![the Open Siddur Project [logo]](https://opensiddur.org/wp-content/uploads/2018/09/Open-Siddur-Project-Logo-2016.svg){kind=logo}
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
|
|
|
|
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
| ||
⤷ You are here:
tag: פזמונים pizmonim Sorted Chronologically (old to new). Sort most recent first? An alphabetic acrostic pizmon for seliḥot and Yom Kippur with an alphabetic acrostic English translation. A pizmon in the nusaḥ hasepharadim recited at Seliḥot during the monh of Elul and Yom Kippur. Categories: Tags: 21st century C.E., 58th century A.M., acrostic, אדון הסליחות Adon haSeliḥot, Alphabetic Acrostic, Nusaḥ Sefaradi, פזמונים pizmonim, סליחות səliḥot, זמן תשובה Zman teshuvah Contributor(s): This beautiful piyyut of unknown authorship is recited in most Sephardic, Mizrahi and Yemenite traditions on Tisha B’ab at Minḥah. In its stanzas, rich and replete with biblical references (as is particularly common in Sephardic Piyyut), God speaks to Jerusalem and promises to comfort her, and comfort and redeem her people. This pizmon was written by R. Shmuel ben Moshe Ha-Dayan of Aram Ṣoba (ca. 1150-1200) an Aleppine payṭan whose works were almost completely lost before being rediscovered in the Maḥzor Aram Ṣoba. It emphasizes the uneasy juxtaposition of the joy of Simḥat Torah with the tragedy of Moshe’s death. Originally it was probably recited before musaf, but perhaps for those who follow Ashkenazi customs a more appropriate location would be as an introduction to the Yizkor service on Shemini ‘Atseret — which for those who don’t keep second-day yontef is the same day. Categories: Tags: 12th century C.E., 50th century A.M., Maḥzor Aram Tsoba, Minhag Aleppo Musta'arabi, Mosheh Rabbenu, mourning, פיוטים piyyuṭim, פזמונים pizmonim Contributor(s): This is the piyyut “Ki Hinéh kaḤomer (Lo! as the potter…)” a piyyut by an unknown paytan for maariv on Yom Kippur, published in Adler and Davis’s Maḥzor for Yom Kippur, Avodat Yom ha-Kippurim vol. 1 (1904), p. 39. Categories: Tags: 12th century C.E., 50th century A.M., כי הנה כחמר ki hineh kahomer, פיוטים piyyuṭim, פזמונים pizmonim, rhyming translation Contributor(s): A pizmon recited on the Fast of Tevet in the tradition of nusaḥ Ashkenaz. A rhyming translation of the pizmon for maariv on Yom Kippur. This is the piyyuṭ for Yom Kippur known by its incipit שופט כל הארץ “Shofeṭ kol ha-Arets” (“Thou Judge of all the earth”) by the late 12th century payṭan, Shlomo ben Abun of France, as adapted in the form of a rhyming translation by Nina Salaman for Maḥzor Avodat Ohel Moed: Avodat Yom haKippurim vol. 2, arranged and translated by Arthur Davis & Herbert Adler (1904), p. 86. Categories: Tags: Contributor(s): Azharot are a genre of piyyut today associated almost exclusively with the grand lists of mitsvot recited on Shavuot, but this is not strictly accurate. An azharah is any poetic listing of mitsvot, and often would be recited on the Shabbat before a holiday as a reminder of the halakhot of the upcoming day. In Western Ashkenazi practice, for instance, an extensive azharah by Joseph Bonfils is recited for Shabbat haGadol before Pesaḥ. Presented here is an azharah and pizmon for the Shabbat before Rosh haShanah, by the 13th century Toledan payṭan Pinḥas ben Yosef ha-Levi. This text was published in the old Salonika Catalonian rite at the beginning of this maḥzor. Much of the translation is based on the work of Prof. Yaakov Shmuel Spiegel, published in Hebrew in 1985. Categories: Tags: 13th century C.E., 51st century A.M., acrostic, Acrostic signature, Alphabetic Acrostic, אזהרות azharot, Nusaḥ Catalunya, פיוטים piyyuṭim, פזמונים pizmonim, שופר shofar, shofar blowing Contributor(s): This is a pizmon for Shabbat Shirah (Parashat B’Shalaḥ) by an unknown author. The text is as transcribed from the pizmonim included in the siddur משמרת הקדש: קול שומר שבת Mishmeret haQodesh: Qol Shomer Shabbat (Pisa 1821), p. 117. A Ladino pizmon recited on Shabbat evenings, “El Disho Ke Bueno Era” retells the events of the seven days of creation. Categories: Tags: Contributor(s): A pizmon (a seliḥah with a refrain, to be recited aloud) recited in the Sephardic rite for the seventeenth of Tammuz, Elohei Yeshuatenu, like most seliḥot for that day, features stanzas for each of the five tragedies that occurred on the day. But what’s unique about it is the legend of its author. This piyyuṭ is signed with the name Andreas, the signature of the legendary Jewish Pope Andreas, whose popular story can be found throughout the Jewish world. There are many different versions of this beloved Ladino pizmon for Havdalah. This one is found in Tefilat Imanuel, published in Vienna in 1924. This pizmon, signed with the name Moshe but of otherwise unclear attribution, is recited in the Sephardic communities of Rhodes and Istanbul (and nowadays in Seattle) before the open ark on Shabbat Shirah and the seventh day of Pesaḥ. The main Hebrew text of the first and last two stanzas are as found in the Seattle Sephardic community’s 2002 Siddur Zehut Yosef (as well as the Gözlem Kitap press in Istanbul’s 2011 Şaloş Regalim), with footnotes marking differences in the Shirei Yisrael B’Erets HaḲedem (published in Istanbul in 1921) and the Yeshiva University Library diwan of Baruch Moshe Moreno, written by hand in the monastery neighborhood of Tiberias in 1867 (YU MS. 1126). In between are three additional non-rhyming stanzas found in substantially different form in the other two sources but not recited in modern Sephardic communities. Categories: Tags: Acrostic signature, phonetic alphabetic acrostic translation, Eastern Sefaradim, Nusaḥ Sefaradi, פיוטים piyyuṭim, פזמונים pizmonim, שבת שירה shabbat shirah, שירת הים Shirat haYam, Turkish translation Contributor(s): This pizmon, signed with the name Moshe but of otherwise unclear attribution, is recited in the Sephardic communities of Rhodes and Istanbul (and nowadays in Seattle) before the open ark on Shabbat Shirah and the seventh day of Pesaḥ. The main Hebrew text of the first and last two stanzas are as found in the Seattle Sephardic community’s 2002 Siddur Zehut Yosef (as well as the Gözlem Kitap press in Istanbul’s 2011 Şaloş Regalim), with footnotes marking differences in the Shirei Yisrael B’Erets HaḲedem (published in Istanbul in 1921) and the Yeshiva University Library diwan of Baruch Moshe Moreno, written by hand in the monastery neighborhood of Tiberias in 1867 (YU MS. 1126). In between are three additional non-rhyming stanzas found in substantially different form in the other two sources but not recited in modern Sephardic communities. A pizmon and table song sung on Shabbat and on Lag ba-Omer with English translation. A zemer for shabbat, with English translation. Categories: Tags: 17th century C.E., 54th century A.M., acrostic, Acrostic signature, פזמונים pizmonim, זמירות zemirot Contributor(s): A pizmon for Shabbat Zakhor and Purim, found in many Livorno siddurim (seen as the standard form for most Sephardic communities) as far back as the 18th century and possibly earlier. It is signed with the name Avraham, as well as the names Moshe and Aharon, but the author is otherwise unknown. Seder Mishmeret haKodesh (1847) inserts it as an introduction to the Mi Khamokha piyyut of Yehuda haLevi, recited on Shabbat Zakhor. The bouncy, joyous tune used for this piyyut, of Italian origin, is also used for Purim songs in multiple languages, such as Fate Onore al Bel Purim, Con Gran Placer Señores, and Haman Mamzer el Malo. Categories: Tags: 18th century C.E., 56th century A.M., acrostic, Acrostic signature, Livorno, Nusaḥ Sefaradi, פיוטים piyyuṭim, פזמונים pizmonim, pre-Purim, Purim, שבת זכור Shabbat Zakhor, Western Sefaradim Contributor(s): A piyyut of the 18th century by R. David Ḥassin, one of the greatest composers of Morocco. In this piyyut, dedicated to the city of Tiberias and recounting its praises, we tour Tiberias and the graves of the tannaim and amoraim there, and come to the place of Maimonides’ burial according to tradition. From the dead, the composer moves on to tell the prose of the living – R. Ḥayyim Abulˁafia, who renewed Jewish settlement in Tiberias to where he had moved with his students in the year 5500 [1740], doing much to revitalize the Jewish settlement and build the city, for which R. David Ḥassin praises and blesses him at the conclusion of the poem. This poem was very beloved and merited widespread circulation, and is found in poetry books of many different Mizraḥi communities. This poem has also merited a number of imitations and adaptations, testifying to its great popularity. The most well-known imitation is a poem by the Israeli diaspora-emissary R. Eliyahu Ḥazzan, who arrived at Morocco, came across this song, and composed an imitation, also called “As Every Day I Hope” — except R. Eliyahu Ḥazzan’s song is dedicated to Jerusalem and tours around it. Categories: Tags: 18th century C.E., 56th century A.M., acrostic, Acrostic signature, ארץ ישראל Erets Yisrael, הבדלות havdalot, Maghrebi Jewry, Meknes, Morocco, Old Yishuv, פיוטים piyyuṭim, פזמונים pizmonim Contributor(s): A pizmon for calling up a (male) Jew-by-choice for his first aliyah to the Torah after completing his conversion process. (Pizmonim for female and non-binary Jews-by-choice forthcoming!) To be recited before the blessing, led by the gabbai with the community responding with the refrain. Categories: Tags: 21st century C.E., 58th century A.M., acrostic, Aliyah, Alphabetic Acrostic, conversion, גרות gerut, פיוטים piyyuṭim, פזמונים pizmonim Contributor(s): | ||
Sign up for a summary of new resources shared by contributors each week
  |
