This is an archive of prayers, songs, and other individual works relevant to the final course of the seder for Pesaḥ (Passover): Nirtsah, containing piyyutim and the counting of the Omer. Click here to contribute a work or a transcription and translation of a historical work that you have prepared for Nirtsah in the Seder Pesaḥ. Filter resources by Collaborator Name Filter resources by Tag Filter resources by Category Filter resources by Language Filter resources by Date Range
Resources filtered by COLLABORATOR: “Aharon N. Varady (transcription)” (clear filter)The piyyut, Omets G’vurotekha by Elazar ha-Qalir, 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). . . . The piyyut, Omets G’vurotekha by Elazar ha-Qalir, in its Latin translation by Johann Stephan Rittangel. . . . The text of the popular piyyut “Adir Bimlukhah” (a/k/a “Ki lo na’eh”) in Hebrew, with a Latin translation. . . . Making sense of Ḥad Gadya beyond its explicit meaning has long inspired commentary. For me, Ḥad Gadya expresses in its own beautiful and macabre way a particularly important idea in Judaism that has become obscure if not esoteric. While an animal’s life may today be purchased, ultimately, the forces of exploitation, predation, and destruction that dominate our world will be overturned. Singing Ḥad Gadya is thus particularly apropos for the night of Passover since, in the Jewish calendar, this one night, different from all other nights, is considered the most dangerous night of the year — it is the time in which the forces of darkness in the world are strongest. Why? It is on this night that the divine aspect of Mashḥit, the executioner, is explicitly invoked (albeit, only in the context of the divine acting as midwife and guardian/protector of her people), as explained in the midrash for Exodus 12:12 . . . A Latin translation of the popular Passover song, Ḥad Gadya. . . . This is “Had Gadiâ | Un Cabri: La Légende de l’Agneau (Poésie chaldaico-provençale, chantée a la table de famille les soirs de Paques),” a translation of Ḥad Gadya into French by Dom Pedro Ⅱ (1825-1891), emperor of Brazil, as published in Poésies hébraïco-provençales du rituel israélite comtadin traduites et transcriptes par S. M. D. Pedro Ⅱ, de Alcântara, empereur du Brésil (1891), pp. 45-59. A note on the last page indicates the translation was made in Vichy, France on 30 July 1891. . . . The text of the popular Passover song “Who Knows One?” in its original Hebrew and Yiddish, with a translation in English. . . . The text of the popular counting song “Who Knows One?” in its original Hebrew, with a translation in Latin. . . . “La Marseillaise” is the national anthem of France. This Hebrew translation was made by Efrayim Dror for the Free French Army (Forces Françaises Libres) and its many Jewish volunteers during the early years of World War II. The translation was published in 1951. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled “Chant de guerre pour l’Armée du Rhin” (“War Song for the Army of the Rhine”). The French National Convention adopted it as the Republic’s anthem in 1795. The song acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. After the fall of Napoleon in 1815 “La Marseilles” was banned and it became the anthem of the French left. The Government brought back the iconic anthem in an attempt to motivate the French people during the Franco-Prussian War. During the nineteenth and early twentieth centuries, “La Marseillaise” was recognized as the anthem of the international revolutionary movement; as such, it was adopted by the Paris Commune in 1871, albeit with new lyrics under the title “La marseillaise de la Commune.” Eight years later, in 1879, it was restored as France’s national anthem. On Simḥat Torah (18–19 October) 1973, the Lubavitcher Rebbe adapted the melody to the Jewish prayer “Ha’aderet v’ha’emuna”. In ḤaBaD, the melody is believed to convey the idea of a “spiritual French revolution” – in that Torah should be spread around the world as an advent to the messianic era. . . . “baShanah haBa’ah” (Next Year) by Ehud Manor written in 1968 in memory of his brother Yehudah. . . . “Orah hee” was composed by Rabbi Jill Hammer in 2008 and first published at Tel Shemesh in romanized Hebrew and English translation. . . . |
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