May 27, 2022 ~ Sh BEHUQOTAI. M: NAHWAND.

Hoseni - الحسيني

Introduction

 

Maqam Hoseni - חוסיני - was named after the Persian sheikh, Hussein Biadur, called 'Abdel Ghazi.

 In Arabic, the word "Hosn" means beauty and splendor, and that it why it is the maqam used when commemorating the giving of the Torah.

 This maqam is a higher version of Maqam Bayat.

 On Shabuot, the holiday that commemorates the receiving of the Torah, we read Megilat Ruth. The ta'amim for this megila are in Maqam Hoseni, and so is the tune for the Azharot, chanted on Shabuot. Hoseni is used for Perashiot Yitro and Va'ethannan which both have the Decalogue (Ten Commandments) within the perasha.

 This maqam is also used many times throughout the book of Exodus usually in connection with the receiving of the Torah motif and Tabernacle (mishkan) beauty motif.

Index of Pizmonim

Pizmon Page Song CommentaryRecordings Application
406.01 332 יפעתך תמה Traditionally used at the wedding ceremony. G. Shrem
G. Shrem 2
G. Shrem 3
407 333 משמחי לב Each stanza ends with the name "David." Attiah Manuscript Abraham Sitehon Manuscript E. Menaged
E. Menaged 2
G. Shrem
Recording
I Cabasso- Qaddish
I Cabasso- Nishmat
קדיש
408 334 דודי אתן דוד חזק Attiah Manuscript Mosseri-Kozli Manuscript Yabess Manuscript British Library Or. 10375 G. Shrem
E. Menaged
G. Shrem
Recording
Maury Blanco
קדיש
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 Yosef Hamaoui
Fule Yanani
G. Shrem
G. Shrem
Recording
Recording
M Habusha
I Cabasso- Qedusha
M Kairey
D Binker-Duek
Moshe Dwek
נקדישך
410 335 מלא משאלות לבי מרדכי Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript G. Shrem
נשמת
411 336 יה אשאל ממך ידידיה חזק אמץ Attiah Manuscript Mosseri-Kozli Manuscript I. Cabasso
412 336 ישמחו עם ידידים British Library Or. 10375 D Binker-Duek
413 337 אשרי האיש יודע שמי Classified also as Maqam NAWAH. Tabbush Manuscript G. Shrem
Recording
Moshe Dwek - Nishmat
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
נשמת
414 338 דגלי שא נא Hamaoui Manuscript Tabbush Manuscript Recording
Recording
אל ההודאות
415 338 זלף כמטר זלף Yehiel Nahari
M Habusha
416 339 יה חסדך גלי Raphael Tabbush Aseret Yeme Teshuba. G. Shrem
E. Menaged
G. Shrem
G. Shrem
Recording
M Habusha
I Cabasso- SA
Shabetai Laniado- HM
Moshe Dwek
Moshe Dwek - SA
שועת עניים
417 340 אל הנאזר בגבורתיה Raphael Tabbush Tabbush Manuscript G. Shrem
G. Shrem
Recording
Charlie Chehebar- Nishmat
I Cabasso- Qaddish
Moshe Dwek - Version 1
Moshe Dwek - Version 2
Moshe Dwek - Nishmat
Moshe Dwek - Qaddish
Moshe Dwek - Qaddish
קדיש
418 340 אודה שמך נורא עלילה Raphael Tabbush Tabbush Manuscript
419 341 אימתי יהיה D. Sebi
Recording
קדיש
420 342 יחיד ומיוחד G Shrem
כתר
420.01 342a אלי בא זמן Haim S Aboud Arabic
Recording
H Obadia Yosef
420.02 342a אנא קוית בכל עת לישועה Sion Laniado Recording
Shelomo Antebi- Qaddish
H Shimon Hai Alouf
קדיש
421 343 רב חסד חי לכל נברא Raphael Tabbush Recording
Recording
422 343 רחש לבי Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript D Binker-Duek
423 344 בחר דודי Raphael Tabbush Matan Torah. Lists the Ten Commandments. G. Shrem
Fule Yanani
G. Shrem
Recording
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 G. Shrem
I. Dayan (Alternate version)
G. Shrem
Recording
Moshe Dwek
Moshe Dwek - Haleluya
Moshe Dwek - Haleluya
כתר
425 348 יהיו כמוץ Israel Najara Attiah Manuscript Abraham Sitehon Manuscript G. Shrem
G. Shrem
Recording
Recording
I Cabasso- EH
Moshe Dwek
אל ההודאות
426 349 האל העירה וראה Hamaoui Manuscript Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript I. Dayan
M Habusha- different version
M Habusha
Hebrew Recording
פזמון
427 350 אשים תהלה G. Shrem
Moshe Dwek
ה' מלך
428 351 איומה מראיך הראיני מרדכי Hoseni or Hijaz. Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript British Library Or. 10375 Shami- Maqam Hijaz
Libyan- Maqam Hijaz
שועת עניים
429 352 שומרה מצר Ezekiel Dweck Written during Holocaust. Shrem Manuscript Leaflet Arabic
430 353 אמרי פי והגיוני אברהם Maqam Hoseni or Tahir. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript G. Shrem
Recording
R Barzani- Semehim
Isaac Cabasso- Semehim
Naftali Tawil- Qedusha
I Cabasso- Semehim
Moshe Dwek
Moshe Dwek - EH
שמחים
430.01 353a אל המרומם על כל ומתנשא Raphael Yair Elnadav Bar Misvah of Murray David Hidary (1984). R Elnadav
430.2 568b ויהי בימי שפט השפטים From Megilat Ruth applied to Mimisrayim (Hoseni). G. Shrem
G. Shrem- Mimisrayim- Megilat Ruth
ממצרים
613 512 רשות לברוך שאמר G. Shrem
M. Tawil
Moshe Dwek
samfranco.com