November 21, 2024 ~ Shabbat HAYE SARA. HIJAZ.
ח' משה חי בן רוז נזהה ע"ה
Special acknowledgements to the following individuals: Rabbi Hayim Arking, Alan Kishk, Rabbi Moses Hidary, and the family of H Moshe Dwek A"H
To help support the continued effort by the family to perpetuate the Hazzanut teachings of Moshe Dwek A"H, please click here. Tizku LeMisvot.
H Moshe Dwek A"H, born in Aleppo, Syria, was the Hazzan of Congregation Ohel Simha (Park Avenue Synagogue) in Elberon, NJ, for sixteen years.
| Section | Pizmon | Page | Song | Commentary | Recordings | Application |
|---|---|---|---|---|---|---|
| Qiddush | 0.01 | 1 | יגדל אלהים חי | Thirteen Primary Jewish Beliefs according to Maimonides. R' Daniel ben Yehuda HaDayan- 13th century- Italy |
Moshe Dwek - Yigdal - AJAM Moshe Dwek - Yigdal - HOSENI Moshe Dwek - Yigdal - NAHWAND |
|
| Qiddush | 0.05 | 6 | קדוש לליל שבת |  Qiddush for Friday Night. |
Moshe Dwek - Qiddush - NAWAH Moshe Dwek - Qiddush - NAHWAND |
|
| Qiddush | 0.15 | 7 | קדוש ליום שבת | Qidusha Rabbah for Saturday Morning. |
Moshe Dwek - Qiddush Raba - RAST Moshe Dwek - Qiddush Raba - AJAM Moshe Dwek - Qiddush Raba - NAHWAND Moshe Dwek - Qiddush Raba - BAYAT Moshe Dwek - Qiddush Raba - NAWAH Moshe Dwek - Qiddush Raba - SABA Moshe Dwek - Qiddush Raba - SIGAH Moshe Dwek - Qiddush Raba - HIJAZ |
|
| Qiddush | 0.2 | 7a | צור משלו אכלנו | Pizmon for Birkat HaMazon. Each blessing of Birkat Hamazon is alluded to. Maqam Hijaz. |
Moshe Dwek - Haleluya Moshe Dwek - Naqdishakh |
|
| Baqashot | 10 | 20 | ה' בוקר |  Shelomo Ibn Gabirol Maqam Hoseni Hoseni. Psalms 5:4. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek Moshe Dwek - HM |
ה' מלך |
| Baqashot | 17 | 26 | מה נכבד | Mordekhai Labaton Maqam Saba Saba. Written by H Mordekhai Labaton (1780-1869). About the importance and centrality of Shabbat. Saba. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek |
שועת עניים |
| Baqashot | 21 | 29 | יום זה שירו | Mordechai Abadi Maqam Mehayar-Bayat This song (MEHAYAR / RAHAW, page 29), considered the most popular of the Baqashot collection, is composed by the great rabbi H Mordekhai Abadi (1826-1884) of Aleppo, Syria. Other compositions by H Abadi can be found in "Dibre Mordekhai" (Aleppo, 1873). Although the acrostic is “Yosef Binyamin Hazaq," H Abadi's name is hinted to in the song. The theme of the song is to encourage the people to enjoy the Shabbat by singing to God. According to the chorus, the Sabbath is special because it is a time of rest from work, and it is our inheritance to be happy on this very blessed day. Throughout the 5 stanzas, there are many allusions to verses from the Tanakh. The final verse is a charge to strengthen those in the community who wake up pre-dawn to sing the Baqashot; reminding them “these are your lives to reach strengths and to dwell in the courtyards in the House of God." Besides for singing this during the Baqashot, this song is also customarily heard on the table during the Shabbat meal. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek |
|
| Baqashot | 23 | 30 | כי אשמרה שבת | Abraham Ibn Ezra Maqam Saba Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek - Nahwand melody Moshe Dwek - Semehim (AJAM) |
שמחים |
| Baqashot | 31 | 39 | יודוך מלך | Mordechai Abadi Maqam Rahawi Nawah Written by H Mordekhai Abadi (1826-1883). Rahawi Nawah. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek - HM / Halleluya |
אל ההודאות |
| Baqashot | 35 | 43 | שלום וצדק נשקו | Shelomo Laniado Maqam Hoseni Hoseni. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek |
אל ההודאות |
| Baqashot | 37 | 45 | מלא פי שירה | Raphael Tabbush Maqam Ajam Ajam. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek - Qaddish Moshe Dwek - Qaddish , Rau Banim |
נקדישך |
| Baqashot | 38 | 46 | אשא לבי | Eliahu Sasson Maqam Hoseni Written by H Eliahou Sasson (?-1869). Hoseni. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek Moshe Dwek - Mimisrayim |
ממצרים |
| Baqashot | 43 | 52 | משמים שלום לעם | Mordechai Abadi Maqam Rast Written by H Mordekhai Abadi (1826-1883). Rast. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek Moshe Dwek - Naqdishakh Moshe Dwek - Naqdishakh Moshe Dwek - Naqdishakh |
נקדישך |
| Baqashot | 59 | 67 | אדון יחיד | Menashe Sitehon Maqam Sigah Alludes to the Ten Sefirot that God used to create the world. Written by Menashe Sittehon (?-1876), in honor of Isaac Harari. Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek Moshe Dwek - Semehim |
שמחים |
| Baqashot | 61 | 69 | ידיד נפש | Elazar Azkari Maqam Sigah 16th century. He defines this piyut as “a supplication for union and the desire of love”. Sigah. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek - Nahwand melody Moshe Dwek - Sigah version Moshe Dwek - Mimisrayim (Sigah) Moshe Dwek - Naqdishakh (Sigah) |
ממצרים |
| Baqashot | 62 | 70 | אגדלך אלהי | Abraham Ibn Ezra Discussing the relationship between man and the Creator. There are many emotions here including the mortality of man. There is more than one melody to this song; According to H. Kaire, it could be in Sigah (melody: Adon Yahid Yasad), Nahwand (Atah El Kabir), other popular Nahwand tune, or Mehayar Bayat (Mamlekhot Ha'ares). Attiah Manuscript Yabess Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Moshe Dwek - Qaddish (Nahwand) |
קדיש |
| Mossaei Shabbat | 67 | 76 | במוצאי יום מנוחה | Yaakob Manoi Very old pizmon. Found in Mahzor Vitry. Its composer is Ya'acob Manoi, whose name is spelled in the acrostic beginning with the second stanza. It begins with a plea that God gather Israel together from exile during the coming week. It asks that He redeem Israel from its current state of degradation and bring it to the Temple. Closes with a prayer for Elijah the prophet, traditionally the herald of the Messiah. |
Moshe Dwek - Rau Banim |
ראו בנים |
| Mossaei Shabbat | 72.03 | 85 | הבדלה | All of these Habdalot recordings, courtesy of Steven M Ashear, took place in the Edmond J Safra Synagogue of South Deal (Hathaway) by Cantor Yehiel Nahari. Mahzor Aram Soba 1560 |
Moshe Dwek - Habdalla |
|
| Mossaei Shabbat | 75 | 91 | על בית זה ויושבהו | Ben Ish Hai |
Moshe Dwek - Qaddish Moshe Dwek - Rau Banim |
|
| Rast | 114 | 111 | אחבירה לך |
Moshe Dwek Moshe Dwek - Nishmat Moshe Dwek - Naqdishakh |
ואני תפלתי | |
| Rast | 123 | 115 | יה אל מגן | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Nishmat Moshe Dwek - Nishmat Moshe Dwek - Naqdishakh |
נשמת |
| Rast | 124 | 116 | אתה יודע | Raphael Tabbush |
Moshe Dwek Moshe Dwek - Naqdishakh Moshe Dwek - Naqdishakh |
נקדישך |
| Rast | 125 | 116 | רפא צירי | Raphael Tabbush Refa Siri is a special composition written by H Raphael Tabbush A"H. The melody is attributed to a Judeo-Spanish song entitled "Triste Vida" (A Sad Life). The song has an acrostic of "Refael" and has been viewed as a prayer for good health. The first stanza of the song recognizes God as the ultimate doctor and healer. The song also contains a prayer for God to open the gates of mercy and to send freedom to our nation. The pizmon was used by H Moshe Ashear A"H (d.1940) for the PIZMON SEFER TORAH in 1940 for Shabbat Vayera because Abraham is thought to have been recovering from the Berit Mila at the opening of the perasha. Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Naqdishakh Moshe Dwek - Naqdishakh |
אל ההודאות |
| Rast | 130 | 119 | הנה זה עומד |
Moshe Dwek Moshe Dwek - Mimisrayim Moshe Dwek - Naqdishakh |
ממצרים | |
| Rast | 131 | 119 | יה תאיר לאורי | Raphael Tabbush Dor: yah talah il sa'adi. |
Moshe Dwek |
|
| Rast | 132 | 120 | יחיד נורא | Raphael Tabbush This jovial pizmon (RAST, page 120), composed by H Raphael Antebi Tabbush (deceased December 1918) of Aleppo, Syria, is one of the most important and popular songs for the festival of Pesah. There are four stanzas in this pizmon; corresponding to the four letter of name of God (Tetragrammaton). Within each stanza, there are multiple rhyming clauses. Although the melody of this song should not be applied to any of the pieces of prayers, this pizmon is used for the PIZMON SEFER TORAH (typically on Shabbat HaHodesh or 1-2 Pesah). Many aspects of the month of Nisan, including the Haggadah and the counting of the Omer, are alluded to in this special pizmon. In general, the composer gives praise to God for all of His kindness to mankind, and specifically to the Jewish nation for the Exodus from Egypt and the splitting of the sea. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 |
Moshe Dwek |
|
| Rast | 142 | 124 | אני לשמך אהלל | Raphael Tabbush סימן רפאל. Birth of a baby boy and the Pidyon HaBen. Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Mimisrayim Moshe Dwek - Naqdishakh Moshe Dwek - Naqdishakh |
אל ההודאות |
| Rast | 143 | 125 | רם לחסדך יקוו | Raphael Tabbush This pizmon (RAST, page 125), whose title translates as “Great, Your Kindness,” is a song composed by H Raphael Tabbush (d. 1918) to the French melody “Frere Jacques.” The 17th century French song is a nursery rhyme about a friar who has overslept and is pushed to wake up so that he can sound the bell for others to attend the morning prayer services. Throughout history, many versions of this song arose in many different cultures due to the simplicity of the melody. In regards to Tabbush’s Hebrew version, the acrostic is “Raphael” (רפאל) and there are three short stanzas; making it one of the shortest pizmonim in our collection. Although some may dismiss this song as one that is only for the youth, the themes of petitioning God for a good life, for the removal of evil from society, and the future redemption of the Jewish people, make it all the more relevant and meaningful to people of all ages, and not only for the youth. A free translation of the Hebrew pizmon is as follows: First stanza: “Great, Your kindness, they eagerly await… the students of the Torah, they thank you.” Second stanza: “Redeem, O King, the depressed people… and all her enemies, will be destroyed.” Third stanza: “God, from Your goodness, satiate us, and the chosen nation, will affirm Your name.” Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek |
ממצרים |
| Rast | 144 | 125 | מימים ימימה | Moses Ashear Ashear Manuscript |
Moshe Dwek |
שועת עניים |
| Rast | 146 | 127 | מגן ישעי | Moses Ashear This pizmon, "Magen Yish'ee" (RAST, page 127), is composed by H Moses Ashear (acrostic: Moshe Hazaq), in honor of the wedding of Mr Ezra Obadia Labaton In Brooklyn, NY, circa 1920-25. The melody of this song is from the Dutch folk song entitled "Trip a Trop a Tronjes." As the melody sounds, this is a very happy song that celebrates the occasion of a wedding in the Labaton family. The last stanza contains a reference to H Mordekhai Labaton (1780-1869); the great Aleppian Rabbi and patriarch of this family. The last stanza also contains a prayer to return to the sanctuary of the Temple and to rebuild the city of Zion (Jerusalem). This melody is commonly applied to Shav'at Aniyim on weeks of Maqam RAST. On December 7, 2013, two days after the passing of Rabbi Ezra Labaton, Rabbi of Congregation Magen David of West Deal and the grandson of the individual mentioned above, this song was used as the PIZMON SEFER TORAH in over ten community synagogues as a tribute to the Rabbi. Ashear Manuscript Photograph of Rabbi Dr Ezra Labaton |
Moshe Dwek |
שועת עניים |
| Rast | 149 | 128 | תען לשוני ותגיד | Moses Ashear (Maqam Sigah). Ashear Manuscript |
Moshe Dwek Moshe Dwek - Semehim Moshe Dwek - Semehim |
ממצרים |
| Rast | 151 | 130 | מלכי לעם איתני | Moses Ashear For the Hatan (groom), David Abraham Sutton. Ashear Manuscript |
Moshe Dwek |
כתר |
| Rast | 155.04 | 132b | חי אל נאדר | Haim S Aboud |
Moshe Dwek - Naqdishakh |
|
| Rast | 157 | 133 | מה נאוו רגלי מבשר | Moses Ashear Shabbat Qorah. |
Moshe Dwek Moshe Dwek - Naqdishakh |
כתר |
| Rast | 159 | 135 | ממרום קולם | Moses Ashear |
Moshe Dwek Moshe Dwek - HM Moshe Dwek - Naqdishakh |
ה' מלך |
| Rast | 162 | 138 | דגלך ישא על הרים | Moses Ashear Nissim Shaul Dabbah Bar Misvah. February 23, 1935. Leaflet |
Moshe Dwek Moshe Dwek - SA |
|
| Rast | 164 | 140 | אב הרחמן אהבת | Ezra Dweck and Gabriel Shrem Wedding of Lew Grazi on his wedding day, 15 Tammuz, 1956. The melody is from "Bint Il Jiran." |
Moshe Dwek |
כתר |
| Rast | 167 | 144 | נאוה יפה צביה | Ezekiel Hai Albeg This pizmon (RAST, page 144), whose title translates as "Lovely, Pretty Gazelle," is the first, and possibly only, pizmon to be written in honor of a baby girl. In the 1950's, some complained that there were many songs written for baby boys, yet nothing for girls. In 1954, master poet Ezekiel H Albeg corrected this by composing this for the birth of his daughter, Nina. Today, this song is used for an Abi HaBat before going up to the Torah. There are four stanzas in this song; corresponding to name "Nina." The first stanza also serves as a chorus; to be repeated after each subsequent stanza. The melody of this is from the Arabic song "Ya Widel Widalakh." In this song, there are many references to Shir HaShirim; containing imagery that illustrates the relationship between God and the Jewish people. One such reference from Shir HaShirim is the repeated phrase at the end of each stanza "Bo'ee Legani, Legani Beshir, Mizmor Halleli" (Come to My garden in song...); referring to Israel's joyous return to Jerusalem in song and in praise. Although the song is officially classified as Maqam RAST, the word 'Nava' in the beginning of the song hints that it can also be classified as NAWAH. |
Moshe Dwek |
אל ההודאות |
| Mahour | 170 | 146 | אל חון על בת המענה | Baby Girl. |
Moshe Dwek Moshe Dwek - EH Moshe Dwek - Qaddish Moshe Dwek - Mimisrayim Moshe Dwek - Naqdishakh Moshe Dwek - Naqdishakh |
ה' מלך |
| Mahour | 179 | 149 | ידך תנחני | ישראל Yadekha Tanheni is a composition written by the legendary poet and Sephardic rabbi H Israel ben Moshe Najara (1555-1625). Based on the words in Psalms 139:10, the pizmon opens with the words "Your hand will guide me, O Living God, my maker." Throughout his life as a refugee (from Safed, to Damascus, and then to Gaza) filled with personal tragedy (loss of his wife and daughter at an early age), Najara manages to keep his faith in the Almighty and relies on Him for support. Still questions are asked of God, "Where is David? Where is Ben Yishai?" - referencing the Messiah and a promised redemption. In the prayers, H Moshe Ashear uses the MAHOUR melody of this pizmon on Shabbat Toledot for Semehim. This relates to the narrative of this perasha, because we are introduced to Jacob, also named Israel; an individual who also had a very difficult life but nevertheless relies on God for support. Hamaoui Manuscript Attiah Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923 |
Moshe Dwek Moshe Dwek - Semehim Moshe Dwek - Yadekha Tanheni |
ה' מלך |
| Mahour | 180 | 150 | יתן טל יה מימינו | Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek |
ממצרים |
| Mahour | 182 | 151 | שבתי שבתי | Raphael Tabbush 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. |
Moshe Dwek |
שמחים |
| Mahour | 186 | 153 | נעימה לי | Moses Ashear Eli S Haddad. Ashear Manuscript |
Moshe Dwek |
שועת עניים |
| Mahour | 187 | 154 | ריבה ריבה | Moses Ashear Gabe Shasho. Ashear Manuscript |
Moshe Dwek Moshe Dwek - Halleluya Moshe Dwek - Naqdishakh Moshe Dwek - Naqdishakh |
ואני תפלתי |
| Mahour | 189 | 155 | מלכי צורי יה ידידי | Moses Ashear Ezra Obadiah HaKohen. Same tune as the Syrian National Anthem of prior to 1936. Ashear Manuscript |
Moshe Dwek |
|
| Mahour | 191 | 156 | בואי ברנה | Moses Ashear Bo'ee BeRina is one of the most beautiful compositions authored by H Moshe Ashear (d. 1940). This pizmon was written for the groom, Seymour Charles Semah, in honor of his wedding to Sara Ashkenazie (daughter of Lulu and Aharon Ashkenazie). The content of the pizmon is written from the point of view of the Hatan talking to his new wife. Although the acrostic is Moshe- named after the author, the names Shaul, Sion, and Semah are alluded to in the first, second, and last stanzas, respectively. The melody of this pizmon is from the Arabic "Hawad Min Hina," sung by Egyptian singer Munira al-Mahdiya (1884-1965). Although this song is only listed in Maqam MAHOUR, Ashear made another melody to this pizmon in Maqam HIJAZ. It is the HIJAZ version that Ashear applied to Semehim on Shabbat Haye Sara in 1940. The pizmon relates to this Torah portion, because Isaac becomes a groom. Ashear Manuscript |
Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Naqdishakh Moshe Dwek - Naqdishakh |
שמחים |
| Mahour | 192 | 157 | יה הרם סלה | Moses Ashear Haddad. Ashear Manuscript |
Moshe Dwek Moshe Dwek - SA , BY , EH Moshe Dwek - Naqdishakh |
|
| Mahour | 193 | 157 | ישירו לאלהים | Moses Ashear Shabot. Ashear Manuscript |
Moshe Dwek |
|
| Mahour | 196 | 161 | יה ניבי לך | Moses Ashear Isaac Harry Franco wedding. Kislev 1931. Leaflet |
Moshe Dwek |
|
| Mahour | 197 | 162 | האהבה האהבה | Ezra Dweck Dweck Bar Misvah. 1962. Leaflet |
Moshe Dwek |
|
| Ajam | 201 | 165 | ישא ברכה | Raphael Tabbush This pizmon (AJAM, page 165) is composed by H Raphael Antebi Tabbush in honor of the installation of Rabbi Yaaqob Shaul Elyashar (Safed, 1817- Jerusalem, 1906) as the new Rishon LeSion (Sephardic Chief Rabbi) in 1893. The debut of this special song took place at the Rabbi Yohanan Ben Zakai synagogue in the Old City of Jerusalem by two choirs of boys (one from the Talmud Torah Doresh Zion and the other from the yeshiva Tiferet Yerushalayim) under the direction of H Raphael Tabbush. At the end of the performance, the Chief Rabbi thanked H Tabbush greatly and as a token of his gratitude, gave him 3 napoleon gold coins; hence the song became referred to as the "Golden Song". The title of this song "Yisa Berakha" refers to the abbreviation of Rabbi Elyashar's name (יש״א), and the acrostic of the four stanzas of this song is Yaaqob (יעקב); a reference to his first name. The melody of this song can be applied to Nishmat on weeks of Maqam AJAM, and is specifically associated with Shabbat Shofetim due to the Deuteronomy 17:20 reference of "Ya'arikh Yamim Al Mamlakhto" (translated as "long days for his reign") in the second stanza of the song. Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Nishmat Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
נשמת |
| Ajam | 202 | 166 | מעוז צור | "Maoz Sur Yeshuati" (AJAM, page 166), a piece from the 13th century Eastern Europe, is considered the most famous Jewish hymns for the festival of Hanukkah. The name of the song, meaning "Strong Rock, My Salvation," is a reference to God, and the song, throughout its 6 stanzas (acrostic: מרדכי חזק), recounts the many times that God saved the Jewish people. The hymn retells Jewish history in poetic form and celebrates deliverance from four ancient enemies, Pharaoh, Nebuchadnezzar, Haman, and Antiochus. In the first stanza, it says that God saved us during the times when the enemies are about to slaughter us, and this is when we rededicated the altar, a reference to the festival Hanukkah. The melody of this piece, according to Cantor Birnbaum of Konigsberg, is adapted from the old German folk-song "So weiss ich eins," and has been widely spread among German Jews as early as 1450. It has become tradition to sing the first verse of this song after lighting the Hanukkah candles. |
Moshe Dwek Moshe Dwek |
כתר |
| Ajam | 203 | 167 | שיר אגיד | Alludes to the ten sefirot that God used to create the world. Tabbush Manuscript |
Moshe Dwek |
שמחים |
| Ajam | 205 | 168 | מלך רחמן | Raphael Tabbush Melekh Rahman (AJAM, page 168), or "Merciful King," is considered the ultimate wedding song. It was composed in Aleppo, circa 1897, by H Raphael Tabbush (d. 1918), for his close student, H Moshe Ashear (d. 1940), in honor of his wedding to Salha, the daughter of Mr Yaaqob Shamah. The acrostic is "Moshe" and names of family members (Moshe, Yaaqob, Shaol, Simha, Shelomo) are alluded to. The melody is from the Arabic song "Doom Ya Zaman." There are three stanzas in this song. The first two stanzas are from the point of view of the community; asking God to save the nation, and also to join in the happiness of the Hatan and Kallah on their wedding day. The third stanza, however, is from the view of the Hatan; asking to be blessed with the Blessing of Abraham. For Shabbat Vayesse, this melody can be applied in the prayers for Nishmat. The pizmon can be associated with this perasha, because we read about Jacob's wedding. Moshe Ashear and Family Manuscript |
Moshe Dwek |
נשמת |
| Ajam | 208 | 169 | איברי יאמרו הב | Raphael Tabbush סימן אני נסים Tabbush Manuscript |
Moshe Dwek |
נשמת |
| Ajam | 212 | 171 | מקדש בנה בו | Shabbat Teruma or Vayaqhel. About building of the temple. Tabbush Manuscript |
Moshe Dwek |
פזמון |
| Ajam | 213 | 171 | הללו אל יה | Raphael Tabbush Maqam Sasgar Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek |
|
| Ajam | 214 | 172 | אני לקראת | Raphael Tabbush Engagement or Wedding. Manuscript |
Moshe Dwek Moshe Dwek - Mimisrayim Moshe Dwek - Rau Banim |
ממצרים |
| Ajam | 215 | 173 | מקהלות עם | Mordechai Abadi This pizmon (AJAM, page 173), whose opening words translate as "In the assembly of the nation God is blessed," is a popular celebratory song associated with weddings. It is composed by the prominent rabbi, judge, and poet, H Mordekhai Abadi (b. Aleppo, 1826 - 1883), who is the author of "Dibre Mordekhai" (Aleppo, 1873), a collection of sixty nine pizmonim assorted by maqam, as well as "Miqra Qodesh," a collection of Baqashot. This song has four stanzas (acrostic: מ-ר-ד-כי) and a repeating chorus ("Haleluhu Gadeluhu"). The song seems to honor a bridegroom with the first name 'Jacob,' but this name is a metaphor for the entire nation of Israel. The song is an ongoing blessing to this bridegroom (i.e. wealth, honor, and longevity), as well as an ongoing praise to God for His generosity and kindness. The song ends with a remembrance of the strength that Israel had at the exodus from Egypt as well as a blessing for us to merit a future redemption when we will all live in Jerusalem. A Z Idelsohn notes, 1923 British Library Or. 10375 |
Moshe Dwek Moshe Dwek - Naqdishakh |
נקדישך |
| Ajam | 216 | 173 | יחיד רם שוכן בשחק |
Moshe Dwek - Halleluya |
||
| Ajam | 221 | 176 | אלה אלה הבה | Raphael Tabbush Tabbush Manuscript |
Moshe Dwek Moshe Dwek - HM |
ה' מלך |
| Ajam | 224 | 177 | ינון שמו | Raphael Tabbush This pizmon (AJAM, page 177), whose opening words are translated as “It Will Flourish,” is a song that celebrates the beauty of the Torah and the aspirations of the Jewish people. It is most likely composed by the great Jewish poet H Raphael Antebi Tabbush (d. 1918) from Aleppo, Syria. There are 4 stanzas in this song corresponding to the Hebrew name of ‘YisHaq’ (יצחק); which happens to be the author’s middle name and the name of his father. Taken from an Arabic march called “Intiyamo,” this melody can be heard with great enthusiasm when applied to the prayer-piece Shav’at Aniyim in virtually all Syrian Sephardic synagogues throughout the world. The song opens with a reference from Psalms 72:17 about someone named “Yinon,” which in Hebrew is translated as ‘it will flourish.’ According to rabbinic tradition, ‘Yinon’ refers to a future Messianic figure (see end of Piyut “Et Sha’are Rasson”). The author asks, where is Yinon of the Messianic age, and when will God bring the time when the people can rejoice in the Temple? He requests God to return the divine presence to the Temple and to treat the people with the kindness that they yearn for. The third stanza praises God for giving us the Torah; a gift exclusively for the Jewish people for them to both enjoy and live by. The song concludes with a prayer to gather the scattered people from foreign lands, to restore the Beit HaMiqdash as a place of song, and to shower the Jewish people with God’s greatness. Tabbush Manuscript |
Moshe Dwek Moshe Dwek - SA |
שועת עניים |
| Ajam | 227 | 179 | רועה נאמן הוא | Raphael Tabbush The pizmon "Ro'eh Ne'eman Hu" (AJAM, page 179), translated as "Faithful Shepherd Is He," is a song associated with the festival of Shabuot. It is composed by H Rephael Antebi Tabbush (d. Cairo, 1918), and the acrostic of his name, "Raphael," is spelled out in the song's four stanzas. The melody of this pizmon is adapted from "Salam Affandina" (translated as "Salute of our Lord"); a melody composed by Giuseppe Pugioli. This melody is well known because it was Egypt's national anthem from 1871-1958. The theme of the pizmon is about receiving of the Torah and the importance of it. In the last stanza of this pizmon, it says "Learn from it (the Torah) day by day, and all your days, you will find peace." The song concludes by saying that the way of the Torah will "save you from troubles and your words [of prayer] will be listened to by God." According to the Hazzanut notes of H Moshe Ashear, this pizmon is traditionally used as the PIZMON SEFER TORAH on the first day of Shabuot. Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
כתר |
| Ajam | 231 | 181 | שמך יתרומם | Raphael Tabbush Hamaoui Manuscript |
Moshe Dwek Moshe Dwek - HM |
ממצרים |
| Ajam | 238 | 189 | מפעלות אלהים חזו | Moses Ashear Sam Franco. PS 62 song. Ashear Manuscript |
Moshe Dwek Moshe Dwek - EH Moshe Dwek - Rau Banim |
אל ההודאות |
| Ajam | 244 | 193 | בקול רנה גילה וצהלה | Moses Ashear Wedding song. Ashear Manuscript |
Moshe Dwek Moshe Dwek |
|
| Ajam | 253 | 202 | מלכי אתה פודי | Murad Maslaton Bar Misvah of Sion Maslaton. |
Moshe Dwek |
כתר |
| Ajam | 254.6 | 204c | הודו לה' כי טוב | Bar Misvah of Eddie Sitt, grandson of Mr Ralph Tawil. 1982. |
Moshe Dwek Moshe Dwek - Nishmat |
|
| Ajam | 254.7 | 204e | רמ"ח אברי | "The Wheat Song." Bar Misvah of Moe Abraham Tawil (May 23, 1982). |
Moshe Dwek |
|
| 254.93 | אנא פדה יה | Maqam Ajam Melody is a Turkish march. Pizmon is by R Meir Waknin, 1882. Ana Pede Yah (Pizmon from 1882) |
 Moshe Dwek - Halleluya Moshe Dwek - Naqdishakh |
הללויה | ||
| Nahwand | 262.1 | 208a | ירושלים של זהב | Naomi Shemer The pizmon "Yerushalayim Shel Zahab" (NAHWAND, page 208A), translated as "Jerusalem of Gold," is an Israeli song written by Naomi Shemer (1930-2004). This song, written in May 1967, became an unofficial second national anthem after Israel won the Six Day War (June 1967) and liberated Jerusalem. It's melody is based on the Basque lullaby "Pello Joxepe." The song originally had 3 stanzas but a fourth one was added after the Six Day War. The theme of the song is about the Jewish people's longing for Jerusalem. There is a stark contrast between the second stanza, which mourns over the sad, dry, and empty streets, and the amended fourth stanza, which celebrates the return to Jerusalem with happy streets full of life. Some say that the timing of the composition of this song is nothing short of prophetic. The melody of this song made its way to synagogue services and is usually heard transposed to various pieces of prayer around Yom Yerushalayim (28 Iyar). |
Moshe Dwek |
שמחים |
| Nahwand | 265 | 210 | אתה אל כביר | Raphael Tabbush The initials at the beginning of each stanza form the acrostic 'Ani Refael'. The song talks about Israel's redemption. The beginning of the pizmon has the composer turning to God to ask for mercy. The composer says that he will not stop praying until his prayers are accepted. He prays for the redemption of the Jewish people, the gathering of the exile, and returning to the Land of Israel. Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Nishmat Moshe Dwek - Rau Banim |
נשמת |
| Nahwand | 266 | 210 | לעיר חנה דורשה דודי | Raphael Tabbush |
Moshe Dwek - Qaddish |
נשמת |
| Nahwand | 267 | 211 | רם ונעלם אדון עולם | Raphael Tabbush Tabbush Manuscript |
Moshe Dwek |
שועת עניים |
| Nahwand | 268 | 211 | תכון לעד יפה יפה |
Moshe Dwek |
נשמת | |
| Nahwand | 271 | 213 | אחזה בנועם | Raphael Tabbush "Ehze BeNoam" (NAHWAND, page 213), translated as "I will gaze at the pleasantness of Your face," is a song written by master composer, H Raphael Antebi Tabbush (d. 1918). The 6 stanzas of the song form the acrostic: "Ani Refael" (אני רפאל). Though a favorite at the Shabbat afternoon Sebbits, this melody is almost never applied to any of the pieces of prayers. This composition describes what the author envisions he will do once he leaves the exile; dwelling in the House of the Lord, bowing in the holy sanctuary, and offering the burnt sacrifice in the Temple. He then asks for the Blessing of Abraham and not to be humiliated while in exile. He continues by asking for God to hasten the redemption for the Jewish nation. The battered Jewish nation, at times, feels "chained" (עגונים) in their exile, but finds comfort in their study of the Torah. The author asks God to accept the praises and songs of His beloved nation, because He is a merciful God that forgives transgressions and is eternally kind. Tabbush Manuscript |
Moshe Dwek |
פזמון |
| Nahwand | 273 | 214 | למה הקץ נסתם נא | Raphael Tabbush This pizmon (NAHWAND, page 214), whose title can be translated as "Why is the End Concealed," is composed by H Raphael Antebi Tabbush (d. 1918). The structure of this song is that it has five lines, and each one ends with a repeated chant of “Ne’eman, Ne’eman, Ne’eman,” or "Eli, Eli, Eli." In this song, the author starts by asking why the end of the exile cannot be revealed? But despite not knowing the answer to this difficult question, the Jewish people are nevertheless committed to remaining faithful, or “Ne’eman,” to the Almighty. The author continues by asking why his nation, Israel, finds themselves “locked up” in scenarios of sorrow and trouble? The author petitions that if it is because Israel is stained with sins, then those sins should be quickly forgiven, and God should revert Israel's status to “white as snow” (based on a reference from Isaiah 1:18). In the closing verse, the author requests for God to rebuild the Temple so that he, the author, can come and offer the 'Olah sacrifice to God, in order to thank Him for His overwhelming kindness. Regarding the melody of this pizmon, it is a very famous muwashshah called "Lama Bada Yatathana." Although the exact date of this melody is uncertain, in modern times, this melody has been recorded by many Arabic artists; including: Fairuz, Souad Massi, and Lena Chamamyan. The melody of this pizmon is also heard in Syrian synagogues when it is transposed to Naqdishakh on days when Maqam NAHWAND is applied to the prayers. |
Moshe Dwek Moshe Dwek - Naqdishakh |
נקדישך |
| Nahwand | 274 | 214 | יה נחלה המצחה | Raphael Tabbush |
Moshe Dwek Moshe Dwek - Qaddish |
קדיש |
| Nahwand | 275 | 215 | אודך אודך | Raphael Tabbush Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Semehim / Mimisrayim Moshe Dwek - Naqdishakh |
שמחים |
| Nahwand | 276 | 215 | רעיוני יחיד | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Rau Banim Moshe Dwek - Qaddish |
ממצרים |
| Nahwand | 278 | 216 | רחום אתה | Raphael Tabbush "Rahum Ata" (NAHWAND, page 216) is composed by H Rephael Tabbush (Aleppo, ~1830 - Cairo, 1918), author of the "Shir Ushbaha" pizmonim book (1888). According to the notes of H Moshe Ashear, this song is reserved for Shabbat Beshalah (Shabbat Shira), and the Seventh Day of Pesah. There are 4 stanzas in this pizmon; corresponding to ר-פ-א-ל. The melody of this pizmon is called "Bafta Hindi," and can be applied to Mimisrayim on weeks of Maqam NAHWAND. "Merciful are You for redeeming us from captivity," the pizmon opens; referring to the captivity of slavery under Pharaoh. The second verse is a prayer to redeem us now and to send Eliahu the Prophet to herald the redemption. After we hear of the redemption, the third verse says that we will sing praises to God. The fourth verse mentions how on the seventh day after the Exodus, God rescued our nation by overpowering nature and splitting the Red Sea. Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Mimisrayim |
ממצרים |
| Nahwand | 279 | 216 | יחיד רם חי לעולם | Isaac Abadi Dahab Turkish melody. |
Moshe Dwek Moshe Dwek - EH Moshe Dwek - Rau Banim |
אל ההודאות |
| Nahwand | 284 | 220 | מלך רם | Moses Ashear The pizmon “Melekh Ram” (NAHWAND, page 220), which translates as “Exalted King,” is a very popular song composed by H Moshe Ashear (acrostic: משה). It was composed in honor of the wedding of Mr. Joseph Ezra Tawil (alluded to in the third paragraph). Prominently mentioned in this song are Joseph’s three brothers: Abraham, Shaul, and Mordekhai Tawil; distinguished leaders of Congregation Magen David of Bensonhurst in the 1920’s. This individual, Joseph, ended up moving permanently to Mexico for business opportunities. In this song, we praise God for being the “Exalted King,” and we ask Him to send a savior and redeemer to his chosen nation. We also ask for God to raise our fortunes (with many happy occasions such as weddings) and return His children to their borders so that they can sing and praise Him for all eternity. The melody of this is from a “Chopin March." This melody is popularly applied to Shav’at Aniyim when praying in Maqam NAHWAND. Ashear Manuscript Photograph of Shaul, Joseph and Abraham Tawil |
Moshe Dwek Moshe Dwek - SA |
שועת עניים |
| Nahwand | 285 | 220 | אהלל ואביע | Moses Ashear "Ahallel Veabia" (NAHWAND, page 220), a pizmon associated with the festival of Shabuot, is composed by H Moshe Ashear (1877-1940). There are fifteen stanzas in this pizmon; all rhyming with one another. The acrostic of the pizmon is "Anokhi Hashem Elohekha, Lo Tahmod Asher Lere'ekha" (אנכי ה׳ אלהיך לא תחמד אשר לרעך); referring to the first and tenth commandments, respectively. The melody of this pizmon is called “Izmir Sefasi”; named after Izmir, Turkey. This pizmon is a poetic rendition of the narrative in Exodus 19 and 20; the narrative that discusses Israel's preparation, receiving, and acceptance of the Ten Commandments on Mount Sinai. The song concludes with a plea for God to listen to our prayers of returning the Jews to Zion so that they can live there in peace. The melody of this pizmon is traditionally applied to Halleluya (Psalm 150) on Shabuot, as well as on Shabbat Yitro and Shabbat Vaethanan. Ashear Manuscript |
Moshe Dwek Moshe Dwek - Ahallel VeAbia |
הללויה |
| Nahwand | 286 | 222 | מלך אב רם | Moses Ashear In honor of the birth of Joseph Bijou. Written by M. Ashear. Arabic is "Ya Dounia Ya Gharami", by Abdel Wahab. Ashear Manuscript |
Moshe Dwek - Haleluya Moshe Dwek - Nishmat |
הללויה |
| Nahwand | 287 | 223 | יעלוזו ביה | Moses Ashear Shabot. Ashear Manuscript |
Moshe Dwek Moshe Dwek - HM Moshe Dwek - SA , BY Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
ה' מלך |
| Nahwand | 289 | 225 | מה עצמו | Moses Ashear Wedding of Selim and Nizha Gindi. Photograph is courtesy of David Catton, grandson. Ashear Manuscript Photograph of Selim and Nizha Gindi |
Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
קדיש |
| Nahwand | 291 | 226 | יעטר יה | Moses Ashear Wedding of Sam and Renee Esses. Shabbat Vayesse. Photograph is courtesy of grandson Ike Esses in Phoenix. Names of family members scattered throughout this pizmon. Photograph of Sam and Renee Esses |
Moshe Dwek |
|
| Nahwand | 296 | 231 | ירומם צורי | Moses Ashear Ashear composed this pizmon in honor of the birth of his grandson Moshe to his son Yosef. The initials at the beginning of each main stanza form the acrostic 'Yosef HaCohen Hazak'. June 8, 1935. Leaflet |
Moshe Dwek |
קדיש |
| Nahwand | 299 | 236 | כל עוד בלבב פנימה | Naftali Herz Imber This song (NAHWAND, page 236), also referred to as "HaTiqva" (The Hope), became the Zionist national anthem in 1897, and eventually, the Israeli national anthem in 1948. It's text was written in 1878 by Galician poet Naphtali Herz Imber (1856-1911), and it was published in a collection of his poems called Barkai (The Morning Star) in Jerusalem in 1886. There are seven stanzas to this poem, and they are all followed by the chorus ('Od Lo Abda Tiqvatenu- we still did not lose our hope). The melody of this song is derived from a number of European songs starting with "La Mantovana," a 16th century Italian song composed by Giuseppe Cenci, and it's melody was reused in a number of other folk songs throughout Central Europe. It was also used in "Moldau" by the Czech composer Bedrich Smetana (1824-1884) in his set of six symphonic poems celebrating Bohemia. Like many other pizmonim in our tradition, the theme of this song is the gathering of the exiles and the return to the Land of Israel. A translation of the first stanza is as follows: "As long as within our hearts, the Jewish soul sings. As long as forward to the East, to Zion, looks the eye." The chorus then continues "Our hope is not yet lost, the hope is very old. To return to the land of our forefathers, the land of Zion and Jerusalem." Using this melody for various pieces of prayers is well documented by H Moshe Ashear in the late 1930's. Currently, it has been adapted to Syrian Hazzanut for the melody of Barukh She'amar each Shabbat, and it can also be applied to other pieces of prayers, such as Semehim or Naqdishakh for the Shabbat prior to Yom Ha'Assmaut (Israel Independence Day). |
Moshe Dwek - Naqdishakh Moshe Dwek - Rau Banim |
נקדישך |
| Nahwand | 299.01 | 237a | מלכי צורי אל כביר | Haim S Aboud |
Moshe Dwek Moshe Dwek - EH Moshe Dwek - Qaddish Moshe Dwek - Semehim Moshe Dwek - Qaddish Moshe Dwek - Rau Banim |
|
| Nahwand | 299.02 | 237b | החיש לצירך | Haim S Aboud |
Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Yimlokh Moshe Dwek - Qaddish |
|
| Nahwand | 299.04 | 237d | רוממו לו בקול | Raphael Yair Elnadav Composed for the Bar Misvah of Ezra Tawil to the melody of "Inta al-Hubb", a popular Arab song performed by Umm Kulthum. |
Moshe Dwek - Rau Banim |
|
| Bayat | 300 | 238 | יחיד רם לעולם | Raphael Tabbush First song at all Sebets. The initials at the beginning of each stanza form the acrostic 'Yosef'. Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek |
פזמון |
| Bayat | 305 | 240 | יפת עין לבבתיני | Ezra Attiah Siman "Yeshaya". Yeshaya is the name of his father. Pizmon for Abi HaBat. |
Moshe Dwek Moshe Dwek - Nishmat Moshe Dwek - Qaddish Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
נשמת |
| Bayat | 319 | 246 | מעזי אז כלה קץ | Raphael Tabbush “Mauzi,” or “My Fortress” (BAYAT, page 246), is a song that is very popular. H Raphael Tabbush is likely the author of this pizmon, but this is uncertain. The melody of this song is from the Arabic song “Baladi Askara Min Araf il Lama.” This song is associated with the Shalosh Regalim festivals due to a brief reference to them. The melody of this pizmon is typically applied to Shav’at Aniyim for weeks of Maqam BAYAT. Despite this being a song for the most happy of holidays, this song is actually very sad. It asks why has God abandoned us and why has the Messiah not yet arrived? It describes how our enemies have taken over our vineyards and have killed us. The climax of the song, “Al Damam,” describes how “my tears fall on their blood" (the blood of fellow Jews) and how our tears are enough to fill rivers. The four verse piece concludes with an open question: “Where has my Beloved gone; to Whom I rejoice three times a year?” Commentary on Pizmon |
Moshe Dwek Moshe Dwek Moshe Dwek - SA Moshe Dwek - Mauzi |
שועת עניים |
| Bayat | 326 | 249 | ארוממך לכבוד שמך | This pizmon (BAYAT, page 249), “I Will Exalt Thee,” is associated with the Shalosh Regalim festivals, and specifically Sukkot. This rhyming song is composed by H Raphael Antebi Tabbush (d. 1918). The theme of the song is praising God during the joyous pilgrimage to the Temple in Jerusalem. Among the reasons listed of why God is praised are: He performed miracles for us, destroyed our enemies, gave us the Torah, lifted us from bondage, forgives our transgressions, listens to our cries, and heals the sick. In this song, there are 22 stanzas, corresponding to the letters of the Hebrew alphabet, and each stanza ends with the chorus: “Le’ir Sion, Har Qodshekha, Sham Nismah Ve’naale” (To the City of Zion, Your Holy Mountain; There will we rejoice and ascend). The last stanza is a prayer for the arrival of Eliahou to herald the redemption, which "everyone is yearning for.” In addition to singing “Aromimkha” on the Shalosh Regalim, it is commonly chanted during the Haqafot of Simhat Torah. The melody of this can be applied to Mimisrayim on Shabbat Hol Hamoed. Tabbush Manuscript |
Moshe Dwek |
ממצרים |
| Bayat | 328 | 252 | אנא קץ לי | Nissim Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek |
ה' מלך |
| Bayat | 336 | 257 | רנה ותהלה ישראל | Raphael Tabbush This pizmon (BAYAT, page 257), translated as "Rejoice and Praise," is the flagship song for Rosh Hashana. It is composed by H Raphael Antebi Tabbush and it's five stanzas spell the acrostic "Rephael Hazaq." The melody is from the Arabic song "Ghussnu Ban Jabinahu El Badru." According to H Moshe Ashear, this song is used as the Pizmon Sefer Torah on the second day of Rosh Hashana, as well as for Semehim on Shabbat Mishpatim. There are many themes of Rosh Hashana that are alluded to in this song. In the first stanza, Israel prepares a song in order to praise God. The second stanza says that our mouths and our hearts will become pure, and at the beginning of the year (Rosh Hashana), our hearts awaken from the sounds of the Shofar. It is during this time, the Days of Awe, that we say the Confessions, in order to refrain from all transgressions, and in order to become pure before God (third stanza). In the fourth stanza, the author prays for God's children to be written in the Book of Life and for the destruction of Israel's enemies. The final verse is a charge for the nation to strengthen and to observe the Sabbath in order for God to speedily bring us to the end of days. Tabbush Manuscript |
Moshe Dwek |
שמחים |
| Bayat | 337 | 258 | ידי אשא לדבירך | יוסף חזק Mossaei Shalosh Regalim. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript |
Moshe Dwek Moshe Dwek |
ראו בנים |
| Bayat | 340 | 260 | בעדי יה בעדי | Moses Ashear Ashear Manuscript |
Moshe Dwek Moshe Dwek - EH Moshe Dwek - Qaddish |
אל ההודאות |
| Bayat | 341 | 261 | הבו גודל | Moses Ashear Bar Misvah. Ashear Manuscript |
Moshe Dwek |
שועת עניים |
| Bayat | 342 | 262 | אבות הבנים | Moses Ashear Gindi Bar Misvah. Ashear Manuscript |
Moshe Dwek |
|
| Bayat | 346 | 266 | אל מאד נעלה | Moses Ashear The pizmon “El Meod Na’ala” (BAYAT, page 266) is one of the most famous compositions written by cantor H Moshe Ashear (1877-1940). This was written in honor of the groom Mr Elie J Gindi (born in 1900, Syria) for his wedding (circa 1924 in Brooklyn, NY). The acrostic of the pizmon is “Eliah Moshe” with the first word of each of the three stanzas spelling “Eliah” and the second word of each stanza spelling “Moshe.” The names of the bride’s father, Moses (Attieh), and the bride, Rachel, are alluded to in the first and third stanza’s respectively. The melody of this pizmon is from polka music from Istanbul, Turkey. In the prayers, this melody is commonly applied to Semehim on weeks of Maqam BAYAT. This song is also traditionally used as the PIZMON SEFER TORAH for Shabbat Shemot because of it mentioning Moshe and Aharon, two important people introduced in this Torah portion. Ashear Manuscript |
Moshe Dwek Moshe Dwek - HM Moshe Dwek - Semehim Moshe Dwek - Naqdishakh |
שמחים |
| Bayat | 357 | 274 | אות אלף מאלפת | א''ב Aleph Bet Song. Attiah Manuscript Shrem Manuscript Abraham Sitehon Manuscript Yabess Manuscript Mosseri-Kozli Manuscript |
Moshe Dwek Moshe Dwek - Nishmat |
אל ההודאות |
| Bayat | 358 | 276 | אל דורשה נפשי | Raphael Tabbush Tabbush Manuscript |
Moshe Dwek |
ממצרים |
| Bayat | 360 | 277 | יוצר אדמה | This pizmon (BAYAT, page 277), whose title translates as "Former of Earth, Creator of Heaven," is an ode to the Tefillin (phylacteries). Tefillin are small leather boxes containing biblical texts that are worn at prayers. Composed in the mid-nineteenth century in Aleppo by a "H Meir Sasson" (acrostic: מאיר ששון), this song is most associated with the Bar Misvah ceremony; when, traditionally, a 13 year old boy wears the Tefillin for the first time. There are 8 rhyming stanzas in this song with opening line, "Yosser Adama," serving as the repeating chorus. The melody of this pizmon, adapted from the Arabic song "Saq Al Morama," can be applied to Hashem Melekh when praying in Maqam BAYAT. Throughout the stanzas, different aspects of the Tefillin are alluded to (i.e. four compartments, written on parchment, letters Shin, Dalet, and Yod, etc). The fifth stanza is a reminder that the misvah of the Tefillin needs to be safeguarded, and that wearing them shows God's glory. The sixth stanza states that Tefillin also serves as a protective shield against evil. The song concludes with a prayer for God to take revenge on all those who do not uphold the various commandments (such as the Tefillin). British Library Or. 10375 |
Moshe Dwek Moshe Dwek - HM Moshe Dwek - Semehim |
ה' מלך |
| Bayat | 372 | 292 | דברי שירתי- מגן בעדי | Moses Ashear In honor of birth of Moshe Ashear's grandson. December 10, 1937. Shrem Manuscript Leaflet |
Moshe Dwek Moshe Dwek - Haleluya Moshe Dwek - EH Moshe Dwek - Qaddish |
ראו בנים |
| Bayat | 375 | 296 | מרום יחיד | Moses Ashear Joseph Isaac Shalom Bar Misvah. Kislev 1930. Leaflet Photograph of Isaac Shalom |
Moshe Dwek Moshe Dwek - Naqdishakh |
נקדישך |
| Bayat | 376 | 297 | מאל עליון | Moses Ashear Joseph Isaac Shalom Bar Misvah. Kislev 1930. Leaflet Isaac and Alice Shalom Family |
Moshe Dwek |
|
| Bayat | 381 | 302 | שבחך אני אגידה | Ezra Mishaniye Composed by Hakham Ezra Mishaniye for Nissim Franco, Hazzan of Congregation Magen David and subsequently Shaare Zion (Brooklyn, New York), for the occasion of the Bar Misvah of his son, Steve Franco (yeshaya) . It is sung to the Arabic melody of ANI MANI RAYISAH. Can be applied to Odecha or Keter. Bar Misvah on January 19, 1950. Leaflet Photograph of Nathan Nissim Franco |
Moshe Dwek Moshe Dwek - SA, BY Moshe Dwek - Qaddish Moshe Dwek - Qaddish Moshe Dwek - Rau Banim |
כתר |
| Bayat | 388 | 312 | שירו שיר חדוה | Ezekiel Hai Albeg This special pizmon (BAYAT, page 312) is composed to the Arabic melody of "Al Hiya Helwa" by Cantor Ezekiel Hai Albeg in honor of the Bar Misvah of Benny Levy (1939-2024) son of Olga and Elie Bechor Levy. Benny Levy is one of the pioneers of Ahi Ezer Congregation. It is said about him that he lived a humble yet fulfilling life. He passed away the 24th of Adar 1, 5784 (which is March 4, 2024). The melody of this song can be applied to Semehim when prayers are conducted in Maqam BAYAT. Photo of Benny Bechor Levy (1939-2024) |
Moshe Dwek |
שמחים |
| Bayat | 391.02 | 318a | חביבי יה חביבי | Asher Mizrahi Maqam Kourd Siman: Asher. Lahan: Habibi Dah Habibi. |
Moshe Dwek |
נקדישך |
| Bayat | 391.09 | 318h | לך אנה עורך | NLevy Maqam Nahwand |
Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
קדיש |
| Mehayar-Bayat | 397 | 323 | יה מתנשא | Moses Ashear Meyer Salem wedding. Ashear Manuscript |
Moshe Dwek |
|
| Mehayar-Bayat | 398 | 324 | מלכי יוצרי | Moses Ashear Composed by H Moshe Ashear in honor of the wedding of Ezra Moshe and Nahmo Azar Cohen, on February 25, 1925. Photographs courtesy of descendents Jack and Ezra Azar. Ashear Manuscript Wedding of Ezra and Nahmo Azar 2-25-1925 Photograph of Ezra Moshe and Nahmo Azar |
Moshe Dwek |
שועת עניים |
| Mehayar-Bayat | 403 | 328 | מדבש ונפת צוף | Moses Ashear Written pre 1928 in honor of Ma'oz Laebyon. Ashear Manuscript |
Moshe Dwek |
|
| Mehayar-Bayat | 406 | 331 | מלך הדור | Moses Ashear Wedding of Isaac Haim Massri; March 20, 1934. Leaflet |
Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
קדיש |
| Hoseni | 409 | 334 | דעת ומזמה | דוד חזק This pizmon, entitled “Knowledge and Discretion” (HOSENI, page 334), is a very sacred song in Aleppo tradition reserved for Matan Torah, the giving of the Ten Commandments. This song pre-dates most other pizmonim in our tradition; being older than 1850. The opening verse says “Knowledge, discretion, and words of wisdom; more than them, on the day Moses spoke; her (Wisdom’s) profit is greater than fine gold; this is the Law that Moses place.” There are a total of eight stanza’s in the original manuscripts; all ending with the word “Moshe,” and each phrase, containing rich biblical allusions, rhyme with one another. The acrostic of this pizmon, “David Hazaq,” indicates that the first name of the author is David, but his specific identity is unknownto us. The melody of the pizmon is from the Arabic song “Tazri Bel Ajafen,” and is only applied for Naqdishakh three times a year: Shabbat Yitro, Shabbat Kallah (the Shabbat prior to the Shabuot festival), and Shabbat Vaethanan. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Commentary on Pizmon British Library Or. 10375 |
Moshe Dwek |
נקדישך |
| Hoseni | 413 | 337 | אשרי האיש יודע שמי | Classified also as Maqam NAWAH. Tabbush Manuscript |
Moshe Dwek - Nishmat Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
נשמת |
| Hoseni | 416 | 339 | יה חסדך גלי | Raphael Tabbush Aseret Yeme Teshuba. |
Moshe Dwek Moshe Dwek - SA |
שועת עניים |
| Hoseni | 417 | 340 | אל הנאזר בגבורתיה | Raphael Tabbush Tabbush Manuscript |
Moshe Dwek - Version 1 Moshe Dwek - Version 2 Moshe Dwek - Nishmat Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
קדיש |
| Hoseni | 424 | 345 | אוחיל יום יום אשתאה | אני דוד בר אהרן בר חסין חזק This pizmon (HOSENI, page 345), whose title is translated as “I Will Pray Day By Day,” is song dedicated to Rabbi Haim Abulafia (1660-1744) and his efforts to re-establish the Jewish community in Tiberias. This lengthy song with 18 stanzas is composed by the well-known Sephardic Moroccan poet, Rabbi David Haseen (1727-1792), and the acrostic of the song spells "Ani David Ben Aharon Ben Haseen Hazaq" (אני דוד בן אהרן בן חסין חזק). Tiberias, located on the Western shore of the Sea of Galilee (Kineret), was considered one of the four "holy cities" in the Land of Israel. According to the Talmud, in 145 CE, Rabbi Shimon Bar Yohai, spent one decade hiding there; “cleansing the city of ritual impurities.” As a result, this city became the location of resettlement of the Sanhedrin after the Jewish exile from Jerusalem, and later, the seat of Jewish religious scholarship. It was in this early period when the Jewish sages Rabbi Meir Ba’al HaNes and Rabbi Akiva lived here and were buried. Rabbi Yehuda HaNasi compiled the Mishna here circa 200 CE, and Rabbi Yohanan Ben Zakkai compiled the Jerusalem Talmud in between 230-270 CE. Throughout subsequent centuries, important rabbis lived in this city and it maintained its status as the center of Jewish learning in the Land of Israel. Tiberias is also the burial ground of some of the most respected rabbis in Judaism; even those who did not live here, such as the Maimonides in 1204, who was brought to the city after his death to be buried. In the mid 18th century, the Ottoman authorities encouraged further Jewish settlement in the city, and Rabbi Haim Abulafia of Smyrna (modern day Izmir, Turkey) was invited to help spearhead the rebuilding efforts, and build Jewish centers of learning. This is the background of why this song was written and dedicated to Rabbi Abulafia. This song is associated with the Jewish holiday Lag La’Omer due to its reference to Rabbi Shimon Bar Yohai in the fifteenth stanza. H Moshe Ashear, as documented in his notes from 1937-1940, had a custom of using this as the PIZMON SEFER TORAH on the Shabbat prior to Lag La'Omer. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript |
Moshe Dwek Moshe Dwek - Haleluya Moshe Dwek - Haleluya |
כתר |
| Hoseni | 425 | 348 | יהיו כמוץ | Israel Najara Attiah Manuscript Abraham Sitehon Manuscript |
Moshe Dwek |
אל ההודאות |
| Hoseni | 427 | 350 | אשים תהלה |
Moshe Dwek |
ה' מלך | |
| Hoseni | 430 | 353 | אמרי פי והגיוני | אברהם Maqam Hoseni or Tahir. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript |
Moshe Dwek Moshe Dwek - EH |
שמחים |
| Ashiran | 432 | 355 | בני בגילך | Moses Ashear Bar Missva. |
Moshe Dwek |
נקדישך |
| Rahawi Nawah | 434 | 358 | מגן אל צורי | Moshe Tabbush Manuscript |
Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
קדיש |
| Rahawi Nawah | 436 | 359 | אמונים ערכו שבח | אהרן כהן Emunim (RAHAW, page 359), or "The Faithful," is an important Sephardic hymn for Pesah; specifically for the Leil HaSeder. It can be found in Mahzor Aram Soba (1527), making it one of our oldest pizmonim still in active transmission. It has the acrostic of "Aharon Kohen." Each of the 7 stanzas end with the words "Va'amartem Zebah Pesah..." (ואמרתם זבח פסח); referring to the commandment mentioned in Exodus 12:27 to offer the Qorban Pesah to God. Other Missvot relating to Pesah are also referred to, such as, eating Massa and Maror, drinking the four cups of wine, and retelling of the story of the exodus from Egypt (ending with receiving the Torah). The last verse ends "Your doings are wondrous; Your miracles are powerful; all those who seek refuge in You will say 'It is good to take refuge in the Lord' (Psalm 118:8)." The hymn is traditionally sung at the Seder in the Magid portion, and the melody of this hymn is applied to the prayers for Semehim of Shabbat Hagadol, and Naqdishakh of Ereb Pesah. Mahzor Aram Soba 1527 Abraham Sitehon Manuscript Yabess Manuscript A Z Idelsohn notes, 1923 |
Moshe Dwek Moshe Dwek - Semehim / Mimisrayim Moshe Dwek - Emunim |
שמחים |
| Rahawi Nawah | 438 | 361 | בנה לי זבול משכני | רפאל (חזק) "Build Me An Abode For My Dwelling" (NAWAH, page 361) is a song for Pesah. It is composed by the early nineteenth century Aleppian poet H Raphael Dwek HaKohen (acrostic: רפאל). It's melody is transposed from the Arabic song "Ya Sahee El Sabree." In this four stanza rhyming song with a repeating chorus, the author speaks from God's point of view in the first person. God, through the lens of the author, is describing what He desires to see in a future messianic era. He asks the Jewish people to build a place for Him to dwell (like the Mishkan). In this sanctuary, the Kohen will bring sacrifice offerings, the Levites will return and sing from their posts, and the Israelites will come with their families to celebrate good times. The second stanza describes how the Pesah offering will be brought at the right time, as well as the 'Omer offering, and everything will return back to the pre-exilic normal. The song then focuses on describing the sorry state of affairs of the Jewish people in exile, and how God commits to sending help via a messenger from King David's household (the Messiah). The fourth stanza is God pleading for the Jewish people not to return to God empty handed, but rather take what belongs to them, and overcome their troubles by defeating their enemies. The imagery of returning to the Land of Israel and bringing the Pesah offering to the future Beit Hamiqdash makes this pizmon especially meaningful and appropriate for the Pesah festival. The melody of this pizmon is often applied to various pieces of prayers on Shabbat Hagadol (the Shabbat prior to Pesah), and the pizmon itself is sung at the beginning of the Pesah holiday. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375 |
Moshe Dwek Moshe Dwek - Naqdishakh Moshe Dwek - Rau Banim |
נקדישך |
| Rahawi Nawah | 441 | 365 | דר רומה | Shabbat Vayera. A Z Idelsohn notes, 1923 |
Moshe Dwek - EH Moshe Dwek - Rau Banim |
אל ההודאות |
| Rahawi Nawah | 443 | 367 | שמרתני וחיתני | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek |
ממצרים |
| Rahawi Nawah | 445 | 368 | מתי תשיר | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - SA Moshe Dwek - Rau Banim |
שועת עניים |
| Rahawi Nawah | 448 | 370 | מפי אל מפי אל | א״ב Maqam Girkah The pizmon “Mipi El” (RAHAWI-NAWAH, page 370), or “From the Mouth of God,” is commonly used for the Haqafot of Simhat Torah. The author is unknown, and renditions of this song are found in 19th century Aleppo manuscripts. The theme of "Mipi El" is the greatness of the Torah, and praise is given to four subjects; (1) God (author of the Torah), (2) Moses "Ben Amram" (who received the Torah), (3) the Torah itself, and (4) the nation of Israel (who receives the Torah from Moses). The song uses the Hebrew alphabet to provide adjectives for the four subjects above. In one version of the song, the long version, there are four adjectives of each letter to provide praise for the four subjects above (for a total of 22 stanzas). In the short version, however, there is only one adjective per letter (for a total of 6 stanzas). The use of the word “Ein” (translated as: 'there is none') in the song is based on the verse from the Prayer of Hanna in 1 Samuel 2:2 which says “Ein Qadosh KaHashem, Ki Ein Biltekha, v’Ein Sur Kelohenu.” In addition to Simhat Torah, the melody of this song is also used in association with Shabbat Vayesse due to the words “Yebarekh Et Yisrael” (He will bless Israel). Hamaoui Manuscript Attiah Manuscript Yabess Manuscript A Z Idelsohn notes, 1923 |
Moshe Dwek |
אל ההודאות |
| 451.2 | במה מדליקין | Maqam Rahawi Nawah |
Moshe Dwek - Bameh Madliqin |
דוגמא | ||
| Saba | 452 | 375 | עליון רם גדול | Ezra Attia Manuscript British Library Or. 10375 |
Moshe Dwek |
נשמת |
| Saba | 458 | 380 | יחיש מבשר | This pizmon (SABA, page 380), which translates as "Our Father Will Hasten the Messenger," is an important song about praying for the redemption. This song is composed by H Raphael Tabbush (d. 1918) to the Arabic melody of "Ya'ish WeYe'Shaq Qalbi". In this song, the author asks God to answer our prayers, to forgive our transgressions, to save us from our enemies who are planning acts of violence on us, and to hasten the arrival of Eliahou the Prophet who will announce the redemption of the Jewish people. Traditionally, this song is associated with the last day of a Shalosh Regalim festival (Pesah, Shabuot, Sukkot); the time when we most yearn for the redemption and the rebuilding of the Bet HaMiqdash. H Moshe Ashear applied this melody for the Qaddish of Shabbat Naso in 1937 and 1938 (the Shabbat after the Shabuot festival). In addition, Cantor Isaac J Cabasso applies this melody to Nishmat on the last day of Pesah and Shemini Asseret. |
Moshe Dwek |
נשמת |
| Saba | 466 | 385 | יומא טבא דרבנן | Yeshaya Bar Misvah. |
Moshe Dwek |
|
| Saba | 484 | 399 | יה הוריד נא | Hamaoui Manuscript |
Moshe Dwek Moshe Dwek - Mimisrayim |
ממצרים |
| Saba | 490 | 403 | אל חי ונורא | Abraham Shabbat Bereshit. |
Moshe Dwek |
קדיש |
| Saba | 491 | 404 | ערבים שבת אחים |
Moshe Dwek Moshe Dwek - HM Moshe Dwek - SA , BY |
||
| Saba | 492 | 405 | יהי שלום בחילנו | This pizmon (SABA, page 405), whose title is translated as "May Peace Be Within Our Walls," is one of the oldest Berit Milah songs to be in continuous use. A version of this song appears in Mahzor Aram Soba of 1527, the first printed prayer book of the native Aleppo Jewish community, and a different version, with the acrostic “Yehoshua Hazaq” (יהושע חזק) appears in subsequent editions in the nineteenth century. In our Red Book, we have a combination of the two versions. In this song, we are celebrating the baby boy by saying that his birth is a sign of our good fortune and a sign of our future redemption. Blessings about this baby include that he should grow up in the shadow of the Almighty, he should be active in teaching Torah, he should have a long life, and always have his table set. When he grows up, his name will be well-known and loved by God-fearing people, and they will consider him to be a leader of their generation, like Samuel the Prophet. In the newer “Yehoshua Hazaq” version, there is no reference to the Berit Milah. Instead, the last stanza (חזק) wishes for the baby to be considered very close to God; always dwelling in His midst. To add a reference to the Berit Milah, modern editions of this song remove the final stanza of the “Yehoshua Hazaq” version, and re-implement the last stanza of the original 1527 version. This last stanza of the 1527 version, beginning with the word “HaNimol” (הנמול), further blesses the baby saying that "The circumcised in his nation will live for his father and mother, and may his God be with him and with the whole House of Israel.” Mahzor Aram Soba 1560 Shire Zimrah, Algiers, 1889 |
Moshe Dwek |
|
| Saba | 493 | 406 | אערך מהלל ניבי | אנכי דוד בן אהרון חסין חזק This pizmon (SABA, page 406), Eerokh Mahalal Nibi, is composed by the most celebrated Moroccan poet, Rabbi David b. Aharon Hasin (1727-1792). There are 19 stanzas in this long pizmon, making the acrostic: אנכי דוד בן אהרון חסין חזק. The chorus of "Likhod Hemdat Lebabi Eliyahu HaNabi,” translated as "In honor of the beloved of my heart Eliyahu the Prophet,” is repeated after each stanza. This song provides a poetic compilation of the various reasons why Eliyahu HaNabi, discussed prominently in 1 Kings, is honored. In addition, the song makes references to Midrash; saying that Eliyahu “is” [a reincarnation of] Pinehas the Priest. The main association of this pizmon is for a Berit Milah, because it is traditionally said that Eliyahu's presence is at each Milah. It is also associated with Shabbat Pinehas (or Balaq), because it is when we read about the story of Pinehas and his heroic actions. In addition, the story of Eliyahu HaNabi is read in the Haftara of this Torah portion. Yabess Manuscript |
Moshe Dwek |
שמחים |
| Saba | 495 | 410 | אתה אהובי | Abraham I Antebi Ata Ahubi (SABA, page 410), translated as "You are my Beloved," is the first song heard in a young boy's life; at his Berit Milah at eight days old. Composed by the illustrious H Abraham I Antebi (1765-1858), Chief Rabbi of Aleppo, the song has the acrostic "Abraham Hazaq." Each of the 6 stanzas end with the word "Eyn," meaning eye. In the first stanza, the author thanks God for "Him giving happiness in my heart" and is comforted that "in You, I can lean." The next four stanzas refer to the Berit Milah, the covenant between God and Abraham, and allude to some of its festive rituals. The last stanza, in the original version of the song, states "Strengthen Aram Soba (Aleppo), the good city, and also the [resting] place of the master, Ezra [HaSofer], a fine pearl that the eye shall see." In later publications, in an attempt to standardize the song, this last stanza was altered to remove the references to Aleppo. This melody is applied to Naqdishakh preceding a Berit Milah as well as on Shabbat Lekh Lekha and Tazria. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Shire Zimrah, Algiers, 1889 |
Moshe Dwek Moshe Dwek - Naqdishakh |
נקדישך |
| Saba | 496 | 411 | מה טוב מה נעים | Mordechai Abadi This pizmon (SABA, page 411), whose opening words are “How Good, How Nice Are Things In Their [Proper] Time,” is a song for the Mila; the circumcision ceremony. It is composed by the Aleppian sage, H Mordekhai Abadi (1826-1884), author of “Dibre Mordekhai.” The acrostic is “Mordekhai Hazaq Abadi,” and each of the 6 stanzas is followed by the famous chorus “Eliahou, Mebaser Hu...”. In the chorus, we recall Eliahou the Prophet as one who announces the redemption and who attends every Mila ceremony. There are references in the song to three blessings recited: "HaGefen," “Al HaMila,” and “Koret HaBerit," as well as a reference to the tradition of setting up a special chair for Eliahou, who is referred to as the “angel of the covenant.” At the song's conclusion, in the merit of Abraham (the father of the covenant), there is a prayer to rescue (like in the days of Mordekhai) all those who partake in the festive meal of this very special Misvah (one which weighs equivalent to all the other laws combined). In differing sources, this song is classified as either Maqam SABA, BAYAT or NAWAH, and in the morning prayers of a Mila, this melody can be heard for El Hahodaot. Abraham Sitehon Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375 |
Moshe Dwek |
אל ההודאות |
| Saba | 505 | 422 | אנה אלך מרוחך | ישראל Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript |
Moshe Dwek Moshe Dwek Moshe Dwek - Semehim |
אל ההודאות |
| Saba | 508 | 423 | עזי עזי עזי עזי וזמרת יה | Ezekiel Hai Albeg This pizmon (SABA, page 423), whose chorus alludes to the Song of the Sea (Exodus 15) as well as Isaiah 54, has opening words that are translated as "My Strength and My Defense is from God; You will not be put to shame or disgrace for God will comfort you". This song is composed by Cantor Ezekiel Hai Albeg as indicated by the acrostic: Yehezqel Hai. In this song, the author laments about his inability to go back to the Land of Israel due to being stuck in exile and surrounded by his enemies. The opening words in the Hebrew song "Ozi Ozi Ozi Ozi VeZimrat Ya" closely resembles the opening words in the corresponding Arabic song "Hizee Hizee Hizee Hizee Mahrumatekh." The Arabic song is by a famous Syrian Jewish singer named Rachel Samocha (1895-1955), also known as Fayrouz Al Halabiya. There are 4 stanzas in this song and a recurring chorus (Ozi Ozi). The melody of this song can be applied to El Hahodaot on weeks of Maqam SABA. This melody, as well as the pizmon itself, is said to be closely linked to Shabbat Ki Tesse due to the words of consolation "Lo Teboshi Lo Tikalmi" from that weeks Haftarah portion (Isaiah 54:4). |
Moshe Dwek Moshe Dwek - EH |
אל ההודאות |
| Saba | 510.5 | 426a | לי יה לי יה יבנה יה | NLevy |
Moshe Dwek Moshe Dwek Moshe Dwek - Nishmat |
|
| Saba | 511 | 427 | רצני אהוב | Ezra Dweck and Gabriel Shrem This pizmon (SABA, page 427), whose title can be translated as “My Beloved Will Want Me,” is a song that describes the love between man and his creator. The Hebrew words to the pizmon were composed by H Ezra Dweck with the assistance of Hazzan Gabriel A Shrem. It is written in honor of the great rabbi, H Baruch Ben Haim, who moved into the Syrian Jewish community of Brooklyn circa 1950 and got married to Charlotte, the daughter of the Chief Rabbi, Jacob S Kassin. The melody of this is from an Arabic song by the famous and influential Syrian-Egyptian composer, singer, and Oud player, Farid Al-Atrash (1910 - 1974). The song, called “Ghali Ya Bouy” (Dear Boy), was featured in the 1948 film called “Bolbol Effendi” (Mr Nightingale), and became wildly popular and beloved throughout the world; our community included. The melody of this song has been adapted to many pieces of prayers, such as Halleluya (Psalm 150), when prayers are being conducted in Maqam SABA. In addition, this song became associated with Pesah, and the entire month of Nissan, due to the references to them mentioned in the song’s second stanza. Leaflet Photograph of H Barukh Ben Haim |
Moshe Dwek Moshe Dwek - Halleluya Moshe Dwek - Qaddish |
הללויה |
| 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 |
Moshe Dwek |
|
| Sigah | 527 | 442 | הימי סתמי | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - EH Moshe Dwek - Naqdishakh |
אל ההודאות |
| Sigah | 528 | 443 | אל יצרני לעמל | Raphael Tabbush Maqam Awj-Oj |
Moshe Dwek Moshe Dwek - Pizmon Moshe Dwek - Nishmat |
נשמת |
| Sigah | 529 | 443 | מצפה לזמן | Raphael Tabbush Maqam Awj-Oj |
Moshe Dwek Moshe Dwek - SA , BY Moshe Dwek - Naqdishakh |
ה' מלך |
| Sigah | 536 | 447 | אדיר ונורא | Tabbush Manuscript |
Moshe Dwek - Qaddish |
קדיש |
| Sigah | 540 | 449 | ארך זמני | Pesah association. |
Moshe Dwek Moshe Dwek - SA , BY |
שועת עניים |
| Sigah | 542 | 451 | יחיד אל דגול מרבבה | This pizmon (SIGAH, page 451) is composed by H Yeshaya Sutton Rabia, a mid-nineteenth century Aleppo rabbi who composed many pizmonim. The acrostic of the song is Yeshaya, and it contains four rhyming stanzas. It is possibly written in honor of an "Ezra Shalom," whose name is alluded to in the third stanza. The song intends to give praise to an important person, such as a Rabbi. Here is a translation: "Only God stands out in the tens of thousands; He will bless this big man; the one my soul likes; with love and much endearment. The Lord will bless him and protect his arrival and departure; the whole nation goes out to greet him and exclaim to him "welcome." Above will exalt his fortune, and He will be a help to him; His good treasure will be open to him, and he will merit a good ending. God will bless his efforts, years of life will be added for him, peace will be placed in his borders, because he will have a high wall." When praying in Maqam SIGAH, this melody can be applied to "Befi Yesharim." Hamaoui Manuscript Abraham Sitehon Manuscript Shir Ushbaha, 1921 British Library Or. 10375 |
Moshe Dwek |
בפי ישרים |
| Sigah | 544 | 452 | יברך החתן | Maqam Awj-Oj Hatan. Hamaoui Manuscript Attiah Manuscript A Z Idelsohn notes, 1923 |
Moshe Dwek Moshe Dwek - Qaddish |
אל ההודאות |
| Sigah | 545 | 452 | אגילה אגילה | Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - HM Moshe Dwek - EH Moshe Dwek - Naqdishakh |
אל ההודאות |
| Sigah | 547 | 454 | אל רם חסין יה |
Moshe Dwek - HM Moshe Dwek - Semehim Moshe Dwek - Naqdishakh |
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| Sigah | 548 | 455 | אל עוז נאזר |
Moshe Dwek |
||
| Sigah | 549 | 455 | אליך לבי נמס | |
Moshe Dwek |
|
| Sigah | 552.1 | 458 | נגילה הללויה | Asher Mizrahi Siman: Asher Hazaq. Lahan: Lah Yiglala. |
Moshe Dwek |
|
| Sigah | 552.2 | 458 | אל חי אל חי |
Moshe Dwek Moshe Dwek - Haleluya |
אל ההודאות | |
| Sigah | 555 | 460 | אלי צור ישועתי | "My God, the Rock of my Salvation; Why have you abandoned me?" is a translation of the first line of the pizmon "Eli Sur Yeshuati" (SIGAH, page 460); considered the flagship song of Purim. The author of this pizmon is said to be H David Yaaqob Pardo, although the acrostic written in the older manuscripts is "Asher Ben Yaaqob Hazaq." The song featured in most current pizmonim books is incomplete- only containing 5 stanzas; corresponding to the first five letters of the alphabet (אבגד״ה). In Aleppo manuscripts from before 1850 (such as Sassoon #647), however, this song has more stanzas. This song, consisting of references from Megillat Esther, contains rhyming sequences within each verse. The thing in common in each stanza is that the last verse always starts with the word "Chai" or life; proclaiming that despite all the hardships that we go through, this is life and God keeps us alive. This melody is applied to Naqdishakh on Shabbat Zakhor and on Purim. Sassoon Manuscript #647 |
Moshe Dwek - Qaddish |
נקדישך |
| Sigah | 556 | 462 | אל עושה נקמה | This pizmon (SIGAH, page 462), whose first words are translated "God who makes revenge," is an entertaining song that retells the miracle of Purim using rhymes. There are a total of 22 stanzas in this piece; corresponding to each letter of the Hebrew alphabet (א״ב). Within a stanza, each clause rhymes with one another, except for the last clause of the stanza, which rhymes with all the previous stanzas. The pizmon, which is classified as Maqam OJ in the older manuscripts, originates from Aleppo and is older than 1850. The author of this piece is uncertain, although there is a possibility that it may be H Raphael Antebi Tabbush. The melody of this pizmon is from the Arabic "Ya Dini Yeaman," and is typically applied to Shavat Aniyim on Shabbat Zakhor, and to El Hahodaot on Purim itself. The song concludes with a prayer for redemption; to give good things to the Jewish nation in order to raise their spirits. Hamaoui Manuscript Tabbush Manuscript |
Moshe Dwek Moshe Dwek - EH Moshe Dwek - Naqdishakh |
שועת עניים |
| Sigah | 564 | 469 | מי זאת עולה יפה-פיה | מרדכי חזק In honor of the Torah. Alludes to the 10 Sefirot. Yabess Manuscript Mosseri-Kozli Manuscript |
Moshe Dwek Moshe Dwek - HM |
ה' מלך |
| Hijaz | 574 | 478 | רבת שבעה 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 |
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. |
Moshe Dwek Moshe Dwek - SA Moshe Dwek - SA |
שועת עניים |
| Hijaz | 584 | 484 | אתוהי כמה רברבין | Raphael Tabbush This pizmon (HIJAZ, page 484), whose title translates as "How Great Are His Signs," is written by H Raphael Tabbush. This song is unique in that it is one of our shortest pizmonim (only 20 words; 10 words in each of the two stanzas), and it is one of the only ones to be written in Aramaic. The melody is from the Arabic song "Ahwa Al-Ghazal Al Rabrabi," and can be transcribed into Nishmat or Naqdishakh. The opening words of this song are based on Daniel 3:33. After seeing how God saves Hanania, Mishael, and Azaria from the burning furnace, Nebuchadnessar praises God, 'How great are His signs! How mighty are His wonders! His kingdom is everlasting, and His dominion is over every generation!' The first stanza describes how God's glory is displayed through His miraculous signs. Although both Israel and the angels sing praises to God, it is Israel that God favors, because according to the Talmud (TB Hullin 91b), the angels only start praising God in the Heavens once Israel initiates the praises down on Earth. |
Moshe Dwek |
נשמת |
| Hijaz | 587 | 486 | אם חכם לבך בני | Abraham I Antebi The pizmon, "Eem Hakham" (HIJAZ, page 486), is composed by H Abraham Isaac Antebi (1765-1858), the former Chief Rabbi of Aleppo (starting 1817), and composer of many pizmonim. This pizmon is first found in his book "Ohel Yesharim," published in 1843, and has been included in most handwritten manuscripts of this time period. Many of Antebi's books had the word "Ohel" in it, because this Rabbi witnessed a massive earthquake in Aleppo causing most of the city to become refugees and live in tents ("ohel"). The content of this pizmon is a letter from a father to his son (on his wedding day) asking him to follow his advice on how he should live his life and bestowing him with the many blessings of Abraham and Isaac. This father tells his son that while he should always pursue wisdom and sciences, he should always "know" the God of his forefathers. The melody of this pizmon is from the Arabic song "Ya Sukri Yabu il Shemat." This melody can be applied to El Hahodaot on weeks of Maqam HIJAZ. Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript British Library Or. 10375 |
Moshe Dwek Moshe Dwek - Nishmat |
קדיש |
| Hijaz | 591 | 490 | שמח נפשי | 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. |
Moshe Dwek Moshe Dwek - Mimisrayim |
ממצרים |
| Hijaz | 594 | 492 | רנו גילו | Raphael Tabbush This pizmon (HIJAZ, page 492), composed by H Raphael Antebi Tabbush, is a song written for Purim. Unlike other Purim songs, most of which are in Maqam SIGAH, this song is classified as Maqam HIJAZ; a maqam typically reserved for sad occasions. The acrostic of this piece is "Raphael Hazaq," and consists of 5 stanzas; corresponding to the letters of the author's name. Each stanza is followed by the chorus which begins with the words "Zekher Sadiq Yarum Hodo" etc. The song opens on a happy note ("Proclaim joy and rejoice all creations"); calling onto all the creations of the world to recognize the miracle of Purim. The middle of the pizmon is about the hard times and suffering that Haman put the Jews through ("the enemy conspired to be the head"). The last stanza ends on a hopeful note; calling for the Messiah and the rebuilding of the Temple so that we can offer sacrifices again. The melody of this song is applied to either Naqdishakh on Purim or Keter on Shabbat Zakhor. Tabbush Manuscript |
Moshe Dwek - Naqdishakh |
נקדישך |
| Hijaz | 595 | 493 | בואו נספר | Hoshana Raba. Yabess Manuscript A Z Idelsohn notes, 1923 |
Moshe Dwek - HM |
|
| Hijaz | 605.5 | 502a | מול אלי וגודלו | NLevy |
Moshe Dwek Moshe Dwek - EH |
|
| Hijaz | 611.3 | 509c | כנר על הגג | Melody from Fiddler on the Roof. |
Moshe Dwek - HM |
|
| Hijaz | 612 | 510 | אליכם קהל עדה | Aharon Eliahou The theme of this poem (HIJAZ, page 510) is the deaths of Nadab and Abihu, sons of Aharon, who died on Inauguration Day of the Mishkan. The author is H Aharon Eliahou seen by the acrostic is “Aharon Hazaq” (אהרן חזק). There are seven stanzas in the original poem, all ending with the words “Benei Aharon,” with an extra stanza added by H Ezra Hamway (1859-1945), Chief Judge (Ab Beit Din) of Aleppo. The loss of Nadab and Abihu is viewed as a tragedy and this emotional poem is meant to cause us to cry and repent. The Zohar says (Vayiqra; OH, 621), that whoever grieves over these deaths, his sins will be forgiven, and he will not lose a child in his lifetime. In Aleppo custom, this poem appears in "Siddur Beit Kaporet” with instructions of singing this on Yom Kippur morning before the Torah reading. In addition, this melody is applied to "Semehim" on Kippur morning. Although “Ahare Mot” is referred to in this poem, one must refrain from using this melody on Shabbat Ahare Mot. Handwritten Manuscript |
Moshe Dwek - Semehim Moshe Dwek - Semehim |
שמחים |
| Hijaz | 612.1 | Bilbul Nagah Al LaShata Nil | Popular Arabic melody. |
Moshe Dwek - Qaddish Moshe Dwek - Semehim |
אל ההודאות | |
| Hoseni | 613 | 512 | רשות לברוך שאמר |
Moshe Dwek |
||
| Haqafot | 626 | 541 | הנה לא ינום ולא ישן | Haqafa #1 in honour of Abraham. |
Moshe Dwek |
|
| Haqafot | 629 | 544 | ברוך כבודו | Haqafa #4 in honour of Moshe. Handwritten Manuscript |
Moshe Dwek |
|
| 666 | 318ac | יה רופאי הודו | Maqam Bayat |
Moshe Dwek Moshe Dwek - Qaddish |
קדיש | |
| 942 | ערב של שושנים | Maqam Nahwand |
Moshe Dwek - Haleluya Moshe Dwek - Qaddish |
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| 2102 | 514j | אחות קטנה | Abraham Hazan Maqam Rahawi Nawah "Ahot Qetana," or "Young Sister," is a poem by the 13th century rabbi H Abraham Hazan of Girona, in eastern Spain (acrostic: “Abraham Hazan Hazaq”). This piyut is sung on the eve of Rosh Hashana; at the closing of the old year. According to Gabriel A Shrem, its melody, which is in Maqam NAWAH, is also applied for Semehim on the Shabbat prior to Rosh Hashana. What relates this poem to Rosh Hashana are the words at the end of each of the first eight verses "Tikhle Shana Veqileloteha" (end the year and all its curses). The poem compares the Jewish people to a young sister; one who relies on her brothers to survive. This young sister is suffering from all types of problems. She is constantly under attack from enemies. Her possessions are looted and vandalized by foreigners. She is left with nothing; humiliated and alone. In essence, this poem is a protest to God on how He can allow such bad things to happen to the suffering Jewish nation. In the last verse, however, God responds: "Strengthen and Rejoice, for your exile is over." Echoing the words of Isaiah, there is a call for all the people to get on the paths to Zion and return from the exile. On that note, the poem concludes with the words: "Tahel Shana Ubirkhoteha" (begin the year with all it's blessings). |
Moshe Dwek - Ahot Qetana Moshe Dwek - HM |
ה' מלך | |
| 2103 | ינוב פי ניב ישיח | ישראל The piyyut originally before Musaf of Yom Kippur. |
Moshe Dwek - HM Moshe Dwek - Halleluya |
הללויה | ||
| 2104 | 514v | אוחילה לאל אחלה פניו | This is also used prior to the Amidah of Musaf on Rosh Hashanah and Yom Kippur. |
Moshe Dwek - Nishmat Moshe Dwek |
נשמת | |
| 2106 | 514u | ישראל עבדיך |
Moshe Dwek |
אל ההודאות | ||
| 2107 | בן אדמה | Abraham Ibn Ezra "Ben Adama," or "Son of Earth," is considered one of the most sacred and thought-provoking hymns of the entire Sephardic liturgy. It is said to be composed by H Abraham Ibn Ezra (1089-1167) during the Golden Age of Spain. There is a tradition among Syrian Jews to sing this poem on the eve of Yom Kippur after Arbit. In addition, according to Aleppo sources, including H Moshe Ashear, it's melody is used for the Qaddish on Yom Kippur as well as Shabbat Shuba. "Ben Adama" is especially appropriate for Yom Kippur, because it is a composition of introspection of some of the existential aspects of life. In each of it's ten stanzas, the author describes one decade of a person's life. The general message of the poem is to take a step back from where you are in life and think about the different stages of your life. The last verse concludes "Happy is the man who considers himself to be a transient visitor," because all of us are only here for a short time, and once life is over, we should have no regrets. |
Moshe Dwek - Qaddish |
קדיש | ||
| 2108 | 514k | עת שערי רצון | Yehuda Samuel Abbas Aleppo, 12th Century, Used on Rosh Hashana before the shofar. The piyyut relates the Akedah of Isaac to the themes of Judgment, and loyalty to Hashem. |
Moshe Dwek - HM Moshe Dwek - Semehim Moshe Dwek Moshe Dwek |
שמחים | |
| 2109 | ירחיק נדוד דוד נעמן | ישראל Maqam Hijaz |
Moshe Dwek - Mimisrayim |
ממצרים | ||
| 2110 | 514u | שואף כמו עבד | Shelomo Ibn Gabirol Song is meant to be a Reshut for Nishmat for Shaharit of Rosh Hashanah---The song compares us to slaves who must return to serve our master, Hashem. |
Moshe Dwek - HM Moshe Dwek - Naqdishakh Moshe Dwek |
נקדישך | |
| 2115 | 514r | יה שמך ארוממך | Yehuda HaLevi Rosh Hashana---Meant to be a Reshut for the Kaddish of Yosser---Meant to recognize the greatness of Hashem. |
Moshe Dwek |
קדיש | |
| 2116 | S24 | יה שמע אביוניך | Yehuda HaLevi Song, which is used in Selihot, discusses the situation of the Jewish people. |
Moshe Dwek - Rau Banim Moshe Dwek |
ראו בנים | |
| Selihot | 2123 | S32 | אתאנו לחלות | Selihot. |
Moshe Dwek |
פיוט |
| Selihot | 2124 | S34 | אליך ה' נשאתי | Different pizmonim melodies that can be applied to this piece according to Sassoon Manuscript 647 and Gabriel A Shrem: עת שערי רצון, לך אלי תשוקתי, ה' בוקר, אליכם קהל עדה, חביב אללה אליהו, כי אשמרה שבת, יאמר נא ישראל, שחר אבקשך, יום זה לישראל, אין כאלוהינו, מדבש ונופת צוף, אודך אודך, תען לשוני ותגיד, על חון על בת, ערבים שבת אחים, נשאם עד עולם, זלף כמטר זלף, אמרי פי והגיוני, במוצאי יום מנוחה, אות אלף מאלפת |
Moshe Dwek |
פיוט |
| 2125 | ה' בקול שופר | Before blowing the shofar on Rosh Hashana. |
Moshe Dwek |
פיוט | ||
| 2128 | 514l | חון תחון על בניך | Binyanim Hazak--- Opens the prayers for the Second night of Rosh Hashana--- closes the Selihot prayers--- |
Moshe Dwek - Hon Tahon |
פיוט | |
| 2130 | 514m | אלהי אל תדינני | Isaac Ibn Mar Shaul Spain--10th-11th century--- The piyyut, used on Rosh Hashanah, is an alphabetical acrostic, and portrays a person confessing his sins. |
Moshe Dwek |
פיוט | |
| 2131 | 514o | ידי רשים | Yehuda HaLevi |
Moshe Dwek |
פיוט | |
| 2132 | 514o | המבורך | This is the last verse of the above song that the cantor sings alone. |
Moshe Dwek - Qaddish |
פיוט | |
| 2133 | 514s | שנאנים שאננים |
Moshe Dwek |
פיוט | ||
| 2134 | 514q | אלהים אלי אתה |
Moshe Dwek |
פיוט | ||
| 2194 | קבל שועת עמך הנאמן | EDweck Maqam Bayat Lahn: עליך צלח אל נביה וסלם Shrem Manuscript |
Moshe Dwek - Haleluya |
הללויה | ||
| Selihot | 2198 | S19 | עננו |
Moshe Dwek |
||
| Selihot | 2200 | S20 | אדון הסליחות |
Moshe Dwek |
||
| 2227 | 514q | אל נורא עלילה |
Moshe Dwek |
|||
| 2228 | 514p | כל נדרי |
Moshe Dwek |
|||
| 2230 | ה' יום לך |
Moshe Dwek |
פיוט | |||
| Selihot | 2231 | S5 | למענך |
Moshe Dwek |
||
| Haggadah | הגדה | H33 | מן המצר | Maqam Ajam The melody for "Min hamesar" in the Hallel. |
Moshe Dwek - Semehim |
דוגמא |
| Selihot | 2378 | S9 | אנשי אמונה אבדו |
Moshe Dwek |
||
| 2642 | מלכי איום ונורא | Ezekiel Hai Albeg Maqam Sigah Lehen: Wansit Ta'abi. Pizmon by E Albeg, in Maqam Sigah, composed in honor of H Mordekhai Maslaton on the day of a Torah Dedication in Congregation Ahi Ezer. Song mentions Menorah. E Albeg, "Mizmor Shir." |
Moshe Dwek - Nishmat |
אל ההודאות | ||
| 2730 | Ahon Aleq (Abdel Wahab) | Maqam Ajam |
Moshe Dwek - EH Moshe Dwek - Qaddish |
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| Song of Songs | 3006 | SS1 | שיר השירים | Maqam Bayat. Read every Friday night. |
Moshe Dwek |
|
| Esther | 3020 | E1 | מגילת אסתר | Tiqun Esther Ch 1 Tiqun Esther Ch 2 Tiqun Esther Ch 3 Tiqun Esther Ch 4 Tiqun Esther Ch 5 Tiqun Esther Ch 6 Tiqun Esther Ch 7 Tiqun Esther Ch 8 Tiqun Esther Ch 9 Tiqun Esther Ch 10 |
Moshe Dwek (first eight verses) |
|
| 3597 | P113 | שמות- ראשון | Pharaoh's Decree to Kill Male Babies. Hebrew Midwives. Samaritan Pentateuch |
Moshe Dwek - Cohen (teaching Ta'amim) Moshe Dwek - Levi (teaching Ta'amim) |
||
| 3825 | P341 | פינחס- חמישי | Additional sacrificial law. Samaritan Pentateuch Samaritan Pentateuch |
Moshe Dwek (Rosh Hodesh: 3 Aliyot) Moshe Dwek (R"H Fourth Aliya) |
||
| Haftarot | 3947 | P478 | הפטרת בשלח | Judges 5:1–31. Aleppo Codex- Shirat Deborah 1 |
Moshe Dwek |
שירת דבורה |
| 4018 | 203l | מה נאוו עלי ההרים רגלי | Haim S Aboud Maqam Ajam |
Moshe Dwek |
||
| 4028 | 356s | שלום לבן דודי | Shelomo Ibn Gabirol Maqam Kourd |
Moshe Dwek Moshe Dwek - Qaddish |
||
| 4029 | 356t | אשורר שירה | Rephael Baruch Toledano Maqam Kourd |
Moshe Dwek |
||
| 4039 | 509n | אל גליל אל גליל | YSouneh Maqam Hijaz |
Moshe Dwek Moshe Dwek - Qaddish |
||
| Pentateuch | 4081 | P442 | סדר שמות הטעמים | Names of the Ta'amim. |
Moshe Dwek Moshe Dwek |
|
| 4093 | ירד דודי לגנו | Israel Najara Maqam Hijaz To the Hebrew song "Ess HaRimon" (עץ הרימון). |
Moshe Dwek - Haleluya |
נקדישך | ||
| 4809 | אדון יה רם על רמים | Ezekiel Hai Albeg Maqam Nahwand Bar Misvah of Victor Didia. Melody of "Ya Dunia Garmi" (Arabic). |
Moshe Dwek - Rau Banim |
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| 4864 | שפעת רביבים |
Moshe Dwek - HM |
ה' מלך | |||
| 4865 | אדיר ונאור |
Moshe Dwek |
||||
| 5568 | שירו לאל ברכו שמו | שלמה Maqam Sigah Old SU. Old SU. |
Moshe Dwek - Naqdishakh |
נשמת | ||
| 5743 | הנרות הללו |
Moshe Dwek |
