May 30, 2020 ~ SHABUOT. Maqam SIGAH/AJAM.
Courtesy of Ezra Martin Zayat, BUENOS AIRES.
Rafael Yanani with the choir
Born in Buenos Aires, Argentina, on the seventh of Heshvan, (תרפ"ו (10-25-1925, son of Yom Tov Yanani and Sara Sisro.
From very young, he was gifted with a prodigious memory and an incredible ear for music. Following in the footsteps of his father and brothers, he became interested in music and pizmonim, accompanying them Shabbat after Shabbat to the famous “Baqashot” which in those days were held at 2 or 3 in the morning.
He consecrated his entire life to music, studying at first with David Bouzali, and later with his brother David z”l. He never allowed himself to be called “maestro” as he held that in his profession one never stops learning, and never ceases to be a student.
We must highlight his unlimited generosity in teaching the young and old alike. Whether day or night, his devotion to directing choirs in his beloved “Shaare Sion” and wherever else needed, was purely with the objective of transmitting his knowledge, passing it from generation to generation.
Cognizant of his vocation and knowledge, the Great Hakham Isaac Shehebar z”l, requested that he compile a selection of traditional songs for every holiday and event, that it may serve as a guide for the “kahal” during the “tefilot.”
And here, inspired in the mystical Sefat of Israel’s Galilee, he presents us with his work “Shaare Zimra.”
Once more, dear Fule, thank you for your generosity. May the Almighty reward your efforts with long and beautiful years, and with the advent of the Mashiah, soon in our days. Amen!
Translated from "Shaare Zimrah" pizmonim book by Sofer Alberto Attia
| Section | Pizmon | Page | Song | Commentary | Recordings | Application |
|---|---|---|---|---|---|---|
| Baqashot | 63 | 70 | מרום אל חי שוכן ערבות |  Raphael Tabbush Maqam Rast Appeared in Tabbush's 1888 pizmonim book. It is written in honour of H Moshe Ashkenazie. Rast. Hamaoui Manuscript Tabbush Manuscript |
F. Yanani |
נקדישך |
| Rast | 106 | 107 | יום יום תמיד | ישעיה חזק Opening of Maqam Rast. This song includes different maqamat. Abraham Sitehon Manuscript Mosseri-Kozli Manuscript |
Fule Yanani |
נקדישך |
| Rast | 107 | 108 | מאמרי פי | Hatan. Hamaoui Manuscript Tabbush Manuscript Tabbush Manuscript |
Fule Yanani |
|
| Rast | 108 | 109 | חנון מרום | Raphael Tabbush Shabbat Bereshit. Hamaoui Manuscript Tabbush Manuscript |
Fule Yanani |
פזמון |
| Rast | 122 | 115 | מה טוב כאישון | Raphael Tabbush For a Hatan that is a first born. Hamaoui Manuscript |
Fule Yanani |
|
| Rast | 129 | 118 | יאיר יזרח | Shalosh Regalim. |
Fule Yanani |
|
| 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 |
Fule Yanani |
|
| Rast | 142 | 124 | אני לשמך אהלל | Raphael Tabbush סימן רפאל. Birth of a baby boy and the Pidyon HaBen. Hamaoui Manuscript Tabbush Manuscript |
Fule Yanani |
אל ההודאות |
| Rast | 155.04 | 132b | חי אל נאדר | Haim S Aboud |
F. Yanani |
|
| 167.1 | 142l | דגלי תשא על הרי | Haim S Aboud Maqam Rast |
Fule Yanani |
||
| Mahour | 178 | 149 | עד ה' אלהיך ונשובה | EAttiah Associated with the Days of Repentence. Hamaoui Manuscript Attiah Manuscript Ezra Attia Manuscript |
Fule Yanani |
אל ההודאות |
| 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 |
Fule Yanani |
נשמת |
| Ajam | 207 | 169 | יחיד מגן | Raphael Tabbush Maqam Girkah Tabbush Manuscript |
Fule Yanani |
|
| Ajam | 215 | 173 | מקהלות עם | Mordechai Abadi Torah or Hatan. A Z Idelsohn notes, 1923 British Library Or. 10375 |
Fule Yanani |
נקדישך |
| Ajam | 220 | 175 | אל מלא הנחסר | El Male Hanehsar (AJAM, page 175) is a pizmon for the Pesah festival. This song, most probably composed by H Raphael Antebi Tabbush (d. 1918), has the acrostic of God’s name; first the word אהי״ה and then also the name יהו״ה. The song, which starts with “God, who fills the emptiness,” continues to list His attributes and how it relates to the Pesah festival; freeing His nation, settling them, etc. As a result of this kindness, the people give praise to Him (Hallel) and offer him the Pesah sacrifice. The second verse of the song does not allude to Pesah, but rather the day to day life of relying on God; calling out to Him; asking Him not to hold His hand back or delay from performing miracles, because the morning is coming and we, His chosen nation, need help right away. The melody of this song can be applied to El Hahodaot or Rau Banim for services in Maqam AJAM in close proximity to Pesah. |
Fule Yanani |
אל ההודאות |
| 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 |
Fule Yanani |
כתר |
| Ajam | 229 | 180 | אל רם ארנן | Raphael Tabbush Tabbush Manuscript |
Fule Yanani |
|
| Ajam | 230 | 180 | ראה ה' כי צר לי | Raphael Tabbush Shabbat Nahamu. Discusses the destruction of the temple and then ends with consolation. |
Fule Yanani |
כתר |
| Mahour | 254.991 | 203o | ארנן אליך רם | Raphael Tabbush Siman: Aharon. Song for wedding. Mahour or Ajam. Shir Ushbaha, 1921 |
F. Yanani |
|
| 254.992 | 204i | נעה מבית אביה | Raphael Tabbush Maqam Girkah Siman: Ezra. Song for Bar Misvah. Saba or Girkah. |
F. Yanani |
||
| Nahwand | 255 | 205 | שרים רוזנים | Wedding song. British Library Or. 10375 |
Fule Yanani |
נשמת |
| 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). |
Fule Yanani |
שמחים |
| Nahwand | 271 | 213 | אחזה בנועם | Raphael Tabbush The initials at the beginning of each stanza form the acrostic 'Ani Refael'. Tabbush Manuscript |
Fule Yanani |
פזמון |
| 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 |
Fule Yanani |
ממצרים |
| Nahwand | 279 | 216 | יחיד רם חי לעולם | Isaac Abadi Dahab Turkish melody. |
Fule Yanani |
אל ההודאות |
| Nahwand | 293.3 | 228b | יפרח יה אבי |
Fule Yanani |
קדיש | |
| 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 |
Fule Yanani |
פזמון |
| Bayat | 302 | 239 | נורא ורם | Raphael Tabbush The pizmon incorporates the poet's name and hints at the shortest prayer in the Bible, "El na Refah na Lah", "Oh God, pray heal her now" (Numbers 12:13). The Text of this pizmon calls of God to "heal my sickness and pain". The pizmon also asks God to banish the "son of Hagar". Hamaoui Manuscript Tabbush Manuscript |
Fule Yanani |
|
| Bayat | 305 | 240 | יפת עין | Ezra Attiah Siman "Yeshaya". Yeshaya is the name of his father. Pizmon for Abi HaBat. |
Fule Yanani |
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 |
Fule Yanani |
שועת עניים |
| Bayat | 326 | 249 | ארוממך | Simhat Torah. Many themes are in this pizmon including: redemption, bringing us to the time when we made pilgrimages tot eh Temple, to have mercy on Israel in exile. The Torah is mentioned throughout. Tabbush Manuscript |
Fule Yanani |
ממצרים |
| Bayat | 336 | 257 | רנה ותהלה ישראל | Raphael Tabbush Rosh HaShana. Tabbush Manuscript |
Fule Yanani |
אל ההודאות |
| Bayat | 388 | 312 | שירו שיר חדוה | Ezekiel Hai Albeg Benjamin Becker (Red Book) or Albert Levy (Mizmor Shir Book) Bar Misvah. |
Fule Yanani |
נשמת |
| Bayat | 391.081 | 318bc | הלילה לילה לילה | Moshe Eliahou |
F. Yanani |
|
| Bayat | 391.082 | יפת עמי | יעקב Song for wedding. Argentinian book page 308. Shaare Zimra, Argentina |
 F. Yanani |
||
| 391.083 | 239a | מה נאזר | Maqam Bayat For Passover and Succot. Argentinian book page 120. Shir Ushbaha, 1921 British Library Or. 10375 |
F. Yanani |
||
| Bayat | 391.084 | 318al | חכמה בינה יה אלי | Pinehas Bobo Song for wedding. |
F. Yanani |
|
| Bayat | 391.085 | זבולי שוב | יעקב עבדי Bar Misvah. Argentina Book page 317. Shaare Zimra, Argentina |
F. Yanani |
||
| Bayat | 391.086 | יחיד ברך לעמך | יעקב עבאדי Bar Misvah. Argentina Book page 318. Shaare Zimra, Argentina |
F. Yanani |
||
| Bayat | 391.087 | אני אשיר בקול זמרה | אליהו Bar Misvah. Argentina Book page 319. Shaare Zimra, Argentina |
F. Yanani |
||
| Bayat | 391.088 | אל רם ונעלם | יעקב עבדי Bar Misvah. Argentina Book page 321. Shaare Zimra, Argentina |
F. Yanani |
||
| Bayat | 391.089 | בכתר תורה | Argentina Book. |
F. Yanani |
||
| Mehayar-Bayat | 406 | 331 | מלך הדור | Moses Ashear Maqam Kourd Wedding of Isaac Haim Massri; March 20, 1934. Leaflet |
Fule Yanani |
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 |
Fule Yanani |
נקדישך |
| Hoseni | 423 | 344 | בחר דודי | Raphael Tabbush Matan Torah. Lists the Ten Commandments. |
Fule Yanani |
|
| 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 |
Fule Yanani |
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 |
Fule Yanani |
נקדישך |
| Rahawi Nawah | 439 | 361 | מי ימלל | Mordechai Abadi This pizmon, (Maqam NAWAH, page 361), is composed by H Mordekhai Abadi (Aleppo, 1826, - Jerusalem, 1884), author of "Dibre Mordekhai," and other Halakha responsa. There are a total of 5 stanzas in this pizmon; corresponding to מ-ר-ד-כ-י. "Who can recount the strengths and wonders of the most perfect and wise?" the poem begins, and then proceeds to list the miracles that God orchestrated as the Children of Israel leave Egypt. Starting with the third stanza, the 10 plagues that occurred in Egypt are poetically described. In the last verse, after the festival of Pesah is mentioned, there is a reference to the belief that Pesah, a time of a previous redemption, will be the season in the future when "we will be redeemed." As per the Hazzanut notes of H Moshe Ashear, this song is reserved for Shabbat Bo and Shabbat Hagadol. The Ades synagogue in Jerusalem, however, has a tradition of using this song one week earlier on Shabbat Vaera. Abraham Sitehon Manuscript |
Fule Yanani |
ממצרים |
| Rahawi Nawah | 448 | 370 | מפי אל מפי אל | א״ב Maqam Girkah Simhat Torah. Hamaoui Manuscript Attiah Manuscript Yabess Manuscript A Z Idelsohn notes, 1923 |
Fule Yanani |
אל ההודאות |
| Saba | 453 | 376 | יהלל לאל נורא | Raphael Tabbush Acrostic 'Yizhak'. Tabbush Manuscript |
Fule Yanani |
נשמת |
| Saba | 466 | 385 | יומא טבא דרבנן | Yeshaya Bar Misvah. |
Fule Yanani |
|
| Saba | 467 | 385 | רם אמור | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 |
Fule Yanani |
|
| Saba | 490 | 403 | אל חי ונורא | Abraham Shabbat Bereshit. |
Fule Yanani |
קדיש |
| 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 |
Fule Yanani - Different melody |
בפי ישרים |
| Saba | 493 | 406 | אערך מהלל נבי | אנכי דוד בן אהרון בן חסין חזק Written for the Berit Milah. Also for Parashat Balaq, because Pinehas is mentioned. Written by R' David Hassin of Morocco in the 18th century. Written about Eliyahu, who is the "Malach HaBerit" and is present in each Berit Milah. The song talks about the miracles of Eliyahu and events throughout his life. Also according to Zohar, Pinehas=Eliyahu. Yabess Manuscript |
Fule Yanani |
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 |
Fule Yanani |
נקדישך |
| Saba | 496 | 411 | מה טוב מה נעים | Mordechai Abadi Milah Abraham Sitehon Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375 |
Fule Yanani |
אל ההודאות |
| Saba | 497 | 412 | מבטן ידיד יה קדש | Mordechai Abadi Milah Abraham Sitehon Manuscript |
Fule Yanani |
|
| Saba | 498 | 413 | יחון אל צור | יוסף Milah. Chanted during the circumcision. Seen in Mahzor Aram Soba 1560. Attiah Manuscript Mahzor Aram Soba 1527 |
Fule Yanani |
|
| Saba | 503 | 417 | ידידי רועי מקימי | ישראל חזק Yedidi Ro'ee Meqimi (SABA, page 417), whose acrostic is "Yisrael Hazaq," is written by H Israel Najara (1555-1625). This poem compares God to a shepherd who takes care of a flock of sheep. The sheep, mentioned at the end of each stanza, is a metaphor for the people of Israel. It is God, the shepherd, who rescues Israel, the sheep, from her enemies and who will gather a scattered people back to the Holy Land to rebuild the Temple. This relates to the Torah portion of Vayesse due to the reference in the last stanza to Genesis 29:9 when "Rachel comes out with her sheep." When Jacob is a refugee, it isn't until he spotted Rachel that he finds the hope needed to survive. On Shabbat Vayesse, the melody of this pizmon is traditionally applied to Semehim. Although SABA is not the "Maqam of the Week," the Hazzan should switch from AJAM to SABA shortly before Semehim to apply this important melody. Attiah Manuscript Yabess Manuscript Mosseri-Kozli Manuscript |
Fule Yanani |
שמחים |
| Saba | 504 | 418 | איש אלהים קדוש הוא | Ben Ish Hai Lag LaOmer. For R' Shimon Bar Yochai. Written by the "Ben Ish Hai" of Babel in the 19th century. Song is an acrostic (Aleph Bet) and has many allusions to the life of R' Shimon. Abraham Sitehon Manuscript |
Fule Yanani |
כתר |
| Saba | 512.09 | 429b | רנה רנה רנה | דוד בוזלי Shaare Zimra, Argentina book page 384. Shaare Zimra, Argentina |
F. Yanani |
|
| Sigah | 529 | 443 | מצפה לזמן | Raphael Tabbush Maqam Awj-Oj |
Fule Yanani |
ה' מלך |
| Sigah | 538 | 448 | רזי עולם | Raphael Tabbush Shalosh Regalim. Tabbush Manuscript |
Fule Yanani |
קדיש |
| Sigah | 540 | 449 | ארך זמני | Pesah association. |
Fule Yanani |
שועת עניים |
| Sigah | 542 | 451 | יחיד אל דגול מרבבה | To welcome a Hakham. Hamaoui Manuscript Abraham Sitehon Manuscript Shir Ushbaha, 1921 British Library Or. 10375 |
Fule Yanani |
בפי ישרים |
| Sigah | 554 | 459 | אברך את | אלעזר Maqam Iraq Purim. This is the first pizmon that Gabriel A. Shrem has learned. Attiah Manuscript Sassoon Manuscript #647 Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Shire Zimrah, Algiers, 1889 A Z Idelsohn notes, 1923 |
Fule Yanani |
שמחים |
| 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 |
Fule Yanani |
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 |
Fule Yanani |
שועת עניים |
| Sigah | 557 | 464 | אור גילה | Raphael Tabbush Purim. A song of praise and thanksgiving for God's deliverance of the Jews from Haman. The pizmon, by Refael Antebi (19th century), has allusions to the Megillah as well its midrashim. The Jews got saved from the evil decree after prayers. Shir Ushbaha, 1921 A Z Idelsohn notes, 1923 |
Fule Yanani |
אל ההודאות |
| Sigah | 558 | 465 | תם ונשלם | Raphael Tabbush Purim. Shir Ushbaha, 1921 |
Fule Yanani |
ממצרים |
| Sigah | 565.01 | 472a | קוראי מגלה | Shaare Zimra, Argentina book page 394. Shaare Zimra, Argentina |
F. Yanani |
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| Sigah | 565.02 | 472a | דגלי דגלי |
F. Yanani |
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| Hijaz | 591 | 490 | שמח נפשי | Shelomo Hazaq Arabic is : Qado Kal Mayas. |
Fule Yanani |
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 |
Fule Yanani |
נקדישך |
