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tag: קרובות ḳerovot Sorted Chronologically (old to new). Sort most recent first? This is the piyyut “Az Haytah Ḥanayat Sukō (Of yore, abode His dwelling place,)” a qerovah piyyut by Elazar Kalir for the first day of Sukkot, published in Adler and Davis’s Maḥzor for Sukkot, Avodat Ḥag ha-Sukkot (1908), pp. 212. Categories: Tags: Contributor(s): 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. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, Acrostic signature, Alphabetic Acrostic, עמידה amidah, קרובות ḳerovot, פיוטים piyyuṭim, Public Amidah, קינות Ḳinōt Contributor(s): The poetic genre known as ḳerovot, brief poems woven throughout the repetition of the weekday Amidah, is nowadays most closely associated with Elazar biRabbi Qallir’s Purim “Qrovetz“, a majestically interwoven piece of piyyut if ever there was one. But there are many other ḳerovot that have historically been recited, and this one is by the same author! The weekday qerovot cycle for Ḥanukkah, retelling the story of the Greek oppression using intricate poetic language. Included within is a qedushtah that instructs us on some of the halakhic requirements for the Ḥanukkah lights. Categories: Tags: 43rd century A.M., 7th century C.E., acrostic, Acrostic signature, Alphabetic Acrostic, עמידה amidah, קרובות ḳerovot, Nusaḥ Erets Yisrael, פיוטים piyyuṭim, Public Amidah Contributor(s): The complete qedushta cycle (colloquially called “yotzros,” although it is not technically yotzrot but rather qerovot) for Shabbat Sheqalim by Qallir, including all the catenae of verses and repeated refrains often skipped in Ashkenazi practice. Alphabetical texts are translated with alphabetical acrostics. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, עמידה amidah, four special parashot, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, קרובות ḳerovot, פיוטים piyyuṭim, Public Amidah, שבת שקלים Shabbat Sh'qalim Contributor(s): The complete qedushta cycle for Shabbat Zakhor by Qallir, including all the catenae of verses and repeated refrains often skipped in Ashkenazi practice. Alphabetical texts are translated with alphabetical acrostics. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, Alphabetic Acrostic, alphabetic acrostic translation, עמידה amidah, four special parashot, קרובות ḳerovot, פיוטים piyyuṭim, pre-Purim, Problematic prayers, Public Amidah, שבת זכור Shabbat Zakhor Contributor(s): The complete qedushta cycle for Shabbat HaḤodesh by Qallir, including all the catenae of verses, repeated refrains, and additional rahitin often skipped in Ashkenazi practice. Alphabetical texts are translated with alphabetical acrostics. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, Alphabetic Acrostic, alphabetic acrostic translation, עמידה amidah, four special parashot, קרובות ḳerovot, liberation, פיוטים piyyuṭim, Public Amidah, שבת החודש Shabbat haḤodesh Contributor(s): The poetic genre known as ḳerovot, brief poems woven throughout the repetition of the weekday Amidah, is nowadays most closely associated with Elazar haḲalir’s Purim “Ḳrovetz“, a majestically interwoven piece of piyyut if ever there was one. This is the traditional Ashkenazi qerovot added to the Musaf repetition for Shabbat HaḤodesh, alongside a gender-neutral translation first made in 2022 but being posted here now. Categories: Tags: 45th century A.M., 7th century C.E., acrostic, Alphabetic Acrostic, עמידה amidah, four special parashot, קרובות ḳerovot, פיוטים piyyuṭim, Public Amidah, שבת החודש Shabbat haḤodesh Contributor(s): The poetic genre known as qerovot, brief poems woven throughout the repetition of the weekday Amidah, is nowadays most closely associated with Elazar haḲalir’s Purim “Ḳrovetz“, a majestically interwoven piece of piyyut if ever there was one. But there are many other ḳerovot that have historically been recited, many of which were discovered in the Cairo Geniza. This set of ḳerovot, composed by the prolific Spanish paytan Yosef ibn Abitur, is meant to be included within the Shaḥarit amidah for Ta’anit Esther, the fast day before Purim. Consequently, it only goes up to the sixth blessing (the blessing for forgiveness) and concludes by leading directly into Seliḥot, which (before R. Yosef Karo’s standardization of the liturgy, and even now among some Western Ashkenazim) were inserted into the aforementioned blessing. In order to demonstrate this structure on a large scale, the editor here has compiled a full Shaḥarit repetition, nusaḥ Ashkenaz, incorporating the qerovot of Yosef ibn Abitur as well as the three seliḥot piyyutim of the Ashkenazi rite. Categories: Tags: 11th century C.E., 49th century A.M., acrostic, Alphabetic Acrostic, עמידה amidah, Cairo Geniza, fasting, קרובות ḳerovot, פיוטים piyyuṭim, Public Amidah, סליחות səliḥot Contributor(s): This is the piyyut “Ma’aseh Eloheinu (The work of our God)” a piyyut by Meshullam ben Ḳalonymous in the qerovot section of the reader’s repetition of the Yom Kippur shaḥarit amidah, published in Adler and Davis’s Maḥzor for Yom Kippur, Avodat Yom ha-Kippurim vol. 2 (1904), p. 67. Categories: Tags: 10th century C.E., 48th century A.M., acrostic, Alphabetic Acrostic, קרובות ḳerovot, פיוטים piyyuṭim Contributor(s): This is the piyyut “Asher Omets Tehilatekha (Thou, the might of whose praise)” a piyyut by an unknown paytan (possibly Meshullam ben Ḳalonymous) in the qerovot section of the reader’s repetition of the Yom Kippur shaḥarit amidah, published in Adler and Davis’s Maḥzor for Yom Kippur, Avodat Yom ha-Kippurim vol. 2 (1904), p. 68. Categories: Tags: 10th century C.E., 48th century A.M., acrostic, Alphabetic Acrostic, קרובות ḳerovot, פיוטים piyyuṭim Contributor(s): This is the piyyut “Asher Eimatekha (Thou whose fear…)” a piyyut by Meshullam ben Ḳalonymous for the reader’s repetition of the Yom Kippur musaf amidah, published in Adler and Davis’s Maḥzor for Yom Kippur, Avodat Yom ha-Kippurim vol. 2 (1904), pp. 147-149. Categories: Tags: 10th century C.E., 48th century A.M., acrostic, Angels, double acrostic, Humanist, קרובות ḳerovot, פיוטים piyyuṭim Contributor(s): The traditional Ashkenazi qerovot added to the Musaf repetition for Shabbat Sheqalim, alongside a new gender-neutral translation Ḳerovot for Tu biShvat, a celebration of Divine verdancy, which namedrops a stunning array of flora from throughout the land of Israel. Categories: Tags: 11th century C.E., 49th century A.M., acrostic, Alphabetic Acrostic, עמידה amidah, Cairo Geniza, ethnobotany, קרובות ḳerovot, Nusaḥ Erets Yisrael, פיוטים piyyuṭim, Public Amidah Contributor(s): The full qedushtaot and “seder” azhara for Shabbat haGadol, largely by the great eleventh-century paytan R. Yosef Bonfils (with one additional rahit by Yannai), including all the catenae of verses and repeated refrains often skipped in Ashkenazi practice. Alphabetical texts are translated with alphabetical acrostics. Categories: Tags: 11th century C.E., 49th century A.M., acrostic, phonetic alphabetic acrostic translation, Alphabetic Acrostic, עמידה amidah, אזהרות azharot, קרובות ḳerovot, פיוטים piyyuṭim, Public Amidah 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. This is an original ḳedushtaot cycle for Yom Meturgeman, the eighth of Tevet, to be inserted into the ‘amidah. Categories: Tags: acrostic, Alphabetic Acrostic, עמידה amidah, אתבש atbash, קרובות ḳerovot, פיוטים piyyuṭim, Public Amidah, קדושתאות ḳedushtaot Contributor(s): Purim in walled cities (meaning, practically, in Jerusalem) occurs on the day after it does outside of them. This means that when Purim falls on a Friday, it falls on Shabbat in Jerusalem. This unique occurrence is called Purim Meshulash, “Threefold Purim,” because the practices for the day are divided into three. The megillah is read and gifts are given to the poor on Friday, the Torah reading is on Shabbat, and the festive meal and gifts to friends on Sunday. Since this practice of Shabbat Purim is unique to Jerusalem, and for much of Ashkenazi poetic history the Jewish community in Jerusalem was negligible, there are very few liturgical texts designed for Shabbat Purim Meshulash. This is, in the author’s opinion, a shame, because all the other special shabbatot surrounding it have a plethora of special piyyuṭim to insert into their cycles. This cycle of a shiv’ata (sevenfold piyyut) and an eloheikhem (Qedushah insertion) is meant to fill that void. Categories: Tags: acrostic, Alphabetic Acrostic, קרובות ḳerovot, פיוטי אלהיכם piyyuṭei eloheikhem, פיוטים piyyuṭim, Public Amidah, שבעתא shiv'ata, Shushan Purim Contributor(s): A full qedushta cycle, in the Qallirian style, for the Shabbat between Yom haShoah and Yom ha-Atsma’ut, referred to in the recently published Israeli Reform siddur Tefilat haAdam as “Shabbat Tequmah” (the sabbath of renewal). Partially based on the structure of the qedushta for Shabbat haGadol, the culmination of this qedushta is an azhara, a poetic retelling of the entire Megilat ha-Atsma’ut. Categories: Tags: acrostic, Acrostic signature, Alphabetic Acrostic, עמידה amidah, אזהרות azharot, ארץ ישראל Erets Yisrael, קרובות ḳerovot, מדינת ישראל Medinat Yisrael, פיוטים piyyuṭim, Public Amidah, religious Zionist prayers, shabbat tequmah Contributor(s): A shiv’ata is a sevenfold blessing inserted into the Musaf service on Shabbat. This shiv’ata was written for use at a bar mitsvah. Each stanza begins with an example of thirteen as used in our tradition, followed by an alphabetical acrostic. This piyyuṭ is for a bar mitsvah, where a boy turns thirteen. A shiv’ata is a sevenfold blessing inserted into the Musaf service on Shabbat. This original shiv’ata is for a bat mitsvah following the traditional count, where a girl turns twelve. Each stanza begins with an example of twelve as used in our tradition, followed by an alphabetical acrostic. | ||
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