tagged: Shabbatot of Admonition • the Open Siddur Project ✍ פְּרוֺיֶקְט הַסִּדּוּר הַפָּתוּחַ

💬 Haftarót for the First Two of the Three Weeks of Mourning with their Spanish translations from a compilation by Rabbi Isaac Lopez (Jamaica, ca. 1843)

Contributor(s):

Isaac Gantwerk Mayer (transcription & naqdanut), Isaac Lopez and Yeshayahu ben Amōts

In the 18th and 19th centuries, the common practice among Western Sephardim was to read some or all of the aftarót recited in the three weeks before the fast of Aḇ with a verse-by-verse “Ladino” (in this case meaning standard Early Modern Spanish, not Judezmo) translation. According to Joseph Jesurun Pinto (ḥazzan of Shearith Israel in New York from 1759 to 1766), it was customary in Amsterdam for only the final of the three aftarót, the aftará of Shabbat Ḥazon, to be recited with this Spanish targum, while in London it was customary for all three to be recited. This practice fell out of common usage in the past few centuries, although the Western Sephardic community of Bayonne preserved it up until the Shoah. But to this day a unique cantillation system is used in most Western Sephardic communities for the three aftarót before the fast. . . .

💬 הפטרת שבת חזון | Aftarát Shabbat Ḥazon, with verse-by-verse translation in Early Modern Spanish

Contributor(s):

Isaac Gantwerk Mayer (transcription & naqdanut), Unknown Translator(s) and Yeshayahu ben Amōts

In the 18th century, the common practice among Western Sephardim was to read some or all of the aftarót recited in the three weeks before the fast of Aḇ with a verse-by-verse “Ladino” (in this case meaning standard Early Modern Spanish, not Judezmo) translation. According to Joseph Jesurun Pinto (ḥazzan of Shearith Israel in New York from 1759 to 1766), it was customary in Amsterdam for only the final of the three aftarót, the aftará of Shabbat Ḥazon, to be recited with this Spanish targum, while in London it was customary for all three to be recited. This practice fell out of common usage in the past few centuries, although the Western Sephardic community of Bayonne preserved it up until the Shoah. But to this day a unique cantillation system is used in most Western Sephardic communities for the three aftarót before the fast. Attached is a transcript of a Spanish verse-by-verse targum of the aftará for the Shabbat before 9 Aḇ, based on one found in a publication from Amsterdam in 1766. Each verse is included in Hebrew, as well as the original Spanish text, and a slightly modernized Spanish text underneath to clarify archaic forms or words that have fallen out of use. . . .

אַף אֹרַח מִשְׁפָּטֶיךָ | Af Oraḥ Mishpatekha — an Ofan for Shabbat Ḥazon by Rabbi Elazar ben R’ Yehudah of Worms

Contributor(s):

Isaac Gantwerk Mayer (translation) and Eleazar ben Yehudah ben Ḳalonymus of Worms

“Af Oraḥ Mishpatekha” is an ofan, a type of piyyut recited as a part of the Ḳedushah d-Yotzer liturgy as an introduction to Ezekiel 3:12. Specifically, it is an ofan written by the Rokeaḥ, R. El’azar ben R. Yehuda of Worms, for the morning liturgy on Shabbat Ḥazon, the Shabbat before Tishah b’Av. It is here included along with an original translation and with cited verses marked. Also included is a series of images from a 1714 maḥzor printed in Frankfurt au Main that includes the piyyut. To note, the text included above is not exactly the same as that of the 1714 maḥzor, having been edited in accordance with Isaac Meiseles’s 1993 critical edition of the Rokeaḥ’s work. . . .

אַזְכִּֽירָה יָמִים עִם יָמִים | Azkira Yamim Im Yamim, a piyyut for the First Shabbat of Admonition by Rabbi Yannai (ca. early 6th c.)

Contributor(s):

Isaac Gantwerk Mayer (transcription & naqdanut), Isaac Gantwerk Mayer (translation) and Yanai haPayetan

The works of the great paytan Yannai were, with the exception of a small handful of poems, almost completely lost until their rediscovery in the Cairo Geniza. This poem, an acrostic comparison of the days of Moses and Jeremiah, was written by Yannai to serve as part of the Musaf Ḳedushah on the first Shabbat after 17 Tammuz, on which the opening section of Jeremiah is recited. It bears structural and linguistic similarities to the later famous ḳinah Esh Tuqad. In its liturgical context, it was intended to introduce the final few verses of the Ḳedushah . Nowadays the custom of poetic inserts into the ḳedushah is nearly extinct, but the poem stands as a moving and powerful work nonetheless. . . .