The German translation of “Adon Olam” appearing here is as found in Rabbi David Einhorn’s עלת תמיד Gebetbuch für Israelitische Reform-Gemeinden (1858), pp. 1-2. The English translation here, by Joshua Giorgio-Rubin, translating Rabbi David Einhorn, is as found in Rubin’s Olat Hadashah: A Modern Adaptation of David Einhorn’s Olat Tamid for Shabbat Evening (2020), p. 14.

Adon Olam is a piyyut that 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 10 line version familiar to Ashkenazi congregations. (There are also twelve, fifteen, and sixteen line variants found in Sepharadi siddurim.) The rhyming translation here by George Borrow was shared in his tales in The Bible in Spain (1843), p. 222. (The text in the 1913 edition on page 546 is a bit easier to read.)

Adon Olam is a piyyut that 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 12 line version familiar to Sepharadi congregations. (There are also fifteen and sixteen line variants found in Sepharadi siddurim. The Ashkenazi version has ten lines.) The rhyming translation here by David de Aaron de Sola was transcribed from his prayerbook Seder haTefilot vol. 1 (1836), p. 122.

This is Isaac Pinto’s English translation of Adon Olam from Prayers for Shabbath, Rosh-Hashanah, and [Yom] Kippur (1766), p. 29. The translation there appears without the Hebrew. The Hebrew text of the piyyut set side-by-side with the translation was transcribed from Rabbi David de Sola Pool’s Tefilot l’Rosh haShanah (1937).

Ḥakham Ishak Nieto’s translation of Adon Olam was first printed on page 197 of Orden de las Oraciones de Ros-ashanah y Kipur (1740), his maḥzor in Spanish translation for Rosh haShanah and Yom Kippur. The Hebrew text of the piyyut set side-by-side with the translation was transcribed from Rabbi David de Sola Pool’s Tefilot l’Rosh haShanah (1937).

Shnei Zeitim, by Shlomo ibn Gabirol, was once the most beloved song for Ḥanukkah. Though in recent years it has largely been replaced in popular consciousness by Maoz Tsur, in rites which preserve the customs of piyyut recitation within the Shema service it is still a beloved part of the holiday. The piyyut, a meorah — intended to introduce the ḥatimah for the Ahavah Rabbah blessing before the Shema, is included here with an original translation. Interestingly enough, Shnei Zeitim has an anti-Hasmonean focus, with emphasis on the importance of separation of powers between priest and king. For further discusson of this aspect, I’d recommend Yitzhak Szyf’s article on The Lehrhaus.

A piyyut by Shlomo ibn Gabirol included in the arrangement of Baqashot before the morning service in the liturgical custom of Sefaradim translated by Rabbi David Aaron de Sola.

This is a variation of the qinah for Tishah b’Av, “Shomron Qol Titein” in its Ashkenazi nusaḥ. Isaac Gantwerk Mayer first shared this translation via his Facebook page on Tishah b’Av, 2022.

The reshut for the prayer for rain and dew on Shemini Atseret and Pesaḥ, in Hebrew with English translation.

A piyyut by Shlomo ibn Gabirol included in the arrangement of Baqashot before the morning service in the liturgical custom of Sefaradim.

The seliḥah with its English translation as found in Siddur Siftei Tsadiqim (The Form of Prayers) vol. 6: Seder haTefilot laTaaniyot (ed. Isaac Leeser 1838) p.107-109.

A piyyut presenting a dialogue between a couple and Hashem.

Traditional Ashkenazi practice entailed the recitation of a large number of seliḥot piyyutim in every single one of the Yom Kippur ‘amidot. In many Ashkenazi communities today, these are (excepting Ma’ariv and Ne’ilah) skipped on account of time. But this has always felt like a great shame to me, because seliḥot are, in a sense, the theological and liturgical core of the Yom Kippur practice. So a while back I made a bunch of spreadsheets to compare all the attested Yom Kippur seliḥot rites as listed in Goldschmidt’s maḥzor, and designed an abbreviated cycle of seliḥot for Shaḥarit, Musaf, and Minḥah. Each cycle features two regular seliḥot, one ‘aqedah (a retelling of the binding of Isaac), and one pizmon (a final seliḥah with a repeated refrain, sung communally), for a total of four seliḥot and five repetitions of the thirteen attributes. This is the first result of this process, for Shaḥarit. Musaf and Minḥah selections will arrive eventually, albeit probably not this year.