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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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2026 —⟶ January 🡄 (Previous month) :: 📅 December 2025 📅 February 2026 :: (Next month) 🡆 📅 Resources published in January 2026 Sorted Chronologically (old to new). Sort most recent first? This pizmon, signed with the name Moshe but of otherwise unclear attribution, is recited in the Sephardic communities of Rhodes and Istanbul (and nowadays in Seattle) before the open ark on Shabbat Shirah and the seventh day of Pesaḥ. The main Hebrew text of the first and last two stanzas are as found in the Seattle Sephardic community’s 2002 Siddur Zehut Yosef (as well as the Gözlem Kitap press in Istanbul’s 2011 Şaloş Regalim), with footnotes marking differences in the Shirei Yisrael B’Erets HaḲedem (published in Istanbul in 1921) and the Yeshiva University Library diwan of Baruch Moshe Moreno, written by hand in the monastery neighborhood of Tiberias in 1867 (YU MS. 1126). In between are three additional non-rhyming stanzas found in substantially different form in the other two sources but not recited in modern Sephardic communities. This pizmon, signed with the name Moshe but of otherwise unclear attribution, is recited in the Sephardic communities of Rhodes and Istanbul (and nowadays in Seattle) before the open ark on Shabbat Shirah and the seventh day of Pesaḥ. The main Hebrew text of the first and last two stanzas are as found in the Seattle Sephardic community’s 2002 Siddur Zehut Yosef (as well as the Gözlem Kitap press in Istanbul’s 2011 Şaloş Regalim), with footnotes marking differences in the Shirei Yisrael B’Erets HaḲedem (published in Istanbul in 1921) and the Yeshiva University Library diwan of Baruch Moshe Moreno, written by hand in the monastery neighborhood of Tiberias in 1867 (YU MS. 1126). In between are three additional non-rhyming stanzas found in substantially different form in the other two sources but not recited in modern Sephardic communities. Categories: Tags: Acrostic signature, phonetic alphabetic acrostic translation, Eastern Sefaradim, Nusaḥ Sefaradi, פיוטים piyyuṭim, פזמונים pizmonim, שבת שירה shabbat shirah, שירת הים Shirat haYam, Turkish translation Contributor(s): This is a גוף יוצר (guf yotser) piyut from Nusaḥ Candia (Crete) for Shabbat Rosh Ḥodesh Ḥanukkah. The author of the piyut is unknown. It is presented here on the basis of the edition published by Dr. Gabriel Wasserman in his work Liturgical poems of Ḥanukka from Europe (2016), where it appears in Volume 2, as piyut number 23. While the translation below heavily utilizes Dr. Wasserman’s commentary on the piyut, the translation itself is original to me. I found this piyut when looking through Dr. Wasserman’s aforementioned work, and it struck me as very beautiful and particularly relevant to modern events. Categories: Tags: 14th century C.E., 52nd century A.M., acrostic, Alphabetic Acrostic, Cretan Jewry, Nusaḥ Candia, יוצרות yotsrot Contributor(s): This is the piyyuṭ for Yom Kippur known by its incipit שופט כל הארץ “Shofeṭ kol ha-Arets” (“Thou Judge of all the earth”) by the late 12th century payṭan, Shlomo ben Abun of France, as adapted in the form of a rhyming translation by Nina Salaman for Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim vol. 2, arranged and translated by Arthur Davis & Herbert Adler (1904), p. 86. Categories: Tags: Contributor(s): This is the Shir haKavod (“Hymn of Glory,” also known by its incipit “An’im Zemirot”) attributed to Rabbi Yehudah he-Ḥasid of Regensburg, included at the conclusion of the Shir haYiḥud (first attested in print in Thiengen 1560). This translation by Israel Zangwill, was first published in Arthur Davis and Herbert Adler’s Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim (Evening Service) (1904), pp. 73-74. Categories: Tags: 12th century C.E., 50th century A.M., acrostic, Alphabetic Acrostic, חסידי אשכנז Ḥasidei Ashkenaz, פיוטים piyyuṭim, rhyming translation, שיר הכבוד shir hakavod Contributor(s): Israel Zangwill’s translation of Omnam Kén by Rabbi Yom Tov of York (Joigny), was first published albeit incomplete, as “Atonement Hymn” in Blind Children: Poems (1903), pp. 134-135. Introducing the piyyut, Zangwill notes, “The translation of this curiosity of literature preserves, without adding or subtracting a single word, the precise metre, rhyme-scheme, and alphabetical acrostic of the twelfth-century Hebrew original.” A year later, it was published complete, opposite Hebrew verse, in Arthur Davis and Herbert Adler’s Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim (Evening Service) (1904), p. 38. Categories: Tags: 20th century C.E., 57th century A.M., acrostic, Acrostic signature, phonetic alphabetic acrostic translation, Alphabetic Acrostic, English Jewry, פיוטים piyyuṭim, rhyming translation Contributor(s): This translation of the poem “Éshet Neürim” by Elḥanan ben Yitsḥaq of Dampierre (d. 1184) was made by Israel Zangwill and first published in his collection of poetry, Blind Children: Poems (1903), under the title, “Israel as Bride and as Beggar” on page 118. (An earlier translation in German was made by Leopold Zunz in Die synagogale Poesie des Mittelalters (1855), p. 249.) Categories: Tags: 20th century C.E., 57th century A.M., acrostic, Acrostic signature, phonetic alphabetic acrostic translation, Alphabetic Acrostic, English Jewry, פיוטים piyyuṭim, rhyming translation, שכינה Shekhinah Contributor(s): Originally written by Yehuda haLevi for the seventh day of Pesaḥ, Yom le-Yabasha — a celebration of the crossing of the Sea of Reeds and the establishment of the covenant as signified by the circumcision and tsitsit — it quickly became a beloved piyyut on that occasion and more. The piyyut, “Adon Olam” became popular in the 15th century and is often attributed to Solomon ibn Gabirol (1021–1058) and less often to Sherira Gaon (900-1001), or his son, Hai ben Sherira Gaon (939-1038). The variation of the piyyut appearing here is the fifteen line version familiar to some Mizraḥi and eastern Sefaradi congregations. (A twelve line variant is common among the Western Sefaradim. The Ashkenazi version has ten lines.) The Marathi translation was made by Joseph Ezekiel Rajpurkar as published in סדר תפלת החדש The Daily Prayers translated from Hebrew in Marathi (1889), pp. 7-8. Categories: Tags: 11th century C.E., 49th century A.M., אדון עולם Adon Olam, cosmological, Eastern Sefaradim, Nusaḥ Sefaradi, Openers, פיוטים piyyuṭim Contributor(s): Ashira k-Shirat Moshe is a brief piyyut of uncertain origin, recited in Moroccan Jewish practice as an introduction to the Song of the Sea at the end of Zemirot on Shabbat Shirah and the seventh day of Pesaḥ. It lists seven Biblical songs — those of Moses, Miriam, Joshua, Deborah, Hannah, David, and Solomon — and concludes with an eighth song, the song that Israel will sing at the the future redemption. Israel Zangwill’s rhyming translation of “Otekha Edrosh” by Rabbi Shimon ben Yitsḥaq ben Abun of Mainz, was first published in Arthur Davis and Herbert Adler’s Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim (Evening Service) (1904), pp. 41-43. Categories: Tags: Contributor(s): This prayer for captives, containing a piyyut followed by meaningful verses and a mi sheberakh, was transcribed by Dr. Yehoshua Granat from a manuscript produced in late medieval France, Ms. Barginsky 206 (fol. 67b) in the Braginsky Collection in Zurich, Switzerland, under the title “יש מקומות שנהגו לבקש רחמים על האסור בבית האסורים כדרך הזה” (“There are places where it was customary to ask for mercy for the imprisoned in this way”). Categories: Tags: Contributor(s): | ||
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