
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 (translation), Anan ben David
All Jews around the world today follow some variant of the annual cycle of Torah readings, developed in the Babylonian diaspora in the talmudic era. In this cycle, the entire Torah is read once a year. (Some Reform communities recite a selection from each parasha, while many Conservative communities follow an ersatz triennial system where a third of each parashah is read every week, but the parashiyot still follow the annual cycle.) The old Erets Yisrael rite had a triennial, or technically semiseptennial, cycle, going through the entire Torah once every three and a half years. But there is a third cycle that has otherwise been completely forgotten about: the semiannual cycle. This cycle was developed by ‘Anan ben David, the legendary founder (or if you ask the Ḳaraites, reviver) of the Ḳaraite movement, in his (only fragmentarily preserved) Sefer ha-Mitsvot. In it, the entire Torah is read twice a year, concluding on the intermediate sabbath of both Pesaḥ and Sukkot before starting anew the next week. This idea did not catch on, even among the Ḳaraites, who to this day use an adaptation of the rabbinic annual cycle instead. But it has largely been preserved. Here it is restored and reconstructed for those whose main complaint with the Torah reading is it isn’t long enough.
Contributed by:
Isaac Gantwerk Mayer, Unknown, Isaac Gantwerk Mayer (translation)
This is a litanic Ḳiddush for a Rosh Ḥodesh meal, constructed based on the Ḳiddush for Rosh Ḥodesh in Jerusalem as described in Masekhet Soferim chapter 19:9, mostly following the GRA’s edition. Traditionally it would be done in the presence of twelve town elders and twelve scholars of ritual purity, but today we could adapt it to be recited at a festive meal for Rosh Ḥodesh in the presence of seven — the minyan count according to the traditional Western practice recorded elsewhere in Masekhet Soferim 10:7.
Contributed by:
Unknown, Isaac Gantwerk Mayer (transcription & naqdanut), Isaac Gantwerk Mayer (translation)
The Tabula Smaragdina, or the Emerald Tablet, is a cryptic and compact work, part of the Technical Hermetica — a genre of mystical and magical texts of great popularity in the medieval and renaissance era. Traditionally attributed to the legendary figure Hermes Trismegistus, it is considered a foundational text for Near Eastern and European alchemy. It is the ultimate source of the popular occultist expression “as above, so below,” although that specific expression doesn’t appear in the original Arabic text as found in the ninth-century Secret of Creation.
Contributed by:
Eliyahu ben Shlomo Zalman, Isaac Gantwerk Mayer (translation)
The “minor tractate” Soferim is one of our best sources for early liturgical practice. It is the oldest known source for multiple practices still followed today, such as the blessing for the haftarah. Such luminaries as the Vilna Gaon considered it a vital work. But some of its practices are… well, odd. There are customs in Tractate Soferim which are found nowhere else in classical rabbinics — blessings for the recitation of books in Writings other than the scrolls, a three-year cycle of Torah readings, and a custom to divide the scrolls in half when reading them. This service is constructed based on the descriptions and passages of Tractate Soferim, mostly following the Gra’s edition. In some ways it may be very familiar, especially to Ashkenazim, but in others it is a fascinating glimpse into a heretofore lost practice of Judaism.