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 Contributor(s):A piyyuṭ sung by the Jews of Algiers on Shavu’ot and Simḥat Torah (and by some Moroccans for baqashot on Parashat Toldot). Yayin Tov Ratov is a love song from the perspective of God that uses a lot of language from Song of Songs. Wine and song, in this case, are both metaphors for the Torah. Of unknown origin, the acrostic spells out the name יצחק, although I can confirm that it wasn’t me who wrote it. . . . Contributor(s):The genre of B’raḥ Dodi piyyutim, a variety of geulah piyyut oriented around many Shir haShirim citations, is exclusively associated with Pesaḥ in Ashkenazi practice. Maḥzorim for Pesaḥ include B’raḥ Dodi piyyutim for the first two days and Shabbat Ḥol ha-Moed of Pesaḥ and nowhere else. So to reflect the themes of Pesaḥ Sheni, a B’raḥ Dodi piyyut is a great fit! . . . יִשְׂרָאֵל אִם־לֹא בְּשִׂמְחָה | Yisrael Im Lo b-Simḥah — an ahavah for Pesaḥ Sheni, by Isaac Gantwerk Mayer Contributor(s):An ahavah for Pesaḥ Sheni. An acrostic spelling out “Yitsḥaq son of Avraham, the priest, ḥazaq,” with a refrain derived from Mishnah Pesaḥim 9:1. . . . Contributor(s):A yotser for Pesaḥ Sheni. Each stanza is written with a threefold acrostic — the first two lines in atbash, the third spelling “Yitsḥaq Har’el Ḥazaq,” and the fourth a verse from Numbers 9. . . . Qedushta Additions for the Public Repetition of the Amidah on Sigd, adapted from the original liturgical texts by Isaac Gantwerk Mayer Contributor(s):This is a Hebrew adaptation of the poems traditionally recited by the Beta Israel community for the festival of Sigd, altered and adapted to fit the traditional qedushta form of poetic Amidah additions. The texts of the first few prayers were rewritten substantially and combined with relevant verses so as to fit in the strict form of the magen, mehaye, meshalesh, and El Na. After this, the qiqlar is slightly edited to fit a couplet rhyme scheme, while the silluq (the freest of the genres of qedusha piyyut) is almost entirely preserved — the only change being several verses whose placement is postponed so as to better lead into the qedusha as a silluq should. Regarding translations, the silluq largely uses my original translation with slight alterations (replacing the clunky use of ‘God’ as a pronoun with a gender-neutral THEIR, translating the Agaw passages into Latin rather than English to preserve general comprehensibility while clarifying that this is a different language), while the rest of the poems are different enough for their translation to largely be from scratch. These would be recited with the Ark open for all the piyyutim, as one would on the Yamim Noraim, ideally using melodies from the Sigd liturgy. . . . Contributor(s):This is an original piyyut, inspired by the structure of the beloved Yom Kippur Ne’ilah piyyut El Nora ‘Alila. In the era of the Sanhedrin, every fast day would have a Ne’ilah service between Minḥa and the conclusion of the fast. While these are no longer in practice for any days other than Yom Kippur, the editor personally feels like it could be worth bringing them back. As part of this idea, this piyyut is meant to be sung after the end of Tishah b’Av mincha but before the fast ends, as we prepare for the weeks of comfort. It is expressly *not* a qinah. . . . מָעוֹז צוּר | Maoz Tsur for Yom ha-Atsma’ut, a complete poetic translation with an added stanza for the State of Israel’s Independence Day by Isaac Gantwerk Mayer Contributor(s):This is a complete poetic rhyming translation of Maoz Tsur with all six of its stanzas including a seventh, final stanza written by Isaac Gantwerk Mayer specifically for Yom ha-Atsmau’ut. . . . ברכת המזון לסעודה מפסקת לפני יום הכפורים | Birkat haMazon for the Pre-Fast Meal for Yom Kippur, by Isaac Gantwerk Mayer Contributor(s):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. . . . ברכת המזון לראש השנה לבהמה | Birkat haMazon Supplement for Rosh haShanah la-Behemah, by Isaac Gantwerk Mayer Contributor(s):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. . . . Contributor(s):A 21st century recasting of the iconic 13th century Spanish mystical Rosh haShanah piyyut. . . . Contributor(s):A piyyut for an under-recognized holiday, Pesaḥ Sheni, the festival of second chances (as described in Numbers 9:6-13 and Mishnah Pesaḥim 9:1-3. I attempted to write this in the manner of a traditional piyyut. The meter is equivalent to the Shabbat zamir “Ot Hi l’Olmei Ad.” The Hebrew spells out Yod – Tzadi – Ḥet – Kuf, because that’s my name. The translation is original, along with the notes. . . . Contributor(s):Supplemental prayers for the Birkat Hamazon on Tu b’Av. . . . Contributor(s):Supplemental prayers for the Birkat Hamazon on Tisha b’Av, Tu b’Av, and Shabbat Naḥamu. . . . אל רם חסין יה | El Ram Ḥasin Yah, a piyyut for Sukkot by Shlomo haPaytan (egal adaptation by Noam Sienna, 2012) Contributor(s):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). . . . Contributor(s):Loading . . . הַמַּבְדִּיל בֵּין קֹדֶשׁ לְחֹל | Hamavdil Ben Ḳodesh l’Ḥol, a piyyut attributed to Yitsḥaq ben Yehudah ibn Ghayyat (German translation by Franz Rosenzweig 1921) Contributor(s):The text of the piyyut, “HaMavdil,” with a German translation by Franz Rosenzweig. . . . צוּר מִשֶּׁלּוֹ אָכַֽלְנוּ | Tsur Mishelo Akhalnu, a paraliturgical Birkat haMazon (translation by Nina Salaman 1914) Contributor(s):The paralitugical Birkat haMazon Tsur Mishelo, in Hebrew with an English translation. . . . Contributor(s):The piyyut, Refa Tsiri, in Hebrew with an English translation. . . . הַמַּבְדִּיל בֵּין קֹדֶשׁ לְחֹל | Hamavdil Ben Ḳodesh l’Ḥol, a piyyut attributed to Yitsḥaq ben Yehudah ibn Ghayyat (rhymed translation by Alice Lucas, 1898) Contributor(s):A rhymed translation of the piyyut sung following the Havdallah ritual. . . . צוּר מִשֶּׁלּוֹ אָכַֽלְנוּ | Tsur Mishelo Akhalnu, a paraliturgical Birkat haMazon (rhymed translation by Alice Lucas, 1898) Contributor(s):A rhymed translation of Tsur Mishelo, a paralitugical Birkat haMazon. . . . כָּל־בְּרוּאֵי | Kol B’ru-ei, a piyyut by Shlomo ibn Gabirol (trans. Rabbi David Aaron de Sola, 1857) Contributor(s):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. . . . יוֹם זֶה לְיִשְׁרַאֵל | Yom Zeh l’Yisrael, a piyyut by Rabbi Yitsḥaq Luria (translation by Rabbi David Aaron de Sola, 1857) Contributor(s):This translation of “Yom Zeh l’Yisrael” by Rabbi David Aaron de Sola of a piyyut by Rabbi Yitsḥaq Luria was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . . כִּי אֶשְׁמְרָה שַׁבָּת | Ki Eshmerah Shabbat, a piyyut by Avraham ibn Ezra (trans. Rabbi David Aaron de Sola, 1857) Contributor(s):This translation of “Ki Eshmera Shabbat” by Rabbi David Aaron de Sola of a piyyut by Avraham ibn Ezra was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . . אֱלֹהִים יִסְעָדֵנוּ | Elohim Yisadenu, a piyyut by Avraham ibn Ezra (trans. Rabbi David Aaron de Sola, 1857) Contributor(s):This translation by Rabbi David Aaron de Sola of “Elohim Yisadenu” by a paytan named Avraham (possibly Avraham ibn Ezra) was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . . בָּרֲכִי נַפְשִׁי | Preise ihn, meine Seele! | Barkhi Nafshi, a piyyut by Yehudah haLevi in abridged translation by Yehoshua Heshil Miro (1835) Contributor(s):“Zweites Gebet vor Neïla” is an abridged, adapted translation by Yehoshua Heshil Miro of the piyyut by Yehudah haLevi “Barkhi Nafshi et Adonai.” There are seven stanzas missing near the end including the final stanza and a portion of the penultimate stanza. The translation was published in Miro’s anthology of teḥinot, בית יעקב (Beit Yaaqov) Allgemeines Gebetbuch für gebildete Frauen mosaicher Religion. It first appears in the 1835 edition, as teḥinah №48 pp. 83-85. In the 1842 edition, it appears as teḥinah №50 on pp. 86-90. . . . יָהּ הַצֵּל יוֹנָה | Yah Hatsel Yonah (Shelter, God, the Dove), complete poetic translation by Isaac Gantwerk Mayer Contributor(s):Yah Hatsel Yonah is a traditional piyyut for Ḥanukkah, of unknown origin (although it spells out the name Yehuda as an acrostic). Beloved in Iraqi Jewish circles, it discusses the hope that Israel, likened to a dove, will be able to celebrate Ḥanukkah during a time of true redemption. Included is a relatively literal (but de-gendered) translation, as well as a poetic singable one. . . . פזמון בשעת המגפה ח״ו | Pizmon for a time of plague (God forbid!), by Rabbi Moses Mendels (ca. early 17th c.) Contributor(s):This seliḥah, “Moshel ba-Elyonim Atah Yadata,” was written by Rabbi Mosheh ben Yeshayah Menaḥem Bachrach during an epidemic. It is included in the Seliḥot of Posen, Krakow, Prague, Worms, and Alsace. The text here was transcribed from the Siddur Kol Bo, vol. 3 (1923), p. 33. . . . Contributor(s):A zemer for shabbat, with English translation. . . . Contributor(s):A (kosher-for-Passover) prayer for redemption from exile. . . . אֵל מִסְתַּתֵּר | El Mistater (The God who is Hidden), by Avraham Maimin (ca. 1550, translation by Rabbi Zalman Schachter Shalomi) Contributor(s):The mystical piyyut of Avraham Maimin, a student of Moshe Cordovero, translated by Reb Zalman. . . . Contributor(s):The mystical piyyut of Avraham Maimin, a student of Moshe Cordovero, translated by Len Fellman. . . . Contributor(s):Based on the acrostic signature, this piyyut popularly sung at the Shabbat table, is attributed to an otherwise unknown paytan named Yehonatan. . . . Contributor(s):This piyyut is signed “Elyaqim Ḥazaq.” Alas, we do not know who this Elyaqim was or even whether he was a rabbinic or Karaite Jew. The piyyut has been preserved for us in the Karaite cycle (Vilna printing press, 1852, Vol. IV, p. 135.) and there are several other piyyutim signed with his name. . . . Contributor(s):A zemirah for havdallah by an otherwise unknown rabbinic payyetan known only by his signature acrostic. . . . Contributor(s):A song for celebrating the Shabbat. . . . Contributor(s):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. . . . אֲסַדֵּר לִסְעוּדָתָא | Asader liS’udata, a piyyut for Shabbat morning by Rabbi Yitsḥaq Luria (translation by Rabbi Zalman Schachter Shalomi) Contributor(s):A piyyut by the ARI for the day of Shabbat in Aramaic set side-by-side with Reb Zalman’s paraliturgical, devotional translation. . . . אֲזַמֵּר בִּשְׁבָחִין | Azamer biShvaḥin, a piyyut for Friday evening by Rabbi Yitsḥaq Luria (translation by Rabbi Zalman Schachter Shalomi) Contributor(s):The Friday evening shabbat piyyut, Atqinu Seudata, in Aramaic set side-by-side with Reb Zalman’s paraliturgical, devotional translation. . . . בְּנֵי הֵיכָלָא | Bnei Heikhala, a piyyut for Shabbat afternoon by Rabbi Yitsḥaq Luria (translation by Rabbi Zalman Schachter Shalomi) Contributor(s):A piyyut by the ARI for the afternoon of Shabbat in Aramaic set side-by-side with Reb Zalman’s paraliturgical, devotional translation. . . . יוֹם זֶה לְיִשְׁרַאֵל | Yom Zeh l’Yisrael, a Shabbat hymn attributed to Rabbi Yitsḥaq Luria (interpretive translation by Rabbi Zalman Schachter-Shalomi) Contributor(s):An interpretive translation in English of the shabbes hymn Yom Zeh l’Yisrael. . . . יוֹם זֶה לְיִשְׁרַאֵל | Yom Zeh l’Yisrael, a piyyut by Rabbi Yitsḥaq Luria (translation by Nina Salaman, 1914) Contributor(s):A translation of the piyyut Yom Zeh l’Yisrael. . . . יוֹם זֶה לְיִשְׁרַאֵל | Yom Zeh l’Yisrael, a piyyut by Rabbi Yitsḥaq Luria (abridged rhymed translation by Alice Lucas, 1898) Contributor(s):An abridged rhymed translation of the piyyut Yom Zeh l’Yisrael. . . . יָהּ רִבּוֹן | Yah Ribōn, a piyyut by Rabbi Yisrael Najara (16th c.) translation by Sara-Kinneret Lapidot Contributor(s):The piyyut, yah Ribon Olam, in Hebrew with an English translation. . . . יָהּ רִבּוֹן | Yah Ribōn, a piyyut by Rabbi Yisrael Najara (16th c.) translated by Rabbi Israel Brodie (1962) Contributor(s):The piyyut, Yah Ribon, in Aramaic with an English translation. . . . יָהּ רִבּוֹן | Yah Ribōn, a piyyut by Rabbi Yisrael Najara (16th c.) rhyming translation by Israel Abrahams (1914) Contributor(s):The piyyut, yah Ribon Olam, in Hebrew with a rhyming English translation. . . . יָהּ רִבּוֹן | Yah Ribōn, a piyyut by Rabbi Yisrael Najara (16th c.) translation by Rabbi David Aaron de Sola (1857) Contributor(s):This translation by Rabbi David Aaron de Sola of “Yah Ribon” by Rabbi Yisrael Najara was first published in his Ancient Melodies of the Spanish and Portuguese Jews (1857). . . . יָהּ רִבּוֹן | Yah Ribōn, a piyyut by Rabbi Yisrael Najara (16th c.) translated by Paltiel Birnbaum (1949) Contributor(s):The piyyut, Yah Ribon, in Aramaic with an English translation. . . . בּוֹרֵא עַד אָנָּה | Borei Ad Anah (“Creator! How long”), a ḳinah after the Spanish Expulsion (ca. 16th c.) Contributor(s):“Bore ‘Ad Anah” is a ḳinah recited in a number of Sephardic communities on Tishah b’Av (or in some cases on Shabbat Hazon, the Shabbat preceding Tishah b’Av), particularly in the Spanish-Portuguese and North African traditions. The author is unknown, but his name is likely Binyamin based on the acrostic made up of the first letters of the verses. In the kinah, the Children of Israel are compared to a wandering dove caught in a trap by predators, crying out its father, God. The ḳinah was likely written as a poignant response to the Spanish Inquisition, appropriate to Tishah b’Av since the expulsion of the Jews from Spain occurred on the 9th of Av in the year 1492. The version presented here was likely censored, as many manuscripts have the fifth verse presented in the following manner directly calling out their Catholic oppressors,” יועצים עליה עצות היא אנושה זרים העובדים אלילים שלושה אם ובן ורוח כי אין להם בושה גדול ממכאובי.” “They counsel against her and she languishes, the strangers who worship three idols, father, son and spirit, for they have no shame and great is my suffering.” . . . מָעוֹז צוּר | Maoz Tsur (Stronghold Rock who Rescues Me), complete poetic translation by Isaac Gantwerk Mayer Contributor(s):A complete poetic translation (all six verses) of Maoz Tsur. As far as the editor knows this is the first translation of Maoz Tsur to both (a) cover all the verses relatively accurately and (b) preserve the strict ABAB-BBCCB rhyme scheme of the original. (Reb Zalman’s comes close but it goes ABAB-CCDDC instead). If it sounds violent, that’s because it *is* violent. Ḥanukkah is a holiday about actively fighting against assimilation and abuse. A lot of Maoz Tsur translations are censored, but it’s a powerful, loud, and even nationalist statement. . . . Contributor(s):A singing translation of the popular piyyut (devotional poem), “Maoz Tzur,” by Reb Zalman for Ḥanukkah. . . . |
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