tagged: זמירות zemirot

 

א דוּדעלע (איה אמצאך)‏ | A Dudele (Where shall I seek you?), by Rabbi Levi Yitsḥaq of Berditchev (ca. 18th c.)

A profound song invoking divine presence. . . .

אמעריקע | America (My Country, ‘Tis of Thee), a patriotic hymn by Samuel Francis Smith (1832)

The well-known patriotic hymn with a Yiddish translation. . . .

מענטשן־פרעסער | Mentshn-Fresser (“People Devourer”), a Pandemic Ballad by Shlomo Shmulevitsh (1916)

A song in Yiddish bemoaning the suffering brought about in an epidemic. . . .

אֲגַדֶלְךָ | Agadelkha, a piyyut by Avraham ibn Ezra (ca. 12th c.)

A popular piyyut for all occasions by Avraham ibn Ezra. . . .

Ya Komimos (We have eaten), a Ladino piyyut for the Birkat haMazon

A paraliturgical birkat hamazon in Ladino. . . .

אֵלֶֽיךָ אֶקְרָא יָהּ | Elekha Eqra Yah, a piyyut by Rabbi Shlomoh Zrihen (20th c.)

A popular 20th century piyyut. . . .

Kuando el rey Nimrod (When Nimrod was King), a song relating the story of Avraham & the Furnace (ca. 1890)

The sephardic folk-song “Kuando el rey Nimrod” in Ladino with English translation. . . .

אֲשׁוֹרֵר שִׁירָה | Ashorer Shirah, a piyyut in honor of the Torah by Ḥakham Raphael Baruch Toledano (ca. 20th c.)

A piyyut in honor of the Torah. . . .

ברוך שאמר | Barukh She’amar, interpretive translation by Reb Zalman Schachter-Shalomi z”l

This English translation by Rabbi Zalman Schachter-Shalomi z”l of “Barukh Sh’amar,” was first published in his Siddur Tehillat Hashem Yidaber Pi (2009). Linear associations of this translation according to the nusaḥ ha-ARI z”l by Aharon Varady. . . .

אַמעריקע די פּרעכטיקע | America the Beautiful, a patriotic hymn by Katharine Lee Bates (1895)

“America the Beautiful,” the patriotic hymn (1911 version) by Katharine Lee Bates (1859-1929) in its Yiddish translation by Berl Lapin (1889-1952). . . .

סִימָן לְבָנִים | Siman l’Vanim: a birkon celebrating the wedding of Honi Sanders and Simona Dalin (2019)

The birkon/bentsher (blessing-book) prepared for the wedding of Honi Sanders and Simona Dalin on July 7th, 2019. . . .

Bendigamos al Altísimo, a Ladino song for the Birkat haMazon

Bendigamos is a hymn sung after meals according to the custom of Spanish and Portuguese Jews. It has also been traditionally sung by the Jews of Turkish descent. It is similar in meaning to the Birkat Hamazon that is said by all Jews. Bendigamos is said in addition to Birkat Hamazon, either immediately before or immediately after it. The text is in modern Spanish, not Ladino. The prayer was translated by David de Sola Pool. Below is the actual text as well as the translation by de Sola Pool. The melody is one of the best known and loved Spanish and Portuguese melodies, used also for the Song of the Sea (in the Shabbat morning service) and sometimes in “Hallel” (on the first day of the Hebrew month and on festivals). . . .

אֶת כּוֹס יְשׁוּעוֹת | Et Kos Yeshu`ot, a Havdalah song by Elyaḳim

A zemirah for havdallah by an otherwise unknown rabbinic payyetan known only by his signature acrostic. . . .

גאָט בענטש אַמעריקע | God Bless America, for Armistice/Veterans Day by Irving Berlin (1918/1938)

The words of the prayer for Armistice Day 1938, “God Bless America” by Irving Berlin, in English and Yiddish. . . .

בָּאנוּ חׇשֵׁךְ לְקַדֵּשׁ | Banu Ḥoshekh l’Ḳadesh (We come to sanctify the dark), by rabbis David Seidenberg and Jill Hammer

Alternative lyrics to the popular Ḥanukkah song, Banu Ḥoshekh L’Garesh by Sara Levi-Tanai (1960). . . .

באנו חשך לגרש | Banu Ḥoshekh l’Garesh (We come to chase the dark away), by Sara Levi-Tanai (1960)

Some might seem surprised that this work isn’t in the Public Domain simply by virtue of the song’s popularity. Translations of Banu Ḥoshekh L’garesh are not uncommon despite the apparent lack of translation rights provided to translators. This all underlines how copyright is regularly ignored in the living practice of creative cultures. And yet, copyright law and the protections it affords are ignored at the peril of a copyrighted work’s remixers, publishers, translators, and other creatives. Both the song and an anonymous English translation are here being provided as an example for this article on copyright under Fair Use. Each individual contribution to our collective intellectual commons may be small, but together, our contributions will make a tremendous resource for a renewed vibrant living and creative culture. . . .

בִּסְעוּדָה הַזּוֹ | At this meal!, a piyyut for the Passover seder translated by Rabbi Jonah Rank

A litany of mythical guests and creatures presenting at the Passover seder. . . .

אֵשֶׁת חַיִל | Éshet Ḥayil (Proverbs 31:10-31) For an Accomplished Woman, translated by Rabbi Zalman Schachter-Shalomi

Rabbi Zalman Schachter-Shalomi’s interpretive translation of Proverbs 31:10-31, popularly read before the first festive meal for shabbat on Friday night. . . .

יָהּ אֶכְסוֹף נוֹעַם שַׁבָּת | Yah Ekhsof No’am Shabbat, a Shabbes hymn by Reb Aharon of Karlin (interpretive translation by Rabbi Zalman Schachter-Shalomi)

An interpretive translation of the shabbes hymn, Yah Ekhsof. . . .

יוֹם זֶה לְיִשְׁרַאֵל | Yom Zeh l’Yisrael, a Shabbat hymn attributed to Rabbi Yitsḥaq Luria (interpretive translation by Rabbi Zalman Schachter-Shalomi)

An interpretive translation in English of the shabbes hymn Yom Zeh l’Yisrael. . . .

יוֹם שַׁבָּתוֹן | Yom Shabbaton, a Shabbat song by Yehudah haLevi (interpretive translation by Rabbi Zalman Schachter-Shalomi)

An interpretive translation of Yehudah haLevi’s shabbat song, “Yom Shabbaton.” . . .

צָמְאָה נַפְשִׁי | Tsam’ah Nafshi, a piyyut attributed to Avraham ibn Ezra (interpretive translation by Rabbi Zalman Schachter-Shalomi)

An interpretive translation of a piyyut composed as an introduction to the prayer Nishmat Kol Ḥai. . . .

יִגְדַּל אֱלֹהִים חַי | Yigdal by Daniel ben Judah (German translation by Chajm Guski)

Gelobt sei der lebendige Gott! Ihn grenzt nicht Raum, ihn grenzt nicht Zeit. Er ist der Einzige, dem nichts gleicht in seiner hehren Einzigkeit. Er ist nicht Form, ist nicht Gestalt, „der Heilige“, sich gleichend bloß. Der Urbeginn, vor allem Sein: Anfang, der selber anfangslos. So waltet er als Herr der Welt, von dessen Macht das All erzählt. Mit dessen Geist erfüllte er G-ttkünder, die er auserwählt. Nie stand, wie Mosche, einer auf, der je so klar sein Bild erschaut. Die wahre Torah gab uns Gott durch ihn, der seinem Haus vertraut. Und nie verwirft Gott sein Gesetz, nie gibt er es für ein anderes hin. Er schaut in unser Herz und weiß das Ende schon beim Anbeginn. Von ihm wird nach Verdienst und Schuld uns Lohn und Strafe einst zuteil. Die Zeit des G-ttesreiches kommt und bringt den Harrenden das Heil. Die Toten weckt er auf zur Zeit. Gelobt sei Gott in Ewigkeit. . . .

שבת המלכה | The Shabbat Queen, by Ḥayyim Naḥman Bialik (1903)

This translation of Ḥayyim Naḥman Bialik’s Shabbat Ha-Malkah by Israel Meir Lask can be found on pages 280-281 in the Sabbath Prayer Book (Jewish Reconstructionist Foundation, 1945) where it appears as “Greeting to Queen Sabbath.” The poem is based on the shabbat song, Shalom Aleikhem and first published in the poetry collection, Hazamir, in 1903. [I have made a faithful transcription of the Hebrew and its English translation as it appears in this siddur. –Aharon N. Varady] . . .

חַד גַּדְיָא | Ḥad Gadya in Aramaic and Yiddish (Prague Haggadah, ca. 1526)

Making sense of Ḥad Gadya beyond its explicit meaning has long inspired commentary. For me, Ḥad Gadya expresses in its own beautiful and macabre way a particularly important idea in Judaism that has become obscure if not esoteric. While an animal’s life may today be purchased, ultimately, the forces of exploitation, predation, and destruction that dominate our world will be overturned. Singing Ḥad Gadya is thus particularly apropos for the night of Passover since, in the Jewish calendar, this one night, different from all other nights, is considered the most dangerous night of the year — it is the time in which the forces of darkness in the world are strongest. Why? It is on this night that the divine aspect of Mashḥit, the executioner, is explicitly invoked (albeit, only in the context of the divine acting as midwife and guardian/protector of her people), as explained in the midrash for Exodus 12:12 . . .

און קאבﬞריטיקו | Un Kavritiko :: a Judezmo (Ladino) Translation of Ḥad Gadya

A Judezmo/Ladino translation of the popular Passover song, Ḥad Gadya. . . .

יַאן יִכְּרוּ | Yan ikru :: a Judeo-Berber Translation of Ḥad Gadya

A Judeo-Berber translation of the popular Passover song, Ḥad Gadya. . . .

ואחד גׄדי | Waaḥid Jady :: a Judeo-Arabic Translation of Ḥad Gadya

A Judeo-Arabic translation of the popular Passover song, Ḥad Gadya. . . .

ואחד ג’די | أغنية لعيد الفصح اليهودي | Waaḥid Jady :: Ḥad Gadya in Arabic translation (Syrian Damascus variation)

An Arabic translation of Ḥad Gadya in its Syrian Jewish Damascus variation. . . .

יַכֵּי בּוּזְגָאלַה | Yake Buzghola :: a Judeo-Tajik Translation of Ḥad Gadya, by Rabbi Shimon ben Eliyahu Hakham (1904)

A Judeo-Tajik translation of the popular Passover song, Ḥad Gadya. . . .

אֶחָד מִי יוֹדֵעַ | Eḥad Mi Yode’a :: Who Knows One?, a counting song in Hebrew and Yiddish (Prague Haggadah, 1526)

The text of the popular Passover song “Who Knows One?” in its original Hebrew and Yiddish, with a translation in English. . . .

חַד מָה יוּדָא | Ḥad Mah Yuda :: Who Knows One?, a counting-song in Aramaic translation

The text of the popular Passover song “Who Knows One?” in Hebrew set side-by-side with an Aramaic translation. . . .

אֵל מִסְתַּתֵּר | El Mistater :: The God who is hidden, by Avraham Maimin (circa 1550)

The mystical piyyut of Avraham Maimin, a student of Moshe Cordovero, translated by Len Fellman. . . .

יָצַר הָאֵל | Yatsar ha’El, a Shabbat song by Ya’aqov ha-Qara’i

A song for celebrating the Shabbat. . . .

אֵין אַדִּיר כַּיְיָ (מִפִּי אֵל)‏ | Ayn Adir kAdonai (Mipi El) :: There is none like YHVH

A popular piyyut for Simḥat Torah (4th hakkafah) originally composed as a piyyut for Shavuot and often referred to by its incipit, “Mipi El.” . . .


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