October 13, 2024 ~ SUKKOT. SIGAH/AJAM/BAYAT
1890-1964
Born in Aleppo, Eliahou Menaged studied with Rabbi Raphael Tabush and other expert musicians of his day, in the art of Hazzanut, Maqamat, Baqashot, and Pizmonim. He became a master in his own right. He emigrated to America as a young man, and served as cantor and teacher for over half a century. He was exceptionally generous in officiating on many occasions, especially on Shabbat and holidays.
He prayed daily at Knis Betesh on 64th Street in Brooklyn and, by day, made a living in a small factory where he made sheets and pillow cases. He had an excellent business reputation and a keen sense of humor.
His students include Mickey Kairey, Isaac J. Cabasso, as well as Rapahel Y. Elnadav and Gabriel A. Shrem.
Section | Pizmon | Page | Song | Commentary | Recordings | Application |
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Baqashot | 1 | 8 | אל מסתתר | Abraham Maimom Maqam Hoseni Opening song of the Shabbat Baqashot. Hoseni. "El Mistater" is an allusion to Isaiah 45:15. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 2 | 9 | למענך ולא לנו | Maqam Bayat This song discusses redemption. Bayat. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 3 | 10 | יאמר נא ישראל | Israel Najara Maqam Rahawi Nawah Each verse ends with word "yom" (day). Nawah. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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שמחים |
Baqashot | 4 | 12 | ימותי קלו | Israel Najara Maqam Sigah Sigah. Job 9:25. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 5 | 14 | אנא הושע | Israel Najara Maqam Sigah Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 15 | 24 | ארץ ורום | Abraham Ibn Ezra Maqam Saba Saba. Discusses the seven days. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 19 | 28 | אור עליון | Eliahu Hamaoui Maqam Bayat Bayat. Written by H Eliahou Hamaoui (1840-1915) for H Eliahou Dahab. Bayat. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 20 | 28 | עורו שירו שיר | Ezra Attiah Maqam Saba The acrostic on "Ouru Shiru" spells Ezra Hazak. The last line also bears the name of his father "Chazak...nechamot Yeshaya" ... Chai gam Ataya (Attia). Saba. Ezra Attia Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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שמחים |
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 |
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Baqashot | 22 | 30 | יום קדוש ומבורך | Raphael Tabbush Maqam Saba Petiha (introduction) written by H Rephael Tabbush (1830-1918). Saba. Tabbush Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 23 | 30 | כי אשמרה שבת | Abraham Ibn Ezra Maqam Saba Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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שמחים |
Baqashot | 24 | 31 | אשתבח בתהלות | Abraham Sitehon Maqam Iraq Maqam Iraq. Written by H Abraham Sittehon (?-1816). Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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שמחים |
Baqashot | 26 | 34 | אליו מי הקשה | Abraham Ibn Ezra Maqam Sigah Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 28 | 35 | יום זה לישראל | Isaac Luria Maqam Mehayar-Bayat Mehayar-Bayat. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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שמחים |
Baqashot | 29 | 37 | יודוך רעיוני | Israel Najara Maqam Rahawi Nawah Rahawi Nawah. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 30 | 37 | יה מסי כבין רחמנא אסי כביהון לעם דנא | David Yaaqob Pardo Maqam Mehayar-Bayat Aramaic. Mehayar-Bayat. Nawah. Mosseri-Kozli Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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בפי ישרים |
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 |
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אל ההודאות |
Baqashot | 32 | 40 | 'אנכי שמי ה | David Dayan Maqam Hoseni Alluding to theTen Commandments. Hoseni. |
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אל ההודאות |
Baqashot | 33 | 41 | עורי נצורה | Menashe Sitehon Maqam Rahawi Nawah Nawah. Written by H Menashe Sittehon (?-1876). Alludes the different Amidah of Shabbat blessings (Arbit, Shaharit, Musaf, and Mincha). By Menashe Sitehon. In honor of Ezra Rabia. Rahawi Nawah. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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ראו בנים |
Baqashot | 34 | 42 | רם אור גדול | Raphael Tabbush Maqam Rahawi Nawah Written by H Rephael Tabbush (1830-1918). Rahawi Nawah. Tabbush Manuscript A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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נשמת |
Baqashot | 34.9 | 43 | מזמור שיר ליום השבת | Each verse chanted in a different maqam. During the Baqashot session, this is an opportunity to insert pizmonim within the appropriate maqam. |
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Baqashot | 41 | 48 | אני אספר | Mordechai Abadi Maqam Rast This pizmon (BAQASHOT, page 48), translated as "I Will Explain," is a song that was written in order to glorify the observance of the Shabbat. The pizmon, whose melody is classified as both Maqam IRAQ or RAST, is part of the Baqashot collection; songs chanted pre-dawn prior to Morning services on Shabbat. The author is one of the most important Hakhamim of Aleppo, H Mordekhai Abadi (1826-1884), as illustrated by the song's acrostic "Ani Hu Mordekhai Ben L'Yaaqob Abadi Hazeq Amess” (אני הוא מרדכי בן ליעקב עבאדי חזק אמץ). This is one of seven songs in the Baqashot section authored by H Mordekhai Abadi. In one of the longest songs in our canon (28 stanzas), the author poetically enumerates all 39 Melakhot (forms of labor) that are prohibited on Shabbat. Despite all the prohibitions, the Sabbath day is considered "a delight," and those who participate in the Sabbath observance are entitled to great merit. Of all the songs encountered in the Aleppo tradition, this song seems to be the most focused on Halakha (Rabbinic Jewish law). The melody of this song is most commonly applied to Semehim for prayer services in Maqam RAST. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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שמחים |
Baqashot | 42 | 51 | מהללך ורוב גדלך | Mordechai Abadi Maqam Rast Written by H Mordekhai Abadi (1826-1883). Lists the seven heavens. Rast. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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נשמת |
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 |
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נקדישך |
Baqashot | 49 | 57 | יודוך כל המיחלים | David Kassin Maqam Saba Written by H David Kassin (1789-1877). Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Baqashot | 52 | 60 | יום ליום אודה | Israel Najara Maqam Sigah Sigah. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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שועת עניים |
Baqashot | 56 | 65 | מה נעים נאוה | Maqam Sigah Written by H Mordekhai Abadi (1826-1883). Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
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Petihot | 82 | 98 | יפה קול ומטיב נגן | Israel Najara Petiha Attiah Manuscript |
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Petihot | 83 | 98 | יסמר שערת בשרי | Israel Najara Petiha |
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Petihot | 86 | 100 | יומם וליל | Raphael Tabbush Petiha Hamaoui Manuscript |
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Petihot | 87 | 100 | יחיד צור שוכן ערבות |
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Petihot | 89 | 101 | יודך כל | Raphael Tabbush Petiha Hamaoui Manuscript |
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Petihot | 90 | 101 | ראשית לא ככל ראשית | Raphael Tabbush Petiha Hamaoui Manuscript |
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Petihot | 93 | 102 | יום ליום | Raphael Tabbush Petiha Hamaoui Manuscript Tabbush Manuscript |
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Petihot | 95 | 102 | יה עדתי |
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Petihot | 96 | 103 | רבים רדפוני |
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Petihot | 103 | 105 | לבי במזרח | Yehuda HaLevi |
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Petihot | 105 | 106 | בן אדם |
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Petihot | 105.01 | 106a | יפה נוף | Yehuda HaLevi |
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Rast | 108 | 109 | חנון מרום | Raphael Tabbush Shabbat Bereshit. Hamaoui Manuscript Tabbush Manuscript |
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פזמון |
Rast | 110 | 110 | ידך עשת | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
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Rast | 113 | 111 | ינהג לי | Raphael Tabbush |
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Rast | 119 | 114 | אל יבול עלי | From the Arabic piece: "ElBolbol Gani Weqalli". |
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קדיש |
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 |
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אל ההודאות |
Rast | 127 | 117 | חי הזן לכל תמיד | Raphael Tabbush In honor of the wedding of Tabbush's student, Hayyim Tawil. |
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קדיש |
Rast | 128 | 118 | רצה שירי | Raphael Tabbush |
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Rast | 129 | 118 | יאיר יזרח | Shalosh Regalim. |
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Rast | 130 | 119 | הנה זה עומד |
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ממצרים | |
Rast | 135 | 121 | מה נעים החתן | Raphael Tabbush Hatan. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 |
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ממצרים |
Rast | 144 | 125 | מימים ימימה | Moses Ashear Ashear Manuscript |
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שועת עניים |
Rast | 145 | 126 | יה שמע תפלה | Moses Ashear Ashear Manuscript |
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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 |
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שועת עניים |
Rast | 147 | 127 | מלך שוכן | Moses Ashear Ashear Manuscript |
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Rast | 148 | 128 | יחיד אל נורא | Moses Ashear Ashear Manuscript |
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Rast | 149 | 128 | תען לשוני ותגיד | Moses Ashear (Maqam Sigah). Ashear Manuscript |
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ממצרים |
Rast | 150 | 129 | יה תן לי חנא | Moses Ashear Italian melody. Should be Sigah. For the groom, David Abraham Sutton. Ashear Manuscript |
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שועת עניים |
Rast | 151 | 130 | מלכי לעם איתני | Moses Ashear For the Hatan (groom), David Abraham Sutton. Ashear Manuscript |
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כתר |
Rast | 152 | 131 | אמר לו גואלי | Moses Ashear Ashear. In honour of the groom, Yosef Abraham Me'Eli HaKohen. Ashear Manuscript |
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Rast | 153 | 131 | מבשר אתן | Moses Ashear In honour of the groom, Yosef Abraham Me'Eli HaKohen. Ashear Manuscript |
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Rast | 167.02 | 144a | אנא יה רם | Raphael Tabbush |
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Mahour | 171 | 146 | רצה נא | Raphael Tabbush Salah Abd ElHai singing the Arabic "'Ishna WeShofna". This includes a Sama'i and Mawal. In 1939, Ashear used the pizmon Resseh Na on page 146 for Qaddish. |
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קדיש |
Mahour | 184 | 152 | ידידי אמרו | Raphael Tabbush Arabic is "Fouadi Amro 'Agib," in Maqam Mahour, sung by the great Sheikh Yousef El Manyalawi. In 1936, Hakham Moshe Ashear used this for Qaddish of Perashat Toledot. |
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קדיש |
Mahour | 185 | 153 | אל בחסדך גאלנו | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
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נשמת |
Mahour | 186 | 153 | נעימה לי | Moses Ashear Eli S Haddad. Ashear Manuscript |
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שועת עניים |
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 |
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Sasgar | 200 | 163 | אסיר ביוקשי | Raphael Tabbush Assir El 'Eshq: In 1906, Daoud Hosni was granted the first prize at the Musical Congress in Paris, for the composition of his famous hit "Assir El' Eshq" أســير العــشـق. It is a song that still thrills enthusiasts of Middle-Eastern Music. |
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קדיש |
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 |
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נשמת |
Ajam | 206 | 169 | לעם חביב | Maqam Sasgar Arabic: Sayed El Safti singing "Bid'i il Habib" in Maqam Geharka. Hamaoui Manuscript |
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קדיש |
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. |
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אל ההודאות |
Ajam | 234 | 186 | מי יספר חסדי האל | Moses Ashear Hedaya. Alludes to the Ten Sefirot that God used to create the world. It's melody is taken from the 1888 Princeton University song called "The Orange and the Blue." Ashear Manuscript Leaflet |
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נשמת |
Ajam | 254 | 203 | יאריך ימים על ממלכתו | ישראל בן משה Shabbat Shofetim, because it mentions the blessing of longevity for a new king. Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript |
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נשמת |
Nahwand | 259 | 207 | לנרי ואורי | Raphael Tabbush Hanukkah. |
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שועת עניים |
Nahwand | 260 | 207 | אל אבי מחסדך | Raphael Tabbush |
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נשמת |
Nahwand | 266 | 210 | לעיר חנה דורשה דודי | Raphael Tabbush |
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נשמת |
Nahwand | 274 | 214 | יה נחלה המצחה | Raphael Tabbush |
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קדיש |
Nahwand | 283 | 219 | מה נעמו אמריך | Moses Ashear Moshe Ezra Shrem. Ashear Manuscript |
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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 |
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שועת עניים |
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 |
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קדיש |
Nahwand | 290 | 225 | מאמר ותחנון | Moses Ashear Wedding of Selim and Nizha Gindi. Photograph is courtesy of David Catton, grandson. Classic song in Maqam Nawa-athar. It is a DOR by the name Ya Qamar Dar El 'Oyoun and this version is sung by Laure Dackashe. (Lor Dakash) Ashear Manuscript Photograph of Selim and Nizha Gindi |
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Bayat | 309 | 242 | אני אגיד בקהל עם זו | Arabic: Ahd El Ekhewwa. DOR in Maqam Bayat. |
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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 |
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שועת עניים |
Bayat | 321 | 247 | שא לזנוחך |
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Bayat | 345 | 265 | מלך צור עולמים | Moses Ashear Pre 1928 for Hebrat Qehal Qadosh Agudath Ahim. חברת אגודת אחים / Hebrath Agudath Ahim / The oriental Hebrew Aid Society and Congregation, 87 Eldridge Street, New York. Ashear Manuscript |
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Bayat | 349 | 267 | הודך יה תנה לי | Moses Ashear Wedding of Ezra S Tawil. Song is a mixture of Bayat and Hijaz. Ashear Manuscript |
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נקדישך |
Bayat | 356 | 274 | אל חי שוכן | Moses Ashear Paragraph 1 can be applied to El Hahodaot and Paragraph 3 can be applied to Qaddish. Appropriate for Shabbat Re'eh. Arabic is sung by Daoud Hosni. Ashear Manuscript |
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שמחים |
Bayat | 358 | 276 | אל דורשה נפשי | Raphael Tabbush Tabbush Manuscript |
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ממצרים |
Bayat | 379 | 299 | אני לו אשיר | Moses Ashear Continuation of previous song. Abdel Wahab song EL NIL NAGASHI. The section that Menaged is using is minute 2:40 through 4:20 of the Arabic song. In the pizmon it's from the 5th line on page 300 (Malkekh Yinhar) until the 12th line (El Ahoub Yahel Lah). Leaflet |
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שועת עניים |
Mehayar-Bayat | 392 | 319 | מגן ועזרה | Moses Ashear Shames wedding. Alludes to the Ten Sefirot. |
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Mehayar-Bayat | 393 | 320 | עירי בנה | Moses Ashear |
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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 |
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שועת עניים |
Mehayar-Bayat | 402 | 328 | ידידי יה נפשי טהר | Arabic is "Gadedi Ya Nafsi," sung by Saleh Abd El Hai. Maqam Hoseni. Ashear Manuscript |
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Mehayar-Bayat | 404 | 329 | מנת חבלי | Moses Ashear Franco. |
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Mehayar-Bayat | 406 | 331 | מלך הדור | Moses Ashear Wedding of Isaac Haim Massri; March 20, 1934. Leaflet |
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קדיש |
Hoseni | 407 | 333 | משמחי לב | Each stanza ends with the name "David." Attiah Manuscript Abraham Sitehon Manuscript |
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קדיש |
Hoseni | 408 | 334 | דודי אתן | דוד חזק Attiah Manuscript Mosseri-Kozli Manuscript Yabess Manuscript British Library Or. 10375 |
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קדיש |
Hoseni | 416 | 339 | יה חסדך גלי | Raphael Tabbush Aseret Yeme Teshuba. |
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שועת עניים |
Ashiran | 431 | 354 | אני אשיר שיר | Ezra Moshe Soued |
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שועת עניים |
Saba | 452 | 375 | עליון רם גדול | Ezra Attia Manuscript British Library Or. 10375 |
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נשמת |
Saba | 453 | 376 | יהלל לאל נורא | Raphael Tabbush This pizmon (SABA, page 376), whose opening words are translated as “He Will Give Praise to the Awesome God with Sounds of Song,” is a masterpiece in the Syrian Jewish tradition. Composed by H Raphael Antebi Tabbush (d. 1918), perhaps in honor of the birth of his brother's son ("Isaac ben Abraham"), it has the acrostic "Isaac" (יצחק) and has 4 stanzas; with the first stanza also serving as the chorus. The song opens with a promise that the Jewish nation, and “every living thing that has breath” (alluding to Psalms 150:6), will praise God in song. The second stanza asks God to remember the covenant of Isaac (son of Abraham), gather the Jews from exile, and bring them to the city of Jerusalem where they will praise Him in happiness. The third stanza asks God to grant us “life, grace, and kindness,” and give us a sign, or better yet, a miracle; similar to those experienced in the days of Moses. But the miracle now will be the redemption and to quickly bring the Messiah. The final stanza, in a very moving petition, beseeches God to "accept to the prayers of his nation"; this includes protecting us, saving us, healing us, and having mercy on us. Finally, the song concludes, that when all these prayers have been answered, the prophecies of Isaiah will now be fulfilled and we will “sing to God a new song” (Isaiah 42:10), and we will encounter new priests serving in a new Beit Hamiqdash (temple) in the rebuilt city of Jerusalem. Tabbush Manuscript |
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נקדישך |
Saba | 477 | 393 | אלי תמוגג | Raphael Tabbush |
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ה' מלך |
Saba | 487 | 401 | תדד שנת עיני |
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Saba | 488 | 402 | רחום דל דאגי מני | Raphael Tabbush |
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כתר |
Saba | 489 | 403 | קומי יונה | Israel Najara |
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Saba | 509 | 425 | אל מוכתר בכתר | Moses Ashear פיוט על סדר אלף בית אומרה- Alludes to 10 Sefirot. Ashear applies this tune often to Naqdishakh. Ashear Manuscript |
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נשמת |
Sigah | 515 | 432 | יצו האל | יעקב עבדי Alludes to the 10 Sefirot. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript British Library Or. 10375 |
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נשמת |
Sigah | 517 | 434 | ראש פעלי | Arabic: Eshfa'ouli. Sung by Muhammad Salim. |
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קדיש |
Sigah | 518 | 435 | אתה מרום | This pizmon (SIGAH, page 435), whose title is translated as "You, Who Lives in Heaven and Resides Above," is a song for the Yom Tob festivals. The acrostic of this song is Abraham (אברהם), and there is a reference here to each of the three patriarchs. What makes this song unique is that each of the five rhyming stanzas ends with a biblical source referencing God's name. The song begins with how the author and the entire community will rejoice and praise God at happy occasions; in the happiness of the bride and groom (in the first stanza), and in the happiness of the Yom Tob festivals (in the second stanza). The third stanza then asks that God, the merciful One, will spread his kindness on the children of Abraham. The fourth stanza says that we should praise God, because He will rebuild the Beit HaMiqdash where we will soon offer sacrifices to God in the future. The poem concludes (in the fifth stanza) with a plea to fulfill the prophecy of Ezekiel of returning to Zion, rebuilding the Temple, and then sending the Messiah, from the House of King David, to redeem the Jewish nation. Due to the song’s clear reference to “Eleh Moadei Hashem (Leviticus 23:4),” the source in the Torah that discusses the annual holiday cycle, this can be used as a PIZMON SEFER TORAH on the Shalosh Regalim. Tabbush Manuscript |
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Sigah | 519 | 436 | יום יום אל שדי | יצחק חזק Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript |
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נשמת |
Sigah | 520 | 436 | עורי כלה | Acrostic: Ezra. British Library Or. 10375 |
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נקדישך |
Sigah | 522 | 438 | מלך רם ונשא | Moshe Ashkenazi Tabbush Manuscript British Library Or. 10375 |
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פזמון |
Sigah | 523 | 439 | את כלה | Alef-Bet. Tabbush Manuscript British Library Or. 10375 |
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קדיש |
Sigah | 524 | 441 | יתברך שם האל |
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Sigah | 525 | 441 | אשיש אל בך | This song is a DOR and the name in Arabic is 'Aziz Hobak. |
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קדיש |
Sigah | 526 | 442 | אנא הישר | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
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Sigah | 528 | 443 | אל יצרני לעמל | Raphael Tabbush Maqam Awj-Oj |
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נשמת |
Sigah | 533 | 445 | יה אוחיל | Raphael Tabbush Maqam Awj-Oj Hamaoui Manuscript Tabbush Manuscript |
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Sigah | 535 | 446 | עזר היו לי |
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Sigah | 536 | 447 | אדיר ונורא | Tabbush Manuscript |
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קדיש |
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 |
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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 |
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נקדישך |
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 |
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אל ההודאות |
Sigah | 565.03 | אליך דודי אקרא | Shir Ushbaha, 1921 |
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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 |
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נקדישך |
Hijaz | 583 | 484 | מהונך תעשר | Tabbush Manuscript |
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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. |
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נשמת |
Hijaz | 585 | 485 | רוכב עבים ומהלך | Raphael Tabbush This pizmon (HIJAZ, page 485), whose title is translated as "Driver of Clouds," is a song about God's role in controlling nature. This song is composed by H Raphael Antebi Tabbush, and the acrostic "Raphael" is spelled in the song's 4 stanzas. The beginning of the song introduces the concept of God being 'the Driver of clouds' and 'Controller of wind' (see Psalms 104, Isaiah 19:1, and Exodus 15:22); meaning the 'gatekeeper' of most precious resource in the world: rain. With rain, the second stanza says that the desert can bloom, and the land can become paradise (like the Garden of Eden). The words "Masheeb Ruah U'Moreed Gesem," the traditional Jewish prayer for rain, is also alluded to in the second stanza. Acknowledging that God is the master of all nature, the third stanza pleads to the Almighty to use this strength to help and protect the Jewish nation and redeem them so that they will celebrate this in the Temple. The author concludes with a prayer to help renew and invigorate him so that he, too, can partake in the upcoming redemption. The melody of this song can be applied to Shav'at Aniyim on weeks when Maqam HIJAZ is applied, and the song is traditionally sung as the PIZMON SEFER TORAH on the Shemini Asseret festival, because this is the first day of the year that Jews start to pray for rain in the Amida prayer. |
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שועת עניים |
Hijaz | 589 | 488 | עליון ונאדר |
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כתר | |
Hijaz | 590 | 488 | אור הנעלם | א''ב Tabbush Manuscript |
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כתר |
Hijaz | 591 | 490 | שמח נפשי | שלמה חזק This pizmon (HIJAZ, page 490), whose opening words can be translated as “My Soul Will Rejoice,” is one of the most popular pizmonim known in the Syrian Jewish tradition. In Shabbat morning services, whenever its joyous melody is transposed to Mimisrayim, it seems to bring immense happiness to the crowd. The melody of this is from the Arabic song “Qadokh Al Mayas” and over the years, a number of Hebrew pizmonim have been composed to fit into this great melody (i.e. ‘Elekha Kama Besari’ and ‘Niflaot Nissim’ are other Hebrew pizmonim written to the same melody). The Hebrew pizmon “Samah Nafshi” is the version of the song that has survived in part due to its inclusion in the important book “Shir Ushbaha” by H Raphael Cohen (1922). The author of the song is unknown, but the acrostic of the song suggests that it was written either by or in honor of a “Shelomo” (שלמה חזק). In its 5 rhyming stanzas, the author exclaims that his soul will rejoice if the following prayers are answered: solving all troubles of the Jewish people, a returning of Israel to the status it had during the days of King Solomon, the rebuilding of the Temple in Jerusalem as well as the entire Land of Israel, and ultimately, the announcement of a redeemer by Eliahou HaNavi that the Messianic age has arrived. |
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ממצרים |
Hijaz | 592 | 490 | ראה בחלשי | Raphael Tabbush |
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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 |
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נקדישך |
Hijaz | 605 | 501 | אל השב | Moses Ashear Same melody as page 491. Ashear Manuscript |
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Kippur | 612.11 | 511b | ודוי הגדול- מצות לא תעשה | Vidoui (Confessions) for Yom Kippur; recited in Arbit and Shaharit. Negative Commandments. Composed in Aleppo. |
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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. |
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קדיש | |
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 |
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Selihot | 2198 | S19 | עננו |
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Selihot | 2225 | 582 | סליחות | Benayahu #131 (Jacob R Mishaan, 1780) |
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2260 | עלוז יעלזו חסידים | עזרא Maqam Sigah This pizmon was written by Ezra Attia in honour of Hazzan Hakham Shelomo Sitehon Didia Salama Rabia Ouri. Song for Purim. Ezra Attia Manuscript Shir Ushbaha, 1921 |
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2353 | שמח בני חתן נעים בן פרת יוסף | Maqam Hoseni Arabic melody: רקץ אל באן. Specifically applied to Nishmat on weeks related to Mattan Torah. Hamaoui Manuscript British Library Or. 10375 |
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נשמת | ||
Selihot | 2374 | S14 | ה' מלך | Different pizmonim melodies that can be applied to Hashem Melekh in Selihot according to Sassoon Manuscript 647: אחות קטנה, חזקו וגילו מאחות קטנה, לך אלי תשוקתי, ה' בקול שופר, ה' בוקר, עת שערי רצון, שואף כמו עבד, שפעת רביבים, כל ברואי מעלה ומטה, יום זה לישראל, שבעה שחקים, יה עוז התאזר, יודו הגיוני, תרומם בת |
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4086 | N3 | כי לה' המלוכה |
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4094 | N4 | נשמת | Pillar #1 of Shaharit. Heavy musical style. |
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4096 | N7 | אל ההודאות | Light musical style. |
E Menaged- Rast |