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. . . .

The traditional Ashkenazi qerovot added to the Musaf repetition for Shabbat Sheqalim, alongside a new gender-neutral translation . . .

A Karaite song for the Day of Atonement (Yom Kippur). . . .

The 7th of Adar is the traditional date for the yahrzeit of Mosheh Rabbeinu and it is also remembered as the day of his birth 120 years earlier. This variation of of the piyyut, Tsa’aqah Yokheved, popularly sung on 7 Adar, is first attested in a 1712 Sepharadi mahzor published in Amsterdam, as transcribed above with some minor changes with the contemporary audio recording of the Iraqi nusaḥ made by משה חבושה (Moshe Ḥavusha). (The piyyut appear without niqqud.) An older version (perhaps the original version), attributed in the Maagarim database to Shmuel Shlomo and dated before 1050 CE, is attested in two manuscripts: “London, British Library 699” and “Berlin, Staatsbibliothek, Ham. 288”. Ibn Ezra (1089-1167) quotes a stanza from the version we have presented here (“וכבד אמי אחרי התנחמי”) indicating that this version may be at least as old. . . .

A Byzantine-era Aramaic piyyut for Purim, perhaps written as an introduction to the Megillah reading. It tells the narrative of the Jewish people from Abraham to the final redemption, focusing on the foes who sought to destroy us and their inevitable failure to do so. Uniquely among early-medieval poems, this one actively mentions the Romans (read: Christians) and Saracens (read: Muslims) and prays for their downfall in non-coded language. This translation loosely preserves the couplet rhyme scheme, as well as the alphabetical acrostic — perhaps with a phonetic punning reference to the name “Shlomo” at the end. . . .

The full text of the alphabetic mesostic piyyut, Hayom, according to the Italian nusaḥ. . . .

“Elimelekh G’la” is a Byzantine-era Western Aramaic poetic retelling of the Book of Ruth. It was probably originally used as part of the liturgy for Shavuot, perhaps as a poetic addition to the recitation of a Targumic interpretation of the Book of Ruth. (The verses from Ruth and Psalms appended to the coda of the piyyuṭ would suggest such a Sitz im Leben.) But in any case, it has a great acrostic structure and rhyme scheme, and ought to be preserved! Here is included a vocalized text, largely based on the unvocalized text compiled in Jewish Palestinian Aramaic Poetry from Late Antiquity (ed. Yahalom and Sakaloff, 1999) where it’s the tenth poem recorded. ‘ve added a rhyming poetic translation that preserves the Hebrew acrostic. Credit to Laura Suzanne Lieber’s literal translations of these poems (in Jewish Aramaic Poetry from Late Antiquity: Translations and Commentaries, 2018), which have served as a very helpful resource for the project. . . .

This is a poetic Birkat haMazon for Pesaḥ, from the Cairo Geniza (CUL T-S H11.88 1v). Much thanks to the work of Dr. Avi Shmidman, whose 2009 doctoral thesis is the foundational work for poetic Birkat haMazon studies. He marks it as Piyyut 64, and his Hebrew-language commentary begins on page 394 of his work. I’ve included two translations of the poetic portions — one literal and one preserving the acrostic and rhyme scheme. . . .

This beautiful piyyut of unknown authorship is recited in most Sephardic, Mizrahi and Yemenite traditions on Tisha B’ab at Minḥah. In its stanzas, rich and replete with biblical references (as is particularly common in Sephardic Piyyut), God speaks to Jerusalem and promises to comfort her, and comfort and redeem her people. . . .

A litany of mythical guests and creatures presenting at the Passover seder. . . .

A penitential piyyut for the fast of the 17th of Tammuz. . . .

Azalat Yokheved is part of a whole genre of midrashic works suggesting Yokheved lived to see her son die — a concept even found in the Ethiopian literature. With repeated refrains, it emphasizes the desperate search of a mother trying to find her son, retracing all her steps and desperately asking everyone she can. But just as Moshe’s journey to the Promised Land ends without a conclusion, so too Yokheved never finds her Moshe. It’s been translated preserving monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. . . .

Azalat Bekhita, is probably incomplete, extending only to ḥeth in known manuscripts. It features multiple people, places, and things important in Moshe’s life taking turns to eulogize him. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s Jewish Palestinian Aramaic Poetry from Late Antiquity (2018), it is presented here vocalized with an original translation. . . .

Amar Kiris l-Moshe, is a midrashic narrative of Moshe going to Adam to ask why he cursed humanity with death. It’s been translated preserving the acrostic and monorhyme scheme. Taken from Sokoloff and Yahalom’s “Jewish Palestinian Aramaic Poetry from Late Antiquity,” it is presented here vocalized with an original translation. . . .

This piyyut, Tanun Shvaḥeih (Tell the Praise), the eighth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of Exodus 15:18, the famous verse “Adonai yimlokh l-‘olam va-‘ed.” The English translation preserves the Hebrew acrostic of the Aramaic. . . .

The piyyut, El Adon, in Hebrew with an interpretive “praying translation” by Rabbi Zalman Schachter-Shalom, z”l. . . .

The piyyut, El Adon, in Hebrew with an English translation. . . .

This piyyut, Man K’vatakh (Who is Like You), the seventh in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the Targum of the verse that includes “Mi Khamokha.” The English translation preserves the Hebrew acrostic of the Aramaic. . . .

This piyyut, Amar Oyev (The Enemy Said), the sixth in a series of Aramaic piyyutim from the seventh day of Pesaḥ, is meant to be recited as an introduction to the targum of Exodus 15, verse 9. . . .

‘Ad Ana Bikhya B’Tsiyon, is one of the oldest qinot of the cycle, dating to the period before rhyme schemes were the norm for Hebrew poetry. It describes the heavenly luminaries themselves as sympathizing with and lamenting for Israel. It goes through the entire zodiac, beginning with Ares and ending with Pisces. It is traditional to stand and recite the last few lines aloud before transitioning into the Ḳedusha d’Sidra. . . .

This translation of “Adonai boker e’erokh lekha” by Rabbi David Aaron de Sola of a piyyut by an unknown paytan was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . .

An alphabetical acrostic piyyut celebrating the victory of Esther and Mordekhai over the forces of Haman. . . .

The first day of Pesach, according to the Sages, is the day the world is judged for grain and dew. Because of this, many customs have developed tying it into the pomp of the High Holy Days. One custom preserved in many medieval maḥzorim is to extend the final blessing of the the Musaf “Tal” (Dew) service, including a Hayom piyyut, a piyyut form otherwise almost exclusively associated with the Yamim Noraim. This extended Sim Shalom berakha including piyyutim is presented here, largely based on the form compiled by Ernst Daniel Goldschmidt (zatsal). . . .

The piyyut, Dayenu, in its Latin translation by Johann Stephan Rittangel. . . .

The alphabetic acrostic piyyut, Adir Hu, in its Latin translation by Johann Stephan Rittangel as found in his translation of the Pesaḥ seder haggadah, Liber Rituum Paschalium (1644). . . .

This piyyut of unknown authorship is certainly ancient, showing the lack of a rhyme scheme characteristic of the REALLY old piyyutim (see also Aleinu or El Adon). It is still found in some Ashkenazi and Teman maḥzorim, with many different mostly minor variants (which have been combined together somewhat eclectically into one text here). It is presented here along with an English translation attempting to preserve the Hebrew acrostic. Originally it was recited before the Ashrei leading into musaf, but perhaps for those who follow Ashkenazi customs a more appropriate location would be as an introduction to the Yizkor service on Shmini ‘Atzeret — which for those who don’t keep second-day yontef is the same day. It could also be adapted as part of the liturgy for the seventh of Adar, although the final verse (the old Western rite berakha for finishing a full Torah cycle) would have to be elided. . . .

This Aramaic poem, written in the early Byzantine era by an unknown author, can be found in its entirety within the Targum Sheni for Esther 7:9. It features an argument between an assortment of trees over which one is required to bear the great dishonor of having to be the one to hold Haman. It’s also chock-full of anti-Christian polemic and references to Toledot Yeshu. . . .

This is an original Esperanto translation of Ein K’Eloheinu, with a transcription using my own original Hebraization schema. . . .

A hymn of praise found in the description of the 7th dome of heaven in Sefer ha-Razim . . .

The popular piyyut for welcoming the Shabbat, in Hebrew with translations in Assyrian-Aramaic and English. . . .

The text of the piyyut Ein Keloheinu from a 1483 Judeo-Italian translation of the siddur (British Library Or. 2443), along with a transcription into Italian script, a normative Italian modernization, and the Hebrew and English. . . .

Rabbi Zalman Schachter-Shalomi, z”l, included his translation of “Yehi Kh’vod” in his Siddur Tehillat Hashem Yidaber Pi (2009). To the best of my ability, I have set his translation side-by-side with the verses comprising the piyyut. . . .

In the daily Shaḥarit (morning) psukei dzemirah service, this centos completes the reading of Psalms 145-150 and precedes the reading of Vayivarekh David” (1 Chronicles 29:10-13). Rabbi Zalman Schachter-Shalomi, z”l, included his translation of the linked verse piyyut, “Barukh YHVH (Hashem) L’Olam” in his Siddur Tehillat Hashem Yidaber Pi (2009). . . .

Rabbi Zalman Schachter-Shalomi, z”l, included his translation of נחמיה ט׃ו-י (Neḥemyah 9:6-10) in his Siddur Tehillat Hashem Yidaber Pi (2009). . . .

This Chinese translation of the short piyyut “Ha-El b’taatsumot” following Nishmat Kol Ḥai is found on page 2 of the liner notes for the Chinese edition of Richard Collis’s album We Sing We Stay Together: Shabbat Morning Service Prayers (Wǒmen gēchàng, wǒmen xiāngjù — Ānxírì chén dǎo qídǎo). . . .

This Chinese translation of an Ashkenazi nusaḥ for the piyyut “Shokhen Ad” following Nishmat Kol Ḥai is found on page 3 of the liner notes for the Chinese edition of Richard Collis’s album We Sing We Stay Together: Shabbat Morning Service Prayers (Wǒmen gēchàng, wǒmen xiāngjù — Ānxírì chén dǎo qídǎo). . . .

The text of the short prayer Shokhen Ad in Hebrew with a Latin translation. . . .

Rabbi Zalman Schachter-Shalomi, z”l, included his adaptation of the liturgy for the final section of liturgy from the Pesukei Dezimrah, “Yishtabaḥ Shimkha,” in his Siddur Tehillat Hashem Yidaber Pi (2009). . . .

The text of the prayer Yishtabaḥ Shimkha, in Hebrew with a Latin translation . . .

This Chinese translation of an Ashkenazi nusaḥ for the alphabetic acrostic piyyut “El Adon,” is found on page 8 of the liner notes for the Chinese edition of Richard Collis’s album We Sing We Stay Together: Shabbat Morning Service Prayers (Wǒmen gēchàng, wǒmen xiāngjù — Ānxírì chén dǎo qídǎo). . . .

This Chinese translation of an Ashkenazi nusaḥ of the Birkat Ahavah (“Ahavah Rabah”) prayer before the Shema in Shaḥarit is found on pages 12 of the liner notes for the Chinese edition of Richard Collis’s album We Sing We Stay Together: Shabbat Morning Service Prayers (Wǒmen gēchàng, wǒmen xiāngjù — Ānxírì chén dǎo qídǎo). . . .