A series of ten short couplets describing the ten plagues afflicting the Egyptians in Egypt, written in Judeo-Italian and first published in the famous 1609 Venice Haggadah of Isaac Gershon. The Italian used in the Venice Haggadah lacks a lot of the most divergent aspects of the Judeo-Italian languages, sticking to a more mainline Tuscan grammatical norm, but there are enough obsolete, poetic, or dialectal forms that several footnotes have been included to explain them. Also included is an original English-language rhyming translation! . . .

Adir Hu, a classic Pesaḥ song if ever there was one, is a part of Seder tables all over the planet. Its alphabetical list of God’s attributes, combined with its repeated pleas for a return to Jerusalem, make it a classic, to the point where the traditional German farewell greeting for Passover was not “chag sameach” or “gut yontef” but “bau gut” – build well. This interpretation, while not a direct translation by any means, has the same rhythmic pattern and alphabetical structure, giving a sense of the greatness of God. . . .

When the spring (Aviv) season arrives, a blessing is traditionally said when one is in view of at least two flowering fruit trees. In the northern hemisphere, it can be said anytime through the end of the month of Nissan (though it can still be said in Iyar). For those who live in the southern hemisphere, the blessing can be said during the month of Tishrei. . . .

Variations of the original three lines culminating with “…walk beside me…” first appear in high school yearbooks beginning in 1970. The earliest recorded mention we could find was in The Northern Light, the 1970 yearbook of North Attleboro High School, Massachusetts. In the Jewish world of the early to mid-1970s, a young Moshe Tanenbaum began transmitting the lines at Jewish summer camps. In 1979, as Uncle Moishy, Tanenbaum published a recording of the song under the title “v’Ohavta” (track A4 on The Adventures of Uncle Moishy and the Mitzvah Men, volume 2). . . .

This prayer for the country is found in the Siddur Sephat Emeth, which was published by the venerable Rödelheim publishing house in Frankfurt in 1938. This was probably the last siddur ever published in pre-Holocaust Germany. This prayer is full of pathos and yearning, and in a time of rising government-sponsored antisemitism worldwide it’s worth keeping in mind. . . .

“Óró sé do bheatha abhaile” is one of the most popular Irish rebel songs. Adapted from a folk song (with possible 18th century Jacobite origins), the most popular modern version, written by the poet and republical activist Pádraig Pearse and sung by the Irish Volunteers during the 1916 Easter Rising, is full of messianic and biblical imagery that makes it ripe for adaptation into a Hebrew piyyut. Presented here is “Hoy! Barukh Ha-Ba Ha-Bayta,” a Hebrew adaptation singable to the original melody. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Ḥatsi Ḳaddish before Barkhu that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Barkhu of Shaḥarit that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Qedushah of Shaḥarit that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Qadish Shalem of Shaḥarit that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Ḥatsi Qaddish of Minḥah that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Qedushah of Minḥah that used to be found in many traditional Ashkenazi siddurim. . . .

In Jewish liturgy, some passages are dəvarim she-bi-qdusha, passages that require public communal prayer. Most famous among these are the Qaddish, Barkhu, and Qədusha. But people are not always able to pray in a community! In liturgical history both ancient and modern many different tashlumim (replacements) for these texts when praying individually have been suggested. The following is a replacement for the Barkhu of Arvit that used to be found in many traditional Ashkenazi siddurim. . . .

The African-American Christian spiritual adapted for a Pesaḥ song in Hebrew and English. . . .

Hälē Hälē yebärkewo (Praise, Praise, Bless the One) is the fourth prayer in this order of prayers for the morning of Sigd. . . .

Wäṣoru Tabotomu (They Carried Out Their Ark) is the first prayer in this order of prayers for the morning of Sigd. It is a prayer said upon the removal of the Orit from the synagogue ark. . . .

Wäy’ärgu Debre (And They Climbed the Mount) is the second prayer in this order of prayers for the morning of Sigd. It is the first prayer said upon arriving on the mountain, based on the ritual described in Neḥemyah 9. . . .

Mänabərätä betä Dawitə (Thrones of David’s House) is the sixth prayer in this order of prayers for the morning of Sigd. It is an ancient text inspired by and quoting Psalm 122, partially in Geʿez and partially in Agaw. . . .

Yitbärēk Egzi’äbḥer (Blessed be YHVH) is the third prayer in this order of prayers for the morning of Sigd. It is a morning blessing. . . .

Nəʽu nəsəgədə (Come, Let Us Bow) is the fifth prayer in this order of prayers for the morning of Sigd. . . .