Contributor(s): Isaac Gantwerk Mayer (transcription & naqdanut), Isaac Gantwerk Mayer (translation) and Elazar ben Killir
Shared on כ״ג בניסן ה׳תשפ״א (2021-04-04) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license
Categories:  Tishah b'Av
Tags:  acrostic, פיוטים piyyutim, קינות Ḳinnot, Alphabetic Acrostic, Public Amidah, Acrostic signature, 7th century C.E., 45th century A.M., קרובות ḳerovot, עמידה amidah 
Many communities recite a series of poems interwoven with the Amidah on Purim. These poems, known as the “krovets,” were written by Elazar b. Rabbi Kalir, the greatest of the early paytanim. But lesser known than the krovets for Purim are the krovets for Tisha b’Av, written as well by Elazar b. Rabbi Kalir. A fine example of Elazar’s intricate poetry, the krovets for Tisha b’Av is rife with Biblical citations, finally culminating with the prayer for Jerusalem. Each stanza begins with five tightly rhymed lines beginning with a constant א followed by a quintuple half-acrostic on the second letter, then a poetic volta on the word אֵיכָה, followed by a Biblical citation, a verse starting with the last word in the citation, a letter from Elazar’s name, and a final Biblical citation. The krovets for Tisha b’Av is meant to be part of the morning service, tied into the cantorial repetition for Tisha b’Av. . . .
An abridged rhymed translation of the piyyut Yom Zeh l’Yisrael. . . .
A rhymed translation of Tsur Mishelo, a paralitugical Birkat haMazon. . . .
A rhymed translation of the piyyut sung following the Havdallah ritual. . . .
The piyyut, Yah Ribon, in Aramaic with an English translation. . . .
The piyyut, Yah Ribon, in Aramaic with an English translation. . . .
This piyyuṭ, bearing the acrostic signature “Samuel,” is traditionally recited in the communities of Babylonia and India as a petiḥa, or opening poem, before the Song of the Sea. It is also sung on Shabbat Shira, the Sabbath where we read the Song of the Sea in public. This translation is an attempt to preserve the original meaning as well as the rhyme scheme and poetic form. . . .
A 21st century recasting of the iconic 13th century Spanish mystical Rosh haShanah piyyut. . . .
This acrostic poetic form of Birkat haMazon was written for the se’udah mafseqet (pre-fast meal) before Yom Kippur, in the manner of the poetic Birkat haMazon variants recorded in the Cairo Geniza. . . .
This is a poetic text for Birkat haMazon, signed with an alphabetical acrostic and the name of the author, to be recited on the first of Elul. It celebrates the variety of God’s creation as exemplified by the natural diversity of species, as well as alluding to the livestock tithes traditionally assigned on the first of Elul. . . .
An interpretive translation of a piyyut composed as an introduction to the prayer Nishmat Kol Ḥai. . . .
An Aramaic piyyut composed as an introduction to the reading of the Targum for the Torah reading on Shavuot. . . .
Contributor(s): Aharon N. Varady (translation), Moses Gaster (translation) and David ben Elazar ibn Paquda
Shared on ג׳ בסיון ה׳תש״פ (2020-05-26) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license
Categories: Shavuot
Tags: Nusaḥ Sefaradi, acrostic, פיוטים piyyutim, 12th century C.E., 49th century A.M., Acrostic signature, theophany, Har Sinai, Decalogue, התורה the Torah, Azharot 
A poetic introduction to the Azharot of Solomon ibn Gabirol read in the afternoon of Shavuot by Sefaradim. . . .
A piyyut by Shlomo ibn Gabirol included in the arrangement of Baqashot before the morning service in the liturgical custom of Sefaradim. . . .
“Even haRoshah” (the corner stone) is a seliḥah recited on the Fast of Tevet in the Ashkenazi nusaḥ minhag Polin. . . .
A pizmon recited on the Fast of Tevet in the tradition of nusaḥ Ashkenaz. . . .
A zemirah for havdallah by an otherwise unknown rabbinic payyetan known only by his signature acrostic. . . .
A singing translation of the popular piyyut (devotional poem), “Maoz Tzur,” by Reb Zalman for Ḥanukkah. . . .
Maoz Tsur as translated by Dr. Solomon Solis-Cohen, with Hebrew adapted in the first stanza by Joseph Herman Hertz, chief rabbi of the British Empire. . . .
A (kosher-for-Passover) prayer for redemption from exile. . . .
This is one of my favourite Sukkot piyyutim, not least because of the wonderful and easily singable call-and-response melody! The seven verses each highlight one of the seven traditional ushpizin [mythic guests], and a few years ago I wrote an additional seven verses for the seven female ushpizata according to the order of Rabbi David Seidenberg (neohasid.org). . . .
An interpretive translation in English of the shabbes hymn Yom Zeh l’Yisrael. . . .
An interpretive translation of Yehudah haLevi’s shabbat song, “Yom Shabbaton.” . . .
Contributor(s): Gabriel Wasserman, Aharon ben Yosef of Constantinople and Karaite Jews of America
Shared on ב׳ במרחשון ה׳תשע״ח (2017-10-22) — under the following terms: Creative Commons Attribution-ShareAlike (CC BY-SA) 4.0 International copyleft license
Categories: Shaḥarit l'Shabbat ul'Yom Tov
Tags: פיוטים piyyutim, 13th century C.E., 51st century A.M., Byzantium, Byzantine Empire, Karaism, Constantinople, the 7th Day, Acrostic signature, קדושה Qedushah 
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The mystical piyyut of Avraham Maimin, a student of Moshe Cordovero, translated by Len Fellman. . . .
A song for celebrating the Shabbat. . . .
Supplemental prayers for the Birkat Hamazon on Tisha b’Av, Tu b’Av, and Shabbat Naḥamu by Gabriel Wasserman . . .
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