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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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פיוטים piyyuṭim —⟶ tag: פיוטים piyyuṭim Sorted Chronologically (old to new). Sort most recent first? The mystical piyyut of Avraham Maimin, a student of Moshe Cordovero, translated by Len Fellman. Categories: Tags: acrostic, Acrostic signature, אל מסתתר El mistater, פיוטים piyyuṭim, prayers of ḳabbalists, shaleshudes, זמירות zemirot Contributor(s): According to Joseph Judah Chorny’s On the Caucasian Jews, this acrostic piyyuṭ was customarily used as an epithalion before a wedding. He writes, “Before morning light, the bride is led to the groom’s house accompanied by many women and men, all carrying lit wax candles in their hands, and singing this song along the way.” Variants of this piyyut are found throughout the greater Sephardic world, generally in an abbreviated and slightly altered form. In Syria it is sung during the haqafot for Simḥat Torah, while in Livorno Sephardic practice (and subsequently in most Eastern Sephardic maḥzorim) it is a Shavu’ot piyyut. Categories: Tags: phonetic alphabetic acrostic translation, Alphabetic Acrostic, anti-soporific, epithalamion, Kavkazi Jewry, פיוטים piyyuṭim, stimulant, זמירות zemirot Contributor(s): A German-language Lied, or art song, retelling Ḥad Gadya, by the great cantor (and father of an even greater composer) Isaac Offenbach. First published in his 1838 “Hagadah, oder Erzählung von Israels Auszug aus Egypten” in Cologne, along with sheet music of a setting for voice and piano, it is here typed in modernized German spelling. Categories: Tags: Contributor(s): This is a Mi Khamokha piyyut by Yisrael Najara for Shabbat Ḥanukkah retelling Megilat Antiokhos in a lengthy fourfold acrostic with each stanza ending in בוֹ. A different version of the poem Lekhah Dodi according to the book Seder haYom by R. Moshe ibn Makhir of righteous blessed memory, vocalized and translated into English by Isaac Mayer. Categories: Tags: 16th century C.E., 54th century A.M., לכה דודי Lekhah Dodi, פיוטים piyyuṭim, Psalms 92, Queens, Tsfat Contributor(s): An early 17th century song for Yom T’ruah (Rosh haShanah) by Karaite Ḥakham, Zeraḥ ben Nathan of Troki. Categories: Tags: 17th century C.E., 54th century A.M., פיוטים piyyuṭim, תשובה teshuvah, זמירות zemirot, זמן תשובה Zman teshuvah Contributor(s): This is a variation of Mipi El in Hebrew with a Judeo-Arabic translation found in the Seder al-Tawḥid for Rosh Ḥodesh Nissan, compiled by Mosheh Asher ibn Shmuel in 1887 in Alexandria. Categories: Tags: 17th century C.E., 54th century A.M., acrostic, Alphabetic Acrostic, אין אדיר Ayn Adir, הקפה ד׳ fourth haḳafah, Judeo-Arabic, פיוטים piyyuṭim, via negativa, זמירות zemirot Contributor(s): An early 17th century song for Yom T’ruah (Rosh haShanah) by Karaite Ḥakham, Zeraḥ ben Nathan of Troki. Categories: Tags: 17th century C.E., 54th century A.M., פיוטים piyyuṭim, תשובה teshuvah, זמירות zemirot, זמן תשובה Zman teshuvah Contributor(s): A popular piyyut for Simḥat Torah (4th hakkafah) originally composed as a piyyut for Shavuot and often referred to by its incipit, “Mipi El.” Categories: Tags: 17th century C.E., 54th century A.M., acrostic, Alphabetic Acrostic, אין אדיר Ayn Adir, הקפה ד׳ fourth haḳafah, פיוטים piyyuṭim, via negativa, זמירות zemirot Contributor(s): A 42 Letter Divine Name acrostic piyyut to comfort someone in the process of dying. Categories: Tags: 17th century C.E., 42 letter divine name, 54th century A.M., ascent, between life and death, caring for the dying, hospice, פיוטים piyyuṭim, thanatology Contributor(s): A piyyut providing the 42 letter divine name as an acrostic, recorded in the work of Rabbi Isaiah Horowitz. Categories: Tags: 42 letter divine name, acrostic, ascent, between life and death, Divine name acrostic, אל ברוך El Barukh, פיוטים piyyuṭim Contributor(s): The piyyut, “Adon haKol” by Rabbi Shalom Shabazi Categories: Tags: Contributor(s): These are two supplemental stanzas for Maoz Tsur with regard to the present exile, written by Shmuel ben David Moshe Halevi of Mezhyrich (ca. 1625-1681, author of the Naḥalat Shiv’ah), as compiled in the Kitzur Shnei Luḥot haBrit, a controversial yet influential work by Yeḥiel Michel Segal Epstein Ashkenazi published in 1683. Categories: Tags: 17th century C.E., 55th century A.M., Acrostic signature, combating anti-Jewish oppression, Jewish-Christian relations, מעוז צור Maoz Tsur, particularism and universalism, פיוטים piyyuṭim, polemic Contributor(s): These are two supplemental stanzas for Maoz Tsur with regard to the present exile, written by Yeḥiel Michel Segal Epstein Ashkenazi (ca. 1625-1681, author of the Qitsur SheLaH), as compiled in the Kitzur Shnei Luḥot haBrit, a controversial yet influential work by Ashkenazi published in 1683. Categories: Tags: 17th century C.E., 55th century A.M., combating anti-Jewish oppression, Jewish-Christian relations, מעוז צור Maoz Tsur, particularism and universalism, פיוטים piyyuṭim, polemic Contributor(s): Ashorer Shirim Naim — a piyyuṭ intended to be sung before Nishmat in the Shaḥarit of Shabbat Ḥanukkah — was written by the great Moroccan paytan Yaaqov ibn Tsur (1673–1753) of Fez. It was first put to print in the Sefer ‘Et l-Kol Ḥefetz, printed by ibn Tsur’s descendants in 1893 in Alexandria. Categories: Tags: 18th century C.E., 55th century A.M., Maghrebi Jewry, Meknes, Morocco, פיוטים piyyuṭim, זמירות zemirot Contributor(s): Yevanim ‘Amdu Qamu — a piyyuṭ intended to be sung before Yishtabaḥ in the Shaḥarit of Shabbat Ḥanukkah — was written by the great Moroccan paytan Yaaqov ibn Tsur (1673–1753) of Fez. It was first put to print in the Sefer ‘Et l-Kol Ḥefetz, printed by ibn Tsur’s descendants in 1893 in Alexandria. It may be sung to the melody of Ḥai Ani Goel Avi Aleikhem.” Categories: Tags: 18th century C.E., 55th century A.M., Acrostic signature, Maghrebi Jewry, Meknes, Morocco, פיוטים piyyuṭim, זמירות zemirot Contributor(s): Yom Yom Eftaḥ Pi — a piyyuṭ intended to be sung before Nishmat (of Shaḥarit) of Shabbat Ḥanukkah — was written by the great Moroccan paytan Yaaqov ibn Tsur (1673–1753) of Fez. It was first put to print in the Sefer ‘Et l-Kol Ḥefetz, printed by ibn Tsur’s descendants in 1893 in Alexandria. Categories: Tags: 18th century C.E., 55th century A.M., Acrostic signature, Maghrebi Jewry, Meknes, Morocco, פיוטים piyyuṭim, זמירות zemirot Contributor(s): Todot Nitnah — a piyyuṭ intended to be sung before Yishtabaḥ in the Shaḥarit of Shabbat Ḥanukkah — was written by the great Moroccan paytan Yaaqov ibn Tsur (1673–1753) of Fez. It was first put to print in the Sefer ‘Et l-Kol Ḥefetz, printed by ibn Tsur’s descendants in 1893 in Alexandria. It may be sung to the melody of ‘Et Dodim Kala, or the melody of Shiv’a Sh’ḥaqim.” Categories: Tags: 18th century C.E., 55th century A.M., Acrostic signature, Maghrebi Jewry, Meknes, Morocco, פיוטים piyyuṭim, זמירות zemirot Contributor(s): Ashir BiZmirim — a piyyuṭ intended to be sung before Qaddish (after Yishtabaḥ) in the Shaḥarit of Shabbat Ḥanukkah — was written by the great Moroccan paytan Yaaqov ibn Tsur (1673–1753) of Fez. It was first put to print in the Sefer ‘Et l-Kol Ḥefetz, printed by ibn Tsur’s descendants in 1893 in Alexandria. It may be sung to the melody of Yaḥid Arba, or the melody of Ya’atzor Me-’Ami.” Categories: Tags: 18th century C.E., 55th century A.M., Acrostic signature, Maghrebi Jewry, Meknes, Morocco, פיוטים piyyuṭim, זמירות zemirot Contributor(s): Yedidekha El Yelidei Ish Tam — a piyyuṭ intended to be sung before Qaddish (after the Torah Reading) of Shabbat Ḥanukkah — was written by the great Moroccan paytan Yaaqov ibn Tsur (1673–1753) of Fez. It was first put to print in the Sefer ‘Et l-Kol Ḥefetz, printed by ibn Tsur’s descendants in 1893 in Alexandria. | ||
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