
From a family of musicians, Isaac Gantwerk Mayer believes that creative art is one of the most powerful ways to get in touch with the divine. He composes music and poetry in Hebrew and English. (He also authors his own original works and transcribes Hebrew and Aramaic text, adding niqqud and t'amim as needed.) Isaac runs a Jewish music transcription service, which will transcribe and set any Jewish music in any language, recorded or written. Contact his service on Facebook or via his music blog.
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Contributed by:
Isaac Gantwerk Mayer (transcription & naqdanut), Isaac Gantwerk Mayer (translation)
A retelling of the story found in Megillat Antiokhus as midrash aggadah. . . .
Contributed by:
Anat Hochberg (translation), Unknown, Aharon N. Varady (transcription), Isaac Gantwerk Mayer (translation)
This digital edition of Midrash Ma’aseh Ḥanukkah was transcribed from the print edition published in Otzar Hamidrashim (I. D. Eisenstein, New York: Eisenstein Press, 5675/1915, p.189-190). With much gratitude to Anat Hochberg, this is the first translation of this midrash into English. . . .
Contributed by:
Tsvi Hirsch Filipowski (translation), Unknown, Aharon N. Varady (transcription), Isaac Gantwerk Mayer (translation)
Perhaps Megillat Antiokhus could be read a la Esther on Purim (the holiday with the most similarities), going to Eicha trope in the upsetting parts. A few notes: on the final mention of Bagris the Wicked I included a karnei-farah in the manner of the karnei-farah in Esther. I also included a merkha kefulah in the concluding section, which (according to David Weisberg’s “The Rare Accents of the Twenty-Eight Books”) represents aggadic midrash material. It also serves as a connection to the Chanukah haftarah, which is famously the only one that has a merkha kefulah. –Isaac Mayer . . .
Contributed by:
Robert Henry Charles (translation), Aharon N. Varady (transcription), Isaac Gantwerk Mayer (translation)
A mytho-historical chronicle of the story of humanity and Israel up until the Maccabean revolt depicted as a fable through a dream vision of Ḥanokh. . . .
Contributed by:
the Mesorah (TaNaKh), Ḥaggai haNavi, Isaac Gantwerk Mayer (translation)
When the first day of Ḥanukkah is a Shabbat, the last day of Ḥanukkah is also Shabbat. In most customs this is addressed by using the standard Shabbat Ḥanukkah haftarah from Zechariah on the first day and I Kings 7:40–50 on the last day. But this never sat well with me, since I Kings 7:40–50 (also the haftara for Vayakhel) is a very technical reading, and the last day of Ḥanukkah is more of a culmination. Conveniently, another minor prophet contemporary of Zechariah, Ḥaggai, discusses the reconstruction of the House as a process of national revitalization, *and* claims that the foundation of the temple was rebuilt on the twenty-fourth day of the ninth month — i.e. the day before Ḥanukkah! This is historically fascinating since it suggests that Ḥanukkah as a rededication festival might predate the Maccabean Revolt entirely, but more importantly here, it makes it a very appropriate reading for the day before or the first day of Ḥanukkah. This is an alternative haftarah from the book of Ḥaggai , chapter 2 verses 2—23, that could be used as a replacement for the standard haftarah when Shabbat falls on the day before Ḥanukkah or on the first day of Ḥanukkah. When read on the first day of Ḥanukkah, the traditional Ḥanukkah haftarah reading of Zechariah 2:14–4:7 would be postponed to the eighth day in its place. . . .