuscript Abraham Sitehon Manuscript Shir Ushbaha, 1921 British Library Or. 10375 Moshe Dwek
בפי ישרים
Sigah 544 452 יברך החתן Maqam Awj-Oj Hatan. Hamaoui Manuscript Attiah Manuscript A Z Idelsohn notes, 1923 Moshe Dwek
Moshe Dwek - Qaddish
אל ההודאות
Sigah 545 452 אגילה אגילה Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - HM
Moshe Dwek - EH
Moshe Dwek - Naqdishakh
אל ההודאות
Sigah 547 454 אל רם חסין יה Moshe Dwek - HM
Moshe Dwek - Semehim
Moshe Dwek - Naqdishakh
Sigah 548 455 אל עוז נאזר Moshe Dwek
Sigah 549 455 אליך לבי נמס Moshe Dwek
Sigah 552.1 458 נגילה הללויה Asher Mizrahi Siman: Asher Hazaq. Lahan: Lah Yiglala. Moshe Dwek
Sigah 552.2 458 אל חי אל חי  Moshe Dwek
Moshe Dwek - Haleluya
אל ההודאות
Sigah 555 460 אלי צור ישועתי "My God, the Rock of my Salvation; Why have you abandoned me?" is a translation of the first line of the pizmon "Eli Sur Yeshuati" (SIGAH, page 460); considered the flagship song of Purim. The author of this pizmon is said to be H David Yaaqob Pardo, although the acrostic written in the older manuscripts is "Asher Ben Yaaqob Hazaq." The song featured in most current pizmonim books is incomplete- only containing 5 stanzas; corresponding to the first five letters of the alphabet (אבגד״ה). In Aleppo manuscripts from before 1850 (such as Sassoon #647), however, this song has more stanzas. This song, consisting of references from Megillat Esther, contains rhyming sequences within each verse. The thing in common in each stanza is that the last verse always starts with the word "Chai" or life; proclaiming that despite all the hardships that we go through, this is life and God keeps us alive. This melody is applied to Naqdishakh on Shabbat Zakhor and on Purim. Sassoon Manuscript #647 Moshe Dwek - Qaddish
נקדישך
Sigah 556 462 אל עושה נקמה This pizmon (SIGAH, page 462), whose first words are translated "God who makes revenge," is an entertaining song that retells the miracle of Purim using rhymes. There are a total of 22 stanzas in this piece; corresponding to each letter of the Hebrew alphabet (א״ב). Within a stanza, each clause rhymes with one another, except for the last clause of the stanza, which rhymes with all the previous stanzas. The pizmon, which is classified as Maqam OJ in the older manuscripts, originates from Aleppo and is older than 1850. The author of this piece is uncertain, although there is a possibility that it may be H Raphael Antebi Tabbush. The melody of this pizmon is from the Arabic "Ya Dini Yeaman," and is typically applied to Shavat Aniyim on Shabbat Zakhor, and to El Hahodaot on Purim itself. The song concludes with a prayer for redemption; to give good things to the Jewish nation in order to raise their spirits. Hamaoui Manuscript Tabbush Manuscript Moshe Dwek
Moshe Dwek - EH
Moshe Dwek - Naqdishakh
שועת עניים
Sigah 564 469 מי זאת עולה יפה-פיה מרדכי חזק In honor of the Torah. Alludes to the 10 Sefirot. Yabess Manuscript Mosseri-Kozli Manuscript Moshe Dwek
Moshe Dwek - HM
ה' מלך
Hijaz 574 478 רבת שבעה Raphael Tabbush High Holidays. Borrows the melody of the Spanish song "Mis Hermanos" ("My Brothers"). Tabbush Manuscript Moshe Dwek
Moshe Dwek
Moshe Dwek - Nishmat
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
Moshe Dwek
נקדישך
Hijaz 575 479 עזרני אל חי High Holidays. Arabic is "Ya Farid El Hosn Ashaq Gamalak." Sung here by Mounirah Al Mahdeya. Moshe Dwek
Moshe Dwek - SA
Moshe Dwek - SA
שועת עניים
Hijaz 584 484 אתוהי כמה רברבין Raphael Tabbush This pizmon (HIJAZ, page 484), whose title translates as "How Great Are His Signs," is written by H Raphael Tabbush. This song is unique in that it is one of our shortest pizmonim (only 20 words; 10 words in each of the two stanzas), and it is one of the only ones to be written in Aramaic. The melody is from the Arabic song "Ahwa Al-Ghazal Al Rabrabi," and can be transcribed into Nishmat or Naqdishakh. The opening words of this song are based on Daniel 3:33. After seeing how God saves Hanania, Mishael, and Azaria from the burning furnace, Nebuchadnessar praises God, 'How great are His signs! How mighty are His wonders! His kingdom is everlasting, and His dominion is over every generation!' The first stanza describes how God's glory is displayed through His miraculous signs. Although both Israel and the angels sing praises to God, it is Israel that God favors, because according to the Talmud (TB Hullin 91b), the angels only start praising God in the Heavens once Israel initiates the praises down on Earth. Moshe Dwek
נשמת
Hijaz 587 486 אם חכם לבך בני Abraham I Antebi The pizmon, "Eem Hakham" (HIJAZ, page 486), is composed by H Abraham Isaac Antebi (1765-1858), the former Chief Rabbi of Aleppo (starting 1817), and composer of many pizmonim. This pizmon is first found in his book "Ohel Yesharim," published in 1843, and has been included in most handwritten manuscripts of this time period. Many of Antebi's books had the word "Ohel" in it, because this Rabbi witnessed a massive earthquake in Aleppo causing most of the city to become refugees and live in tents ("ohel"). The content of this pizmon is a letter from a father to his son (on his wedding day) asking him to follow his advice on how he should live his life and bestowing him with the many blessings of Abraham and Isaac. This father tells his son that while he should always pursue wisdom and sciences, he should always "know" the God of his forefathers. The melody of this pizmon is from the Arabic song "Ya Sukri Yabu il Shemat." This melody can be applied to El Hahodaot on weeks of Maqam HIJAZ. Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript British Library Or. 10375 Moshe Dwek
Moshe Dwek - Nishmat
קדיש
Hijaz 591 490 שמח נפשי Shelomo Hazaq Arabic is : Qado Kal Mayas. Moshe Dwek
Moshe Dwek - Mimisrayim
ממצרים
Hijaz 594 492 רנו גילו Raphael Tabbush This pizmon (HIJAZ, page 492), composed by H Raphael Antebi Tabbush, is a song written for Purim. Unlike other Purim songs, most of which are in Maqam SIGAH, this song is classified as Maqam HIJAZ; a maqam typically reserved for sad occasions. The acrostic of this piece is "Raphael Hazaq," and consists of 5 stanzas; corresponding to the letters of the author's name. Each stanza is followed by the chorus which begins with the words "Zekher Sadiq Yarum Hodo" etc. The song opens on a happy note ("Proclaim joy and rejoice all creations"); calling onto all the creations of the world to recognize the miracle of Purim. The middle of the pizmon is about the hard times and suffering that Haman put the Jews through ("the enemy conspired to be the head"). The last stanza ends on a hopeful note; calling for the Messiah and the rebuilding of the Temple so that we can offer sacrifices again. The melody of this song is applied to either Naqdishakh on Purim or Keter on Shabbat Zakhor. Tabbush Manuscript Moshe Dwek - Naqdishakh
נקדישך
Hijaz 595 493 בואו נספר Hoshana Raba. Yabess Manuscript A Z Idelsohn notes, 1923 Moshe Dwek - HM
Hijaz 605.5 502a מול אלי וגודלו NLevy Moshe Dwek
Moshe Dwek - EH
Hijaz 611.3 509c כנר על הגג melody from Fiddler on the Roof. Moshe Dwek - HM
Hijaz 612 510 אליכם קהל עדה Aharon Eliahou The theme of this poem (HIJAZ, page 510) is the deaths of Nadab and Abihu, sons of Aharon, who died on Inauguration Day of the Mishkan. The author is H Aharon Eliahou seen by the acrostic is “Aharon Hazaq” (אהרן חזק). There are seven stanzas in the original poem, all ending with the words “Benei Aharon,” with an extra stanza added by H Ezra Hamway (1859-1945), Chief Judge (Ab Beit Din) of Aleppo. The loss of Nadab and Abihu is viewed as a tragedy and this emotional poem is meant to cause us to cry and repent. The Zohar says (Vayiqra; OH, 621), that whoever grieves over these deaths, his sins will be forgiven, and he will not lose a child in his lifetime. In Aleppo custom, this poem appears in "Siddur Beit Kaporet” with instructions of singing this on Yom Kippur morning before the Torah reading. In addition, this melody is applied to "Semehim" on Kippur morning. Although “Ahare Mot” is referred to in this poem, one must refrain from using this melody on Shabbat Ahare Mot. Handwritten Manuscript Moshe Dwek - Semehim
Moshe Dwek - Semehim
שמחים
Hijaz 612.1 Bilbul Nagah Al LaShata Nil Popular Arabic melody. Moshe Dwek - Qaddish
Moshe Dwek - Semehim
אל ההודאות
Hoseni 613 512 רשות לברוך שאמר Moshe Dwek
Haqafot 626 541 הנה לא ינום ולא ישן Haqafa #1 in honour of Abraham. Moshe Dwek
Haqafot 629 544 ברוך כבודו Haqafa #4 in honour of Moshe. Handwritten Manuscript Moshe Dwek
666 318ac יה רופאי הודו Maqam Bayat Moshe Dwek
Moshe Dwek - Qaddish
קדיש
942 ערב של שושנים Maqam Nahwand Moshe Dwek - Haleluya
Moshe Dwek - Qaddish
2102 514j אחות קטנה Abraham Hazan Maqam Rahawi Nawah "Ahot Qetana," or "Young Sister," is a poem by the 13th century rabbi H Abraham Hazan of Girona, in eastern Spain (acrostic: “Abraham Hazan Hazaq”). This piyut is sung on the eve of Rosh Hashana; at the closing of the old year. According to Gabriel A Shrem, its melody, which is in Maqam NAWAH, is also applied for Semehim on the Shabbat prior to Rosh Hashana. What relates this poem to Rosh Hashana are the words at the end of each of the first eight verses "Tikhle Shana Veqileloteha" (end the year and all its curses). The poem compares the Jewish people to a young sister; one who relies on her brothers to survive. This young sister is suffering from all types of problems. She is constantly under attack from enemies. Her possessions are looted and vandalized by foreigners. She is left with nothing; humiliated and alone. In essence, this poem is a protest to God on how He can allow such bad things to happen to the suffering Jewish nation. In the last verse, however, God responds: "Strengthen and Rejoice, for your exile is over." Echoing the words of Isaiah, there is a call for all the people to get on the paths to Zion and return from the exile. On that note, the poem concludes with the words: "Tahel Shana Ubirkhoteha" (begin the year with all it's blessings). Moshe Dwek - Ahot Qetana
Moshe Dwek - HM
ה' מלך
2103 ינוב פי ניב ישיח ישראל The piyyut originally before Musaf of Yom Kippur. Moshe Dwek - HM
Moshe Dwek - Halleluya
הללויה
2104 514v אוחילה לאל אחלה פניו This is also used prior to the Amidah of Musaf on Rosh Hashanah and Yom Kippur. Moshe Dwek - Nishmat
Moshe Dwek
נשמת
2106 514u ישראל עבדיך Moshe Dwek
אל ההודאות
2107 בן אדמה Abraham Ibn Ezra "Ben Adama," or "Son of Earth," is considered one of the most sacred and thought-provoking hymns of the entire Sephardic liturgy. It is said to be composed by H Abraham Ibn Ezra (1089-1167) during the Golden Age of Spain. There is a tradition among Syrian Jews to sing this poem on the eve of Yom Kippur after Arbit. In addition, according to Aleppo sources, including H Moshe Ashear, it's melody is used for the Qaddish on Yom Kippur as well as Shabbat Shuba. "Ben Adama" is especially appropriate for Yom Kippur, because it is a composition of introspection of some of the existential aspects of life. In each of it's ten stanzas, the author describes one decade of a person's life. The general message of the poem is to take a step back from where you are in life and think about the different stages of your life. The last verse concludes "Happy is the man who considers himself to be a transient visitor," because all of us are only here for a short time, and once life is over, we should have no regrets. Moshe Dwek - Qaddish
קדיש
2108 514k עת שערי רצון Yehuda Samuel Abbas Aleppo, 12th Century, Used on Rosh Hashana before the shofar. The piyyut relates the Akedah of Isaac to the themes of Judgment, and loyalty to Hashem. Moshe Dwek - HM
Moshe Dwek - Semehim
Moshe Dwek
Moshe Dwek
שמחים
2109 ירחיק נדוד דוד נעמן ישראל Maqam Hijaz Moshe Dwek - Mimisrayim
ממצרים
2110 514u שואף כמו עבד Shelomo Ibn Gabirol Song is meant to be a Reshut for Nishmat for Shaharit of Rosh Hashanah---The song compares us to slaves who must return to serve our master, Hashem. Moshe Dwek - HM
Moshe Dwek - Naqdishakh
Moshe Dwek
נקדישך
2115 514r יה שמך ארוממך Yehuda HaLevi Rosh Hashana---Meant to be a Reshut for the Kaddish of Yosser---Meant to recognize the greatness of Hashem. Moshe Dwek
קדיש
2116 S24 יה שמע אביוניך Yehuda HaLevi Song, which is used in Selihot, discusses the situation of the Jewish people. Moshe Dwek - Rau Banim
Moshe Dwek
ראו בנים
Selihot 2123 S32 אתאנו לחלות Selihot. Moshe Dwek
פיוט
Selihot 2124 S34 אליך ה' נשאתי Different pizmonim melodies that can be applied to this piece according to Sassoon Manuscript 647 and Gabriel A Shrem: עת שערי רצון, לך אלי תשוקתי, ה' בוקר, אליכם קהל עדה, חביב אללה אליהו, כי אשמרה שבת, יאמר נא ישראל, שחר אבקשך, יום זה לישראל, אין כאלוהינו, מדבש ונופת צוף, אודך אודך, תען לשוני ותגיד, על חון על בת, ערבים שבת אחים, נשאם עד עולם, זלף כמטר זלף, אמרי פי והגיוני, במוצאי יום מנוחה, אות אלף מאלפת Moshe Dwek
פיוט
2125 ה' בקול שופר Before blowing the shofar on Rosh Hashana. Moshe Dwek
פיוט
2128 514l חון תחון על בניך Binyanim Hazak--- Opens the prayers for the Second night of Rosh Hashana--- closes the Selihot prayers--- Moshe Dwek - Hon Tahon
פיוט
2130 514m אלהי אל תדינני Isaac Ibn Mar Shaul Spain--10th-11th century--- The piyyut, used on Rosh Hashanah, is an alphabetical acrostic, and portrays a person confessing his sins. Moshe Dwek
פיוט
2131 514o ידי רשים Yehuda HaLevi Moshe Dwek
פיוט
2132 514o המבורך This is the last verse of the above song that the cantor sings alone. Moshe Dwek - Qaddish
פיוט
2133 514s שנאנים שאננים Moshe Dwek
פיוט
2134 514q אלהים אלי אתה Moshe Dwek
פיוט
2194 קבל שועת עמך הנאמן EDweck Maqam Bayat Lahn: עליך צלח אל נביה וסלם Shrem Manuscript Moshe Dwek - Haleluya
הללויה
Selihot 2198 S19 עננו Moshe Dwek
Selihot 2200 S20 אדון הסליחות Moshe Dwek
2227 514q אל נורא עלילה Moshe Dwek
2228 514p כל נדרי Moshe Dwek
2230 ה' יום לך Moshe Dwek
פיוט
Selihot 2231 S5 למענך Moshe Dwek
Haggadah הגדה H33 מן המצר Maqam Ajam The melody for "Min hamesar" in the Hallel. Moshe Dwek - Semehim
דוגמא
Selihot 2378 S9 אנשי אמונה אבדו Moshe Dwek
2642 מלכי איום ונורא Ezekiel Hai Albeg Maqam Sigah Lehen: Wansit Ta'abi. Pizmon by E Albeg, in Maqam Sigah, composed in honor of H Mordekhai Maslaton on the day of a Torah Dedication in Congregation Ahi Ezer. Song mentions Menorah. E Albeg, "Mizmor Shir." Moshe Dwek - Nishmat
אל ההודאות
2730 Ahon Aleq (Abdel Wahab) Maqam Ajam Moshe Dwek - EH
Moshe Dwek - Qaddish
Song of Songs 3006 SS1 שיר השירים Maqam Bayat. Read every Friday night. Moshe Dwek
Esther 3020 E1 מגילת אסתר Tiqun Esther Ch 1 Tiqun Esther Ch 2 Tiqun Esther Ch 3 Tiqun Esther Ch 4 Tiqun Esther Ch 5 Tiqun Esther Ch 6 Tiqun Esther Ch 7 Tiqun Esther Ch 8 Tiqun Esther Ch 9 Tiqun Esther Ch 10 Moshe Dwek (first eight verses)
3597 P113 שמות- ראשון Pharaoh's Decree to Kill Male Babies. Hebrew Midwives. Samaritan Pentateuch Moshe Dwek - Cohen (teaching Ta'amim)
Moshe Dwek - Levi (teaching Ta'amim)
3825 P341 פינחס- חמישי Additional sacrificial law. Samaritan Pentateuch Samaritan Pentateuch Moshe Dwek (Rosh Hodesh: 3 Aliyot)
Moshe Dwek (R"H Fourth Aliya)
Haftarot 3947 P478 הפטרת בשלח Judges 5:1–31. Aleppo Codex- Shirat Deborah 1 Moshe Dwek
שירת דבורה
4018 203l מה נאוו עלי ההרים רגלי Haim S Aboud Maqam Ajam Moshe Dwek
4028 356s שלום לבן דודי Shelomo Ibn Gabirol Maqam Kourd Moshe Dwek
Moshe Dwek - Qaddish
4029 356t אשורר שירה Rephael Baruch Toledano Maqam Kourd Moshe Dwek
4039 509n אל גליל אל גליל YSouneh Maqam Hijaz Moshe Dwek
Moshe Dwek - Qaddish
Pentateuch 4081 P442 סדר שמות הטעמים Names of the Ta'amim. Moshe Dwek
Moshe Dwek
4093 ירד דודי לגנו Israel Najara Maqam Hijaz To the Hebrew song "Ess HaRimon" (עץ הרימון). Moshe Dwek - Haleluya
נקדישך
4809 אדון יה רם על רמים Ezekiel Hai Albeg Maqam Nahwand Bar Misvah of Victor Didia. Melody of "Ya Dunia Garmi" (Arabic). Moshe Dwek - Rau Banim
4864 שפעת רביבים Moshe Dwek - HM
ה' מלך
4865 אדיר ונאור Moshe Dwek
5568 שירו לאל ברכו שמו שלמה Maqam Sigah Old SU. Old SU. Moshe Dwek - Naqdishakh
נשמת
5743 הנרות הללו Moshe Dwek
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