December 7, 2024 ~ Sh VAYESSE. GIRKA-AJAM.
By Sam Catton
On this day the world was created.
On this awesome day, the Almighty King judges all of mankind. Every human being stands in judgement, as his good deeds and his misdeeds are reviewed.
Much preparation is done by us, beginning with the annulment of vows forty days earlier, and with our reciting of the Selihot during the entire month of Elul. Each person must make peace with his fellow man, to forgive, in order that the Almighty will forgive us.
The composition of the special prayers, the inspiring poetry, and the moving melodies make all hearts turn away from their perverse ways and brings them to the righteous path. The Great Judge is most anxious to be merciful to us and forgive us of our short-comings when we truly repent. For God wants every person to live.
Maimonides teaches that true repentance requires:
By Sam Catton
After twenty five hours of fasting, prayers, penitence and soul searching, we experience the moving recitation of "EL NORA ALILA", the God of Awe, an entreaty for pardon by the eleventh century Sephardic poet, Moses Ib'n Ezra.
We feel as angels before God as we proclaim seven times "The Lord is God" while bidding farewell to the Shechinah (the Holy Presence) as it ascends above the seven firmaments.
We stand in rapture before the Holy Ark spiritually reinvigorated for the year ahead, with our souls refined and purified.
We go home to break our fast confident that God has accepted our prayers and our Teshubah, and will inscribe us in the "Book of Life" for the year to come.
The melodies employed for the Aleppo prayer services on the Jewish High Holidays predate those applied throughout the year. Whereas during the year, melodies originate from various Pizmonim, Sabbath Baqashot, or even secular melodies, on the High Holidays, the standards are elevated, and the melodies, which are more solemn, come mostly from holy piyutim (liturgical poems) of the Golden Age of Spain as well as from portions of the Selihot. Authors of these piyutim include: Abraham Hazan of Girona, Yehuda Samuel Abbas, Solomon Ibn Gabriel, Yehuda Halevi, Abraham Ibn Ezra, Isaac Ibn Mar Shaul, Israel Najara, and Aharon Eliahou. Benayahu #131, which is a source from H Jacob Rahamim Mishaan of Aleppo, 1780, is the oldest source that lists the High Holiday melodies for the pieces of prayers. Another source with an identical list is Sassoon #647 from Aleppo, circa 1850. One more recent source that is relevant to us are the Hazzanut notes of H Moshe Ashear from 1936-1940. As a general rule, our community’s tradition is to strive and emulate the notes of H Moshe Ashear (1877-1940), the Chief Cantor of Congregation Magen David, as much as possible. In addition to H Ashear's source, Hazzan Gabriel A Shrem composed his own list of suggested melodies for the High Holidays. This list can be found on page 569 of "Shir Ushbaha Hallel VeZimrah," the Red Pizmonim book.
HAZZANUT:
(1) NISHMAT: Ohilah La’El, Hashem Hu HaElohim of Mousa Ashear, or "El Leil Yetawil Alayah."
(2) SHAV’AT ANIYIM AND EL HAHODAOT: There is a special chant used for Shav’at Aniyim and El Hahodaot that is unique for the High Holidays. The melody does not originate from a pizmon.
(3) QADDISH: Rosh Hashana: "Hizqu Vegilu" (from Ahot Qetana), "HaMeborakh," or "Ya Shimkha Aromimkha." Yom Kippur: "Ben Adama."
(4) SEMEHIM: The melody for Semehim is always the flagship melody of the day. For the Shabbat prior to Rosh Hashana, "Ahot Qetana" is applied. On both days of Rosh Hashana, "Et Shaare Rasson" is applied. On Shabbat Shuba, "Lekha Eli" is applied. On Yom Kippur, "Elekhem Qehal 'Eda" (page 510) is applied.
(5) MIMISRAYIM: For Mimisrayim, an old melody in Maqam HIJAZ known as “Yarhiq Nedod” is always applied on Rosh Hashana and Yom Kippur. This piyyut is composed by H Israel Najara (1550-1625). On Shabbat Shuba, “Ya Shema Ebyonekha” is applied for Mimisrayim.
(6) NAQDISHAKH: Sheikh Salama Hijazi, Shoef Kemo ‘Ebed, or Rabat Shab’a (page 478).
(7) KOHANIM: Some cantors apply a "Maqam of the Day" for “Kohanim” based on that day's Torah portion. For 1 Rosh Hashana, Maqam SABA (birth of Isaac). For 2 Rosh Hashana, BAYAT (Aqedat IsHaq). For Yom Kippur, HIJAZ (death of Bnai Aharon).
(8) PIZMON SEFER TORAH: 1 Rosh Hashana: Rina Ut’hila (page 257). 2 Rosh Hashana: Melekh Hamefoar (page 360). Shabbat Shuba: Shabti Shabti (page 151). Arbit Yom Kippur: Rabat Sab’a (page 478). Shaharit Yom Kippur: 'Ozreni El Hai (page 479). Minha Yom Kippur: Shokhen Ruma (page 451).
Section | Pizmon | Page | Song | Commentary | Recordings | Application |
---|---|---|---|---|---|---|
2226 | אין כאלוהינו ביאת | Maqam Bayat |
Recording- Bayat |
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2229 | הללויה לראש השנה |
Recording |
הללויה | |||
5745 | תקיעת השופר |
D Binker-Duek |
||||
5564 | תפילות לפני תקיעת השופר | Prayers recited before the Shofar ceremony. |
Meyer Saff |
|||
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). |
G. Shrem M. Tawil Recording S Antebi I Cabasso G Shrem - Semehim Moshe Dwek - Ahot Qetana Moshe Dwek - HM |
ה' מלך | |
2103 | ינוב פי ניב ישיח | ישראל The piyyut originally before Musaf of Yom Kippur. |
G. Shrem Recording Recording 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. |
I. Cabasso - Nishmat I. Cabasso G. Shrem Recording- Nishmat Recording M Kairey Moshe Dwek - Nishmat Moshe Dwek |
נשמת | |
4859 | El Leil Yetawil Alayah | Maqam Hijaz This is a song from Abdel Wahab. Using this for Nishmat on Yom Kippur was an innovation of the Tawil brothers. |
I Cabasso- Nishmat (Nahwand) Nahari- Nishmat |
נשמת | ||
2105 | ה' הוא האלוהים | נגמת מוסה אשר ע"ה |
I. Cabasso |
נשמת | ||
Hoseni | 416 | 339 | יה חסדך גלי | Raphael Tabbush Aseret Yeme Teshuba. |
G. Shrem E. Menaged G. Shrem G. Shrem Recording M Habusha I Cabasso- SA Shabetai Laniado- HM Moshe Dwek Moshe Dwek - SA |
שועת עניים |
2106 | 514u | ישראל עבדיך |
G. Shrem G. Shrem 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. |
I. Cabasso Haim Daya- Ben Adama Haim Daya- Ben Adama Qaddish Recording- Qaddish G Shrem 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. |
G. Shrem Recording- Yigdal Recording- Semehim S Antebi I Cabasso Moshe Dwek - HM Moshe Dwek - Semehim Moshe Dwek Moshe Dwek |
שמחים | |
2109 | ירחיק נדוד דוד נעמן | ישראל Maqam Hijaz |
G. Shrem Recording- Mimisrayim 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. |
G. Shrem Recording Recording- Qedusha I Cabasso Moshe Dwek - HM Moshe Dwek - Naqdishakh Moshe Dwek |
נקדישך | |
2111 | Unspecified Traditional Melodies |
I. Cabasso I. Cabasso Haim Daya- Qaddish Nahwand for Yom Kippur G Shrem- HM Kippur Charlie Chehebar- Naqdishakh- HH Recording- Different Nishmat |
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2112 | ירושלמית | This is the melody that use in Jerusalem for Keter. There is no known pizmon for this melody. |
G. Shrem Recording- Keter |
כתר | ||
2113 | יצו האל לדל שואל |
G. Shrem Recording- Qaddish |
ואני תפלתי | |||
2114 | שיך סלאמה חג'אזי | Maqam Hijaz |
I. Cabasso - Qedousha Tawil- Qedousha J. Mosseri - Qaddish |
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. |
G. Shrem I. Cabasso E Menaged Moshe Dwek |
קדיש | |
2116 | S24 | יה שמע אביוניך | Yehuda HaLevi Song, which is used in Selihot, discusses the situation of the Jewish people. |
G. Shrem Recording- Rau Banim I Cabasso - Rau Banim Moshe Dwek - Rau Banim Moshe Dwek |
ראו בנים |
Section | Pizmon | Page | Song | Commentary | Recordings | Application |
---|---|---|---|---|---|---|
Hoseni | 613 | 512 | רשות לברוך שאמר |
G. Shrem M. Tawil Moshe Dwek |
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2117 | כי לה' המלוכה לימים הנוראים |
I. Cabasso M. Tawil I Cabasso- Ajam for High Holidays Eli Cabasso: pieces of prayers |
דוגמא | |||
2118 | ומבלעדיך | Sample of how to read plainly after Nishmat and throughout the prayers prior to the Amidah. |
I. Cabasso |
דוגמא | ||
2119 | שועת עניים בלתי נגון | Most commonly used. |
I. Cabasso Recording- Shav'at |
שועת עניים | ||
2120 | אל ההודאות בלתי נגון | Most commonly used. |
I. Cabasso |
אל ההודאות | ||
2121 | 514v | עמידה |
G. Shrem (1/2) G. Shrem (2/2) Recording Amidah 2 Recording- Kohanim- Hijaz Recording Amidah 1 Recording- Yir'ah Lobeshim Before Qedusha Recording- Atah Qaddosh Haim Asriqi, 1911- Amidah of High Holidays |
דוגמא | ||
5800 | עמידת מוסף לראש השנה | The following are the paragraphs of the Amida prayer of Musaf Rosh Hashana. Recordings here by Hazzan Saul E Tawil, cantor of Congregation Beth Torah. |
Saul E Tawil - 01 Saul E Tawil - 02 Saul E Tawil - 03 Saul E Tawil - 04 Saul E Tawil - 05 Saul E Tawil - 06 Saul E Tawil - 07 Saul E Tawil - 08 Saul E Tawil - 09 Saul E Tawil - 10 Saul E Tawil - 11 Saul E Tawil - 12 Saul E Tawil - 13 Saul E Tawil - 14 Saul E Tawil - 15 Saul E Tawil - 16 Saul E Tawil - 17 Saul E Tawil - 18 Saul E Tawil - 19 Saul E Tawil - 20 Saul E Tawil - 21 Saul E Tawil - 22 Saul E Tawil - 23 Saul E Tawil - 24 Saul E Tawil - 25 Saul E Tawil - 26 Saul E Tawil - 27 Saul E Tawil - 28 Saul E Tawil - 29 Saul E Tawil - 30 Saul E Tawil - 31 Saul E Tawil - 32 Saul E Tawil - 33 Saul E Tawil - 34 Saul E Tawil - 35 Saul E Tawil - 36 Saul E Tawil - 37 Saul E Tawil - 38 Saul E Tawil - 39 Saul E Tawil - 40 Saul E Tawil - 41 Saul E Tawil - 42 Saul E Tawil - 43 Saul E Tawil - 44 Saul E Tawil - 45 Saul E Tawil - 46 Saul E Tawil - 47 |
Section | Pizmon | Page | Song | Commentary | Recordings | Application |
---|---|---|---|---|---|---|
2227 | 514q | אל נורא עלילה |
Recording Moshe Dwek |
|||
2228 | 514p | כל נדרי |
Recording S Antebi Moshe Dwek |
|||
2230 | ה' יום לך |
Recording S Antebi Moshe Dwek |
פיוט | |||
Selihot | 2231 | S5 | למענך |
S Antebi Moshe Dwek Moshe Dwek |
||
2122 | אשם וזע מזדונהו | Recited prior to Minha on Yom Kippur. Piyyut has fallen out of use in most congregations. |
G. Shrem D Binker-Duek - Nishmat |
פיוט | ||
Selihot | 2123 | S32 | אתאנו לחלות | Selihot. |
Bnai Yosef Recording 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 |
Recording Recording- Ajam- Full Song Selihot 8- Elekha Hashem Ajam/Rast D Binker-Duek- BAYAT Moshe Dwek |
פיוט |
2125 | ה' בקול שופר | Before blowing the shofar on Rosh Hashana. |
S Antebi I Cabasso Moshe Dwek |
פיוט | ||
2126 | שפל רוח | Yehuda HaLevi The following is a Reshut for Nishmat. Spain. Apparently this Reshut has fallen out of use in the Syrian community. |
Iraqi Recording |
פיוט | ||
2127 | 514j | חזקו וגילו מאחות קטנה | This is the last verse of the above song. that the cantor sings alone. |
G. Shrem I. Cabasso S Antebi |
פיוט | |
2128 | 514l | חון תחון על בניך | Binyanim Hazak--- Opens the prayers for the Second night of Rosh Hashana--- closes the Selihot prayers--- |
Recording Recording D Binker-Duek - version 1 D Binker-Duek- version 2 I Cabasso Moshe Dwek - Hon Tahon |
פיוט | |
2129 | 514n | לך אלי תשוקתי | Abraham Ibn Ezra Opens the prayers on Yom Kippur Evening. Discusses confessions of a person and realizations that everything comes from Hashem. Ashear used this song for Semehim on Shabbat Shubah. |
Recording M. Tawil Recording S Antebi |
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. |
G. Shrem M. Tawil Recording I Cabasso Moshe Dwek |
פיוט | |
2131 | 514o | ידי רשים | Yehuda HaLevi |
G. Shrem M. Tawil Recording S Antebi I Cabasso Moshe Dwek - Qaddish Moshe Dwek |
פיוט | |
2132 | 514o | המבורך | This is the last verse of the above song that the cantor sings alone. |
G. Shrem I. Cabasso I. Cabasso - Qaddish M. Tawil S Antebi Moshe Dwek - Qaddish |
פיוט | |
2133 | 514s | שנאנים שאננים |
M. Tawil Moshe Dwek |
פיוט | ||
2134 | 514q | אלהים אלי אתה |
M. Tawil Moshe Dwek |
פיוט | ||
Selihot | 2135 | S2 | לך אדני הצדקה | Different pizmonim melodies to be transposed to this piece according to Sassoon Manuscript #647: אלהי אל תדינני, המבורך, אוחילה לאל, חביב אללה אליהו, במוצאי יום מנוחה, המרחם, ה' יום לך, בעוד לייל |
Selihot 1- Lekha Hashem Hasedaqa- Rast E Menaged Selihot 1952 |
|
4874 | היום הרת עולם |
R Elnadav |
Section | Pizmon | Page | Song | Commentary | Recordings | Application |
---|---|---|---|---|---|---|
4040 | 509q | יודו שמך רב עלילה | יוסף דוד חזק Maqam Hijaz Yabess Manuscript British Library Or. 10375 |
Recording Recording- Qaddish Pizmon |
נשמת | |
Baqashot | 10 | 20 | ה' בוקר | Shelomo Ibn Gabirol Maqam Hoseni Hoseni. Psalms 5:4. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Archives I. Cabasso M. Tawil G. Shrem Moshe Dwek Moshe Dwek - HM |
ה' מלך |
Mahour | 178 | 149 | עד ה' אלהיך ונשובה | EAttiah Associated with the Days of Repentence. Hamaoui Manuscript Attiah Manuscript Ezra Attia Manuscript |
G. Shrem Fule Yanani G. Shrem Recording H Abraham Zafrani |
אל ההודאות |
Mahour | 182 | 151 | שבתי שבתי | Raphael Tabbush This pizmon (MAHOUR, page 151), whose opening words are translated as “I Have Returned,” is a song for the Aseret Yeme Teshuba, or the ten days of repentance, and more specifically, for the Pizmon Sefer Torah on Shabbat Shuba. This melody, which can fit into the prayer piece of Mimisrayim, is said to have originated from Turkey, but no exact source of this melody can be identified. It is composed by the great Jewish poet H Raphael Antebi Tabbush (d. 1918) from Aleppo, Syria, and it is about the author’s personal journey to repentance. In this piece, the author starts by stating that he has returned to God by his refraining from the three categories of sins: Het (חטא), Avon (עון), and Pesha (פשע). In addition, he is offering God his constant praises and his heartfelt prayers. The prayers that he is asking for, mentioned in the second stanza, is for the general blessings of God’s kindness and a forgiveness for his transgressions. He then asks God for his own personal redemption and gathering of his community towards their redemption. The second stanza with the open question: Why do I continue to sit in this exile for such a long time? The song concludes with a prayer to God to strengthen the Jewish nation, send “their messenger” (צירם) and to reveal the end of days. He considers the hidden nature of God to be a sign of the nation's unworthiness and is trying to convince God that the nation is worthy of having God act in a more revealed way so that the nation can have God reign over them as their king forever. |
G. Shrem I. Cabasso - Halleluyah G. Shrem Recording M Habusha- Mimisrayim I Cabasso Eliahu Saal- Qaddish I Cabasso- Mimisrayim Moshe Dwek |
שמחים |
Mahour | 190 | 155 | לביתך יה ארוצה | Moses Ashear Shalom. For Yom Kippur. Ashear Manuscript |
I. Cabasso Recording |
|
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 |
S. Salem E. Sayegh Fule Yanani G. Shrem G. Shrem Recording Y Nahari H Abraham Zafrani D Binker-Duek |
|
Bayat | 303 | 239 | יהי נא לן נחת | Tabbush Manuscript |
G. Shrem G. Shrem Recording Maury Blanco |
|
Bayat | 306 | 241 | אל יצרת | Raphael Tabbush Aseret Yeme Teshubah. Can be used for Shabbats of Maqam Bayat-Hijaz. Hamaoui Manuscript Tabbush Manuscript |
G. Shrem G. Shrem - Qedusha G. Shrem R Elnadav- Qaddish Naftali Tawil- Qedusha I Cabasso- Nishmat |
|
Bayat | 311 | 243 | שבחו אל רוממו | Hatan/Kallah. British Library Or. 10375 |
E. Sayegh Kaddish G. Shrem E. Sayegh G. Shrem Recording I Cabasso- Nishmat |
נשמת |
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 |
M Kairey Fule Yanani Recording Semehim Maury Blanco Moshe Dwek |
שמחים |
Rahawi Nawah | 437 | 360 | מלך המפואר | משה חזק Rahawi. Rosh Hashana, but also may be used for Pesah. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923 |
G. Shrem G. Shrem 2 G. Shrem Recording |
שמחים |
Sigah | 543 | 451 | שוכן רומה | Rosh Hashana. |
M. Nadaf I. Cabasso I Cabasso |
פזמון |
Hijaz | 571 | 476 | אל רם נורא ואיום | Raphael Tabbush Maqam Shehnaz Yom Kippur. Tabbush Manuscript |
G. Shrem Recording G Shrem- Semehim I Cabasso- Pizmon & EH I Cabasso- Naqdishakh |
שמחים |
Hijaz | 574 | 478 | רבת שבעה לה נפשי | Raphael Tabbush This pizmon (HIJAZ, page 478), whose opening words are translated as “My Soul is Satiated” (based on a reference from Psalms 123:4), is a song for Yom Kippur. It is composed by the great Aleppian poet, H Raphael Antebi Tabbush, whose first name, ‘Raphael’ (רפאל), forms the acrostic of this 4 stanza rhyming song. The origin of this melody is the Spanish song called “Mis Hermanos” (My Brothers), and it can be applied to Naqdishakh on the morning of Yom Kippur. The theme of this song is about the “Day of Judgment” and the Hebrew word “Dean” (דין), or judgment, is the last word of each stanza. The author opens with an expression of trouble and despair, saying that his soul is filled with the suffering caused by the hands of his adversaries. He asks God for help; asking Him to judge against these adversaries. The author then recognizes that his transgressions are the main causes of his sufferings and then expresses regret about his misdeeds. He ponders to himself “If I don’t observe the commandments of the Torah, how will I come out on the day of judgment?” In the third stanza, the author asks for forgiveness and for his lot to be placed with “good people” or those who are knowledgeable in law. The author concludes by asking God to save him, to satiate him with good (in contrast to the satiation mentioned in the opening stanza), and to judge him favorably, leniently, and with mercy. Tabbush Manuscript |
E. Menaged - Qaddish I. Cabasso G. Shrem Recording Recording- Qedusha I Cabasso G Shrem G Shrem Moshe Dwek Moshe Dwek Moshe Dwek - Nishmat Moshe Dwek - Qaddish Moshe Dwek - Qaddish Moshe Dwek |
נקדישך |
Hijaz | 575 | 479 | עזרני אל חי | Raphael Tabbush This pizmon (HIJAZ, page 479), whose title is translated as "Help Me, O' Living God," is a song for the Aseret Yeme Teshuba, also known as the Ten Days of Repentance. This pizmon, composed by Aleppian poet, H Raphael Antebi "Ades" Tabbush, is one of the few Sephardic pizmonim that has managed to penetrate through to the greater Jewish world, especially the Chabad Hasidic sect. This song, whose acrostic is "ADES" (עדס), which is the official family name of H Raphael, has three rhyming stanzas. In this song, the author, H Raphael, asks God to assist him in his struggle against his YeSser HaRa', or evil inclinations, and asks God to assist him to repent for his past misdeeds. "Without you, O'Savior, there is no salvation!" he says. He then continues to say that he merits forgiveness from God, because he has "returned" from his transgressions and he will not continue in his past sinful ways. He concludes to ask God to distance himself from "Hebrat Kat HaSefoni," those who go after their YeSser HaRa' as alluded to in Joel 2:20 (according to Talmudic interpretation). The melody of this pizmon is taken from the Arabic "Ya Fareed El Hosn Ashaq Gamalak,' and it can be transposed to Shav'at Aniyim exactly one day a year, on Yom Kippur alone. |
G. Shrem G. Shrem Recording Arabic: Ya Farid G Shrem- including Qaddish G Shrem Moshe Dwek Moshe Dwek - SA Moshe Dwek - SA |
שועת עניים |
Hijaz | 580 | 482 | רודף צדק ומשכיל | Raphael Tabbush Shabbat Vayehi. Tabbush Manuscript |
I. Cabasso Recording |
ממצרים |
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 |
G. Shrem Recording Recording- Semehim G Shrem- including Semehim Moshe Dwek - Semehim Moshe Dwek - Semehim |
שמחים |
2116.02 | דוגמאות מיום הכפורים | Sample Yom Kippur Prayers |
Zaki Mourad- Adonai Hu HaElohim Recording- Seder Abodah Recording- Hayom Teamessenu Jack Mizrahi- Musaf for Kippur Jack Mizrahi- Full Prayers- High Holidays Moe Tawil- 3 Kemo Shehodata G Shrem E Nahum- Part 1 E Nahum- Part 2 E Nahum- Part 3 E Nahum- Part 4 E Nahum- Part 5 |
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4870 | דוגמאות לשבת שובה |
Yaaqob Dwek- Shabbat Shuba |
Pizmonim for Rosh Hashana according to Sassoon Manuscript #647, Aleppo, circa 1850.