This is the Aqdamut for Purim by Avraham Menaḥem Mendel Mohr from his Kol Bo l’Purim (1855) transcribed and translated from Aramaic into English by Isaac Gantwerk Mayer. . . .

This is a parody riffing on the piyyut Yetsiv Pitgam for Purim by Avraham Menaḥem Mendel Mohr from his Kol Bo l’Purim (1855) transcribed and translated from Hebrew into English by Isaac Gantwerk Mayer. . . .

A translation of Ḥad Gadya into Esperanto by Erin Piateski with a Hebraicization schema for Esperanto by Isaac Gantwerk Mayer. Piateski’s translation first appeared in her כוכב ירוק הגדה של פסח | Verda Stelo Hagado de Pesaĥo (2010). . . .

A Judezmo/Ladino translation of the popular Passover song, Ḥad Gadya. . . .

A Judeo-Berber translation of the popular Passover song, Ḥad Gadya. . . .

A Judeo-Tajik translation of the popular Passover song, Ḥad Gadya. . . .

A Judeo-Tajik translation of the popular Passover song, Ḥad Gadya. . . .

A Čveneburuli (Judeo-Georgian) translation of the popular Passover song, Ḥad Gadya. . . .

A Yevanic (Judeo-Greek) translation of the popular Passover song, Ḥad Gadya. . . .

A Judeo-Tunisian translation of Ḥad Gadya, as performed by Nathan Cohen in this recording. . . .

A Judeo-Moroccan Arabic (Darija) adaptation of the Passover seder song, Ḥad Gadya, as found in Mahzor Moȝadé Hashem. . . .

A Judeo-Arabic translation of the popular Passover song, Ḥad Gadya. . . .

This is the translation of Ḥad Gadya into a dialect of Aramaic in Zakho, a/k/a Lishana Deni (Zakho Jewish Neo-Aramaic) by Isaac Gantwerk Mayer. . . .

A translation of Ḥad Gadya into Hulaulá (Trans-Zab Jewish Neo-Aramaic), the Aramaic dialect of the Jews of Sanandaj. Largely based on the translation of Alan Niku (found here), with a few minor changes, and with the transcription altered to the scholarly transcription of Geoffrey Khan in his analysis of the dialect. Also featuring a transcription into Hebrew script. . . .

A translation of Ḥad Gadya into Judeo-Provençal, largely based on a recording made by Eliane Amado Levi-Valensi (ca. 1972). . . .

Ana is a poem for the first commandment, that discusses all that God did for the ancestors. . . .

“Ar’a Raqda,” a piyyut read directly before the Ten Commandments in the Targum, uses wedding imagery and language from the Shir haShirim to paint Sinai as a ḥuppah. . . .

The haftarah for the second day of Shavuot, Ḥabakkuk 2:20-3:19, interspersed with a cantillated text of the Targum Yonatan ben Uzziel. Since Targum Yonatan is a bit more drash-heavy than Targum Onkelos, it is translated separately as well. The haftarah reading includes the piyyut Yetsiv Pitgam, with an acrostic rhyming translation of the poem, with the second-to-last verse restored to its rightful place, as well as a concluding paragraph for the meturgeman to recite, as found in the Maḥzor Vitry. . . .

The Prayer of Azariah and the Song of the Three Holy Children, one of the apocryphal Additions to Daniel, is an interpolation into the third chapter of the book of Daniel. The editor has here included a new vocalized and cantillated edition of the Aramaic text preserved in the 12th century Divrei Yeraḥmiel (Oxford Bodleian Heb d.11 transcribed by Rabbi Dr. Moses Gaster). The language of this passage is an odd synthesis of Targumic, pseudo-Biblical Aramaic, and even some Syriac forms, so the editor’s vocalization is aiming for a happy medium of all the possibilities. . . .

This piyyut, Izel Moshe (Arise, Moses), the fifth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited after the second verse of the song proper, as an elaboration on God’s strength. The English translation preserves the Hebrew acrostic of the original. . . .