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
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. . . . A litany of mythical guests and creatures presenting at the Passover seder. . . . 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. . . . A Judeo-Berber translation of the popular Passover song, Ḥad Gadya. . . . A Ge’ez translation of the popular Passover seder song, Ḥad Gadya. . . . Tags: 16th century C.E., 21st century C.E., 53rd century A.M., 58th century A.M., Aramaic, Beta Esrael, Ethiopian Jewry, Ethiopic translation, חד גדיא Ḥad Gadya, פיוטים piyyuṭim, predation, salvation, זמירות zemirot 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. . . . Eḥad Mi Yodéa is a counting-song that is a beloved part of Seders the world over. It is mostly written in Hebrew, counting up to 13, but there are versions that can be found in many different languages. This translation is in Bukhori, also known as Judeo-Tajik, as translated by the great Shimon ben Eliyahu Ḥakham (1843-1910), the chief rabbi of the Bukharan Jewish community in Jerusalem. His full translation of all liturgical additions in the month of Nisan for the Bukharan community can be found in חוקת הפסח Ḥuqat haPesaḥ (1904) – the source for this transcription on page 128-130 (see included). Shimon Ḥakham transcribed it into vocalized Hebrew script, which is included here alongside transliterations into Tajik Cyrillic and a Roman transcription. . . . The text of the popular Passover song “Who Knows One?” in Hebrew set side-by-side with an Aramaic translation. . . . Eḥad Mi Yodéa is a counting-song that is a beloved part of Seders the world over. Counting up to 13, it is mostly written in Hebrew, but there are versions that can be found in many different languages. This translation is in the Judeo-Italian dialect of Siena, based on Geremia Mario Castelnuovo’s 1956 recording from Leo Levi’s collection of Judeo-Italian ethnomusicological recordings. A link to the original recording can be found here. . . . A Judeo-Moroccan Arabic (Darija) adaptation of the Passover counting song Eḥad Mi Yodeaȝ, as found in Mahzor Moȝadé Hashem. . . . A (kosher-for-Passover) prayer for redemption from exile. . . . This Western Yiddish alphabetical adaptation of Adir Hu is first found in the 1769 Selig Haggadah, under the name of “Baugesang” (meaning Building Song). It grew to be a beloved part of the Western Ashkenazi rite, to the point where the traditional German Jewish greeting after the Seder was “Bau gut,” or “build well!” . . . “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. . . . The African-American Christian spiritual adapted for a Pesaḥ song in Hebrew and English. . . . The Chanson Internationale (‘International Song’) was originally written in 1871 by Eugène Pottier, a French public transportation worker, member of the International Workingmen’s Association (The First International), and activist of the Paris Commune. He wrote it to pay tribute to the commune violently destroyed that year. The song became the official anthem of The Second International, of the Comintem, and between 1921 and 1944 also of the Soviet Union. Most socialist and communist parties adopted it as their anthem during the last decades of the 19th century and throughout the 20th century, adapting it in local languages (Russian, Yiddish, etc.) to their particular ideological framework. The anthem was first translated into Hebrew by Avraham Shlonsky in 1921. . . . Tags: 19th century C.E., 57th century A.M., anti-fascist, Humanist, Humanist Judaism, internationalism, Labor Zionism, national anthems, Paris Commune, Siege of Paris (1870–1871), socialism, זמירות zemirot “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. . . . Each day between the beginning of Passover and Shavuot gets counted, 49 days in all, 7 weeks of seven days. That makes the omer period a miniature version of the Shmitah and Yovel (Jubilee) cycle of 7 cycles of seven years. Just as that cycle is one of resetting society’s clock to align ourselves with freedom and with the needs of the land, this cycle too is a chance to align ourselves with the rhythms of spring and the spiritual freedom represented by the Torah. . . . Tags: apprehension, barley, counting, eco-conscious, ecoḥasid, growing, growth, neo-lurianic, ספירת העומר sefirat haomer, ספירות sefirot, trepidation, watchfulness, wheat 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. . . . |
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