Eliahou Menaged - אליהו מנגיד מדמשק

1890-1964

Born in Aleppo, Eliahou Menaged studied with Rabbi Raphael Tabush and other expert musicians of his day, in the art of Hazzanut, Maqamat, Baqashot, and Pizmonim. He became a master in his own right. He emigrated to America as a young man, and served as cantor and teacher for over half a century. He was exceptionally generous in officiating on many occasions, especially on Shabbat and holidays.

He prayed daily at Knis Betesh on 64^th Street in Brooklyn and, by day, made a living in a small factory where he made sheets and pillow cases. He had an excellent business reputation and a keen sense of humor.

His students include Mickey Kairey, Isaac J. Cabasso, as well as Rapahel Y. Elnadav and Gabriel A. Shrem.

Index of Recordings

Section	Pizmon	Page	Song	Commentary	Recordings	Application
Baqashot	1	8	אל מסתתר	Abraham Maimom Maqam Hoseni Opening song of the Shabbat Baqashot. Hoseni. "El Mistater" is an allusion to Isaiah 45:15. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	2	9	למענך ולא לנו	Maqam Bayat This song discusses redemption. Bayat. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	3	10	יאמר נא ישראל	Israel Najara Maqam Rahawi Nawah Each verse ends with word "yom" (day). Nawah. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged	שמחים
Baqashot	4	12	ימותי קלו	Israel Najara Maqam Sigah Sigah. Job 9:25. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	5	14	אנא הושע	Israel Najara Maqam Sigah Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	15	24	ארץ ורום	Abraham Ibn Ezra Maqam Saba Saba. Discusses the seven days. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	19	28	אור עליון	Eliahu Hamaoui Maqam Bayat Bayat. Written by H Eliahou Hamaoui (1840-1915) for H Eliahou Dahab. Bayat. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged E. Menaged 2
Baqashot	20	28	עורו שירו שיר	Ezra Attiah Maqam Saba The acrostic on "Ouru Shiru" spells Ezra Hazak. The last line also bears the name of his father "Chazak...nechamot Yeshaya" ... Chai gam Ataya (Attia). Saba. Ezra Attia Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged	שמחים
Baqashot	21	29	יום זה שירו	Mordechai Abadi Maqam Mehayar-Bayat This song (MEHAYAR / RAHAW, page 29), considered the most popular of the Baqashot collection, is composed by the great rabbi H Mordekhai Abadi (1826-1884) of Aleppo, Syria. Other compositions by H Abadi can be found in "Dibre Mordekhai" (Aleppo, 1873). Although the acrostic is “Yosef Binyamin Hazaq," H Abadi's name is hinted to in the song. The theme of the song is to encourage the people to enjoy the Shabbat by singing to God. According to the chorus, the Sabbath is special because it is a time of rest from work, and it is our inheritance to be happy on this very blessed day. Throughout the 5 stanzas, there are many allusions to verses from the Tanakh. The final verse is a charge to strengthen those in the community who wake up pre-dawn to sing the Baqashot; reminding them “these are your lives to reach strengths and to dwell in the courtyards in the House of God." Besides for singing this during the Baqashot, this song is also customarily heard on the table during the Shabbat meal. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	22	30	יום קדוש ומבורך	Raphael Tabbush Maqam Saba Petiha (introduction) written by H Rephael Tabbush (1830-1918). Saba. Tabbush Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	23	30	כי אשמרה שבת	Abraham Ibn Ezra Maqam Saba Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged	שמחים
Baqashot	24	31	אשתבח בתהלות	Abraham Sitehon Maqam Iraq Maqam Iraq. Written by H Abraham Sittehon (?-1816). Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged	שמחים
Baqashot	26	34	אליו מי הקשה	Abraham Ibn Ezra Maqam Sigah Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	28	35	יום זה לישראל	Isaac Luria Maqam Mehayar-Bayat Mehayar-Bayat. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged	שמחים
Baqashot	29	37	יודוך רעיוני	Israel Najara Maqam Rahawi Nawah Rahawi Nawah. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged
Baqashot	30	37	יה מסי כבין רחמנא אסי כביהון לעם דנא	David Yaaqob Pardo Maqam Mehayar-Bayat Aramaic. Mehayar-Bayat. Nawah. Mosseri-Kozli Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged	בפי ישרים
Baqashot	31	39	יודוך מלך	Mordechai Abadi Maqam Rahawi Nawah Written by H Mordekhai Abadi (1826-1883). Rahawi Nawah. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged	אל ההודאות
Baqashot	32	40	'אנכי שמי ה	David Dayan Maqam Hoseni Alluding to theTen Commandments. Hoseni.	E. Menaged E. Menaged 2	אל ההודאות
Baqashot	33	41	עורי נצורה	Menashe Sitehon Maqam Rahawi Nawah Nawah. Written by H Menashe Sittehon (?-1876). Alludes the different Amidah of Shabbat blessings (Arbit, Shaharit, Musaf, and Mincha). By Menashe Sitehon. In honor of Ezra Rabia. Rahawi Nawah. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged E. Menaged 2	ראו בנים
Baqashot	34	42	רם אור גדול	Raphael Tabbush Maqam Rahawi Nawah Written by H Rephael Tabbush (1830-1918). Rahawi Nawah. Tabbush Manuscript A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged E. Menaged- Nishmat	נשמת
Baqashot	34.9	43	מזמור שיר ליום השבת	Each verse chanted in a different maqam. During the Baqashot session, this is an opportunity to insert pizmonim within the appropriate maqam.	E Menaged
Baqashot	41	48	אני אספר	Mordechai Abadi Maqam Rast This pizmon (BAQASHOT, page 48), translated as "I Will Explain," is a song that was written in order to glorify the observance of the Shabbat. The pizmon, whose melody is classified as both Maqam IRAQ or RAST, is part of the Baqashot collection; songs chanted pre-dawn prior to Morning services on Shabbat. The author is one of the most important Hakhamim of Aleppo, H Mordekhai Abadi (1826-1884), as illustrated by the song's acrostic "Ani Hu Mordekhai Ben L'Yaaqob Abadi Hazeq Amess” (אני הוא מרדכי בן ליעקב עבאדי חזק אמץ). This is one of seven songs in the Baqashot section authored by H Mordekhai Abadi. In one of the longest songs in our canon (28 stanzas), the author poetically enumerates all 39 Melakhot (forms of labor) that are prohibited on Shabbat. Despite all the prohibitions, the Sabbath day is considered "a delight," and those who participate in the Sabbath observance are entitled to great merit. Of all the songs encountered in the Aleppo tradition, this song seems to be the most focused on Halakha (Rabbinic Jewish law). The melody of this song is most commonly applied to Semehim for prayer services in Maqam RAST. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E Menaged	שמחים
Baqashot	42	51	מהללך ורוב גדלך	Mordechai Abadi Maqam Rast Written by H Mordekhai Abadi (1826-1883). Lists the seven heavens. Rast. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E Menaged	נשמת
Baqashot	43	52	משמים שלום לעם	Mordechai Abadi Maqam Rast Written by H Mordekhai Abadi (1826-1883). Rast. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E Menaged- Naqdishakh E Menaged	נקדישך
Baqashot	49	57	יודוך כל המיחלים	David Kassin Maqam Saba Written by H David Kassin (1789-1877). Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged E. Menaged 2
Baqashot	52	60	יום ליום אודה	Israel Najara Maqam Sigah Sigah. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917	E Menaged	שועת עניים
Baqashot	56	65	מה נעים נאוה	Maqam Sigah Written by H Mordekhai Abadi (1826-1883). Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917	E. Menaged E. Menaged 2
Petihot	82	98	יפה קול ומטיב נגן	Israel Najara Petiha Attiah Manuscript	E. Menaged
Petihot	83	98	יסמר שערת בשרי	Israel Najara Petiha	E. Menaged E. Menaged 2
Petihot	86	100	יומם וליל	Raphael Tabbush Petiha Hamaoui Manuscript	E. Menaged
Petihot	87	100	יחיד צור שוכן ערבות		E. Menaged
Petihot	89	101	יודך כל	Raphael Tabbush Petiha Hamaoui Manuscript	E. Menaged
Petihot	90	101	ראשית לא ככל ראשית	Raphael Tabbush Petiha Hamaoui Manuscript	E. Menaged E. Menaged 2
Petihot	93	102	יום ליום	Raphael Tabbush Petiha Hamaoui Manuscript Tabbush Manuscript	E. Menaged E. Menaged 2
Petihot	95	102	יה עדתי		E. Menaged E. Menaged 2 E. Menaged 3
Petihot	96	103	רבים רדפוני		E. Menaged E. Menaged 2
Petihot	103	105	לבי במזרח	Yehuda HaLevi	E. Menaged
Petihot	105	106	בן אדם		E. Menaged
Petihot	105.01	106a	יפה נוף	Yehuda HaLevi	E. Menaged
Rast	106	107	יום יום תמיד	ישעיה חזק This pizmon (RAST, page 107), "Day by Day, to You I Pray," is the first song in the pizmonim book. It was composed in the nineteenth century in Aleppo by an individual named Yeshaya (acrostic: ישעיה חזק). There are 5 stanzas in this song. In the opening stanza, the author says that each day he prays for God, the King, to redeem His holy nation. He then asks to return the crown to the nation and to save them from all troubles. In the third and fourth stanzas, he petitions for the rebuilding of Zion, and for the prophecies of Isaiah to be fulfilled. Once this occurs, "every living soul will praise God" (alluding to Psalms 150:6). The final stanza praises God for giving His nation the Torah (the Ten Commandments) on Mount Sinai; the ultimate source of happiness for each Jewish person. Due to this song's important theme, it was considered a favorite of Mr Mickey Kairey A"H, and he made it a point to teach it to the youth on many occasions. This melody has been applied by H Moshe Ashear A"H to Naqdishakh on weeks of Maqam RAST. In addition, according to Mr Isaac Cabasso, this melody should also be applied to Nishmat of Shabbat Bereshit. Abraham Sitehon Manuscript Mosseri-Kozli Manuscript	E Menaged	נקדישך
Rast	108	109	חנון מרום	Raphael Tabbush Shabbat Bereshit. Hamaoui Manuscript Tabbush Manuscript	E. Menaged E. Menaged 2	פזמון
Rast	110	110	ידך עשת	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	E. Menaged
Rast	112	111	רצני אבי ומלכי	Raphael Tabbush סימן רפאל Hamaoui Manuscript Tabbush Manuscript	E Menaged
Rast	113	111	ינהג לי	Raphael Tabbush	E. Menaged
Rast	119	114	אל יבול עלי	From the Arabic piece: "ElBolbol Gani Weqalli".	E. Menaged	קדיש
Rast	125	116	רפא צירי	Raphael Tabbush Refa Siri is a special composition written by H Raphael Tabbush A"H. The melody is attributed to a Judeo-Spanish song entitled "Triste Vida" (A Sad Life). The song has an acrostic of "Refael" and has been viewed as a prayer for good health. The first stanza of the song recognizes God as the ultimate doctor and healer. The song also contains a prayer for God to open the gates of mercy and to send freedom to our nation. The pizmon was used by H Moshe Ashear A"H (d.1940) for the PIZMON SEFER TORAH in 1940 for Shabbat Vayera because Abraham is thought to have been recovering from the Berit Mila at the opening of the perasha. Hamaoui Manuscript Tabbush Manuscript	E. Menaged	אל ההודאות
Rast	127	117	חי הזן לכל תמיד	Raphael Tabbush In honor of the wedding of Tabbush's student, Hayyim Tawil.	E. Menaged E. Menaged 2	קדיש
Rast	128	118	רצה שירי	Raphael Tabbush	E. Menaged
Rast	129	118	יאיר יזרח	Shalosh Regalim.	E. Menaged E. Menaged 2 E Menaged
Rast	130	119	הנה זה עומד		E. Menaged	ממצרים
Rast	135	121	מה נעים החתן	Raphael Tabbush Hatan. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923	E. Menaged	ממצרים
Rast	136	122	פדה לי יה צור איומה	Mordekhai Siman: Mordekhai. See Hamaoui manuscript. Arabic melody is Janni el Marsoul. Hamaoui Manuscript Tabbush Manuscript	E Menaged
Rast	137	122	דודי לי	Raphael Tabbush סימן רפאל Hamaoui Manuscript	E Menaged
Rast	139	123	הקץ יה חביבי	Raphael Tabbush סימן רפאל Hamaoui Manuscript	E Menaged	הללויה
Rast	144	125	מימים ימימה	Moses Ashear Ashear Manuscript	E. Menaged	שועת עניים
Rast	145	126	יה שמע תפלה	Moses Ashear Ashear Manuscript	E. Menaged
Rast	146	127	מגן ישעי	Moses Ashear This pizmon, "Magen Yish'ee" (RAST, page 127), is composed by H Moses Ashear (acrostic: Moshe Hazaq), in honor of the wedding of Mr Ezra Obadia Labaton In Brooklyn, NY, circa 1920-25. The melody of this song is from the Dutch folk song entitled "Trip a Trop a Tronjes." As the melody sounds, this is a very happy song that celebrates the occasion of a wedding in the Labaton family. The last stanza contains a reference to H Mordekhai Labaton (1780-1869); the great Aleppian Rabbi and patriarch of this family. The last stanza also contains a prayer to return to the sanctuary of the Temple and to rebuild the city of Zion (Jerusalem). This melody is commonly applied to Shav'at Aniyim on weeks of Maqam RAST. On December 7, 2013, two days after the passing of Rabbi Ezra Labaton, Rabbi of Congregation Magen David of West Deal and the grandson of the individual mentioned above, this song was used as the PIZMON SEFER TORAH in over ten community synagogues as a tribute to the Rabbi. Ashear Manuscript Photograph of Rabbi Dr Ezra Labaton	E. Menaged	שועת עניים
Rast	147	127	מלך שוכן	Moses Ashear Ashear Manuscript	E. Menaged E. Menaged 2
Rast	148	128	יחיד אל נורא	Moses Ashear Ashear Manuscript	E. Menaged E. Menaged 2
Rast	149	128	תען לשוני ותגיד	Moses Ashear (Maqam Sigah). Ashear Manuscript	E. Menaged E. Menaged 2	ממצרים
Rast	150	129	יה תן לי חנא	Moses Ashear Italian melody. Should be Sigah. For the groom, David Abraham Sutton. Ashear Manuscript	E. Menaged E Menaged	שועת עניים
Rast	151	130	מלכי לעם איתני	Moses Ashear For the Hatan (groom), David Abraham Sutton. Ashear Manuscript	E. Menaged	כתר
Rast	152	131	אמר לו גואלי	Moses Ashear Ashear. In honour of the groom, Yosef Abraham Me'Eli HaKohen. Ashear Manuscript	E. Menaged
Rast	153	131	מבשר אתן	Moses Ashear In honour of the groom, Yosef Abraham Me'Eli HaKohen. Ashear Manuscript	E. Menaged E. Menaged 2
Rast	167.02	144a	אנא יה רם	Raphael Tabbush	E. Menaged E Menaged
Mahour	171	146	רצה נא	Raphael Tabbush Salah Abd ElHai singing the Arabic "'Ishna WeShofna". This includes a Sama'i and Mawal. In 1939, Ashear used the pizmon Resseh Na on page 146 for Qaddish.	E. Menaged E. Menaged 2	קדיש
Mahour	184	152	ידידי אמרו	Raphael Tabbush Arabic is "Fouadi Amro 'Agib," in Maqam Mahour, sung by the great Sheikh Yousef El Manyalawi. In 1936, Hakham Moshe Ashear used this for Qaddish of Perashat Toledot.	E. Menaged	קדיש
Mahour	185	153	אל בחסדך גאלנו	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	E Menaged	נשמת
Mahour	186	153	נעימה לי	Moses Ashear Eli S Haddad. Ashear Manuscript	E. Menaged	שועת עניים
Mahour	189	155	מלכי צורי יה ידידי	Moses Ashear Ezra Obadiah HaKohen. Same tune as the Syrian National Anthem of prior to 1936. Ashear Manuscript	E. Menaged
Sasgar	198	163	שא נא לי	Raphael Tabbush Sasgar or Mahour.	E Menaged
Sasgar	200	163	אסיר ביוקשי	Raphael Tabbush Assir El 'Eshq: In 1906, Daoud Hosni was granted the first prize at the Musical Congress in Paris, for the composition of his famous hit "Assir El' Eshq" أســير العــشـق. It is a song that still thrills enthusiasts of Middle-Eastern Music.	E Menaged	קדיש
Ajam	205	168	מלך רחמן	Raphael Tabbush Melekh Rahman (AJAM, page 168), or "Merciful King," is considered the ultimate wedding song. It was composed in Aleppo, circa 1897, by H Raphael Tabbush (d. 1918), for his close student, H Moshe Ashear (d. 1940), in honor of his wedding to Salha, the daughter of Mr Yaaqob Shamah. The acrostic is "Moshe" and names of family members (Moshe, Yaaqob, Shaol, Simha, Shelomo) are alluded to. The melody is from the Arabic song "Doom Ya Zaman." There are three stanzas in this song. The first two stanzas are from the point of view of the community; asking God to save the nation, and also to join in the happiness of the Hatan and Kallah on their wedding day. The third stanza, however, is from the view of the Hatan; asking to be blessed with the Blessing of Abraham. For Shabbat Vayesse, this melody can be applied in the prayers for Nishmat. The pizmon can be associated with this perasha, because we read about Jacob's wedding. Moshe Ashear and Family Manuscript	E. Menaged	נשמת
Ajam	206	169	לעם חביב	Maqam Sasgar Arabic: Sayed El Safti singing "Bid'i il Habib" in Maqam Geharka. Hamaoui Manuscript	E. Menaged E. Menaged 2	קדיש
Ajam	220	175	אל מלא הנחסר	El Male Hanehsar (AJAM, page 175) is a pizmon for the Pesah festival. This song, most probably composed by H Raphael Antebi Tabbush (d. 1918), has the acrostic of God’s name; first the word אהי״ה and then also the name יהו״ה. The song, which starts with “God, who fills the emptiness,” continues to list His attributes and how it relates to the Pesah festival; freeing His nation, settling them, etc. As a result of this kindness, the people give praise to Him (Hallel) and offer him the Pesah sacrifice. The second verse of the song does not allude to Pesah, but rather the day to day life of relying on God; calling out to Him; asking Him not to hold His hand back or delay from performing miracles, because the morning is coming and we, His chosen nation, need help right away. The melody of this song can be applied to El Hahodaot or Rau Banim for services in Maqam AJAM in close proximity to Pesah.	E. Menaged	אל ההודאות
Ajam	234	186	מי יספר חסדי האל	Moses Ashear Hedaya. Alludes to the Ten Sefirot that God used to create the world. It's melody is taken from the 1888 Princeton University song called "The Orange and the Blue." Ashear Manuscript Leaflet	E. Menaged E. Menaged 2	נשמת
Ajam	254	203	יאריך ימים על ממלכתו	ישראל בן משה Shabbat Shofetim, because it mentions the blessing of longevity for a new king. Attiah Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript	E. Menaged E. Menaged 2	נשמת
Nahwand	259	207	לנרי ואורי	Raphael Tabbush Hanukkah.	E. Menaged	שועת עניים
Nahwand	260	207	אל אבי מחסדך	Raphael Tabbush	E. Menaged	נשמת
Nahwand	266	210	לעיר חנה דורשה דודי	Raphael Tabbush	E. Menaged	נשמת
Nahwand	274	214	יה נחלה המצחה	Raphael Tabbush	E. Menaged	קדיש
Nahwand	283	219	מה נעמו אמריך	Moses Ashear Moshe Ezra Shrem. Ashear Manuscript	E. Menaged
Nahwand	284	220	מלך רם	Moses Ashear The pizmon “Melekh Ram” (NAHWAND, page 220), which translates as “Exalted King,” is a very popular song composed by H Moshe Ashear (acrostic: משה). It was composed in honor of the wedding of Mr. Joseph Ezra Tawil (alluded to in the third paragraph). Prominently mentioned in this song are Joseph’s three brothers: Abraham, Shaul, and Mordekhai Tawil; distinguished leaders of Congregation Magen David of Bensonhurst in the 1920’s. This individual, Joseph, ended up moving permanently to Mexico for business opportunities. In this song, we praise God for being the “Exalted King,” and we ask Him to send a savior and redeemer to his chosen nation. We also ask for God to raise our fortunes (with many happy occasions such as weddings) and return His children to their borders so that they can sing and praise Him for all eternity. The melody of this is from a “Chopin March." This melody is popularly applied to Shav’at Aniyim when praying in Maqam NAHWAND. Ashear Manuscript Photograph of Shaul, Joseph and Abraham Tawil	E. Menaged	שועת עניים
Nahwand	289	225	מה עצמו	Moses Ashear Wedding of Selim and Nizha Gindi. Photograph is courtesy of David Catton, grandson. Ashear Manuscript Photograph of Selim and Nizha Gindi	E. Menaged	קדיש
Nahwand	290	225	מאמר ותחנון	Moses Ashear Wedding of Selim and Nizha Gindi. Photograph is courtesy of David Catton, grandson. Classic song in Maqam Nawa-athar. It is a DOR by the name Ya Qamar Dar El 'Oyoun and this version is sung by Laure Dackashe. (Lor Dakash) Ashear Manuscript Photograph of Selim and Nizha Gindi	E. Menaged
Bayat	309	242	אני אגיד בקהל עם זו	Arabic: Ahd El Ekhewwa. DOR in Maqam Bayat.	E. Menaged
Bayat	319	246	מעזי אז כלה קץ	Raphael Tabbush “Mauzi,” or “My Fortress” (BAYAT, page 246), is a song that is very popular. H Raphael Tabbush is likely the author of this pizmon, but this is uncertain. The melody of this song is from the Arabic song “Baladi Askara Min Araf il Lama.” This song is associated with the Shalosh Regalim festivals due to a brief reference to them. The melody of this pizmon is typically applied to Shav’at Aniyim for weeks of Maqam BAYAT. Despite this being a song for the most happy of holidays, this song is actually very sad. It asks why has God abandoned us and why has the Messiah not yet arrived? It describes how our enemies have taken over our vineyards and have killed us. The climax of the song, “Al Damam,” describes how “my tears fall on their blood" (the blood of fellow Jews) and how our tears are enough to fill rivers. The four verse piece concludes with an open question: “Where has my Beloved gone; to Whom I rejoice three times a year?” Commentary on Pizmon	E. Menaged	שועת עניים
Bayat	321	247	שא לזנוחך		E. Menaged
Bayat	345	265	מלך צור עולמים	Moses Ashear Pre 1928 for Hebrat Qehal Qadosh Agudath Ahim. חברת אגודת אחים / Hebrath Agudath Ahim / The oriental Hebrew Aid Society and Congregation, 87 Eldridge Street, New York. Ashear Manuscript	E. Menaged E. Menaged 2 E. Menaged 3
Bayat	349	267	הודך יה תנה לי	Moses Ashear Wedding of Ezra S Tawil. Song is a mixture of Bayat and Hijaz. Ashear Manuscript	E. Menaged	נקדישך
Bayat	356	274	אל חי שוכן	Moses Ashear Paragraph 1 can be applied to El Hahodaot and Paragraph 3 can be applied to Qaddish. Appropriate for Shabbat Re'eh. Arabic is sung by Daoud Hosni. Ashear Manuscript	E. Menaged E. Menaged 2	שמחים
Bayat	358	276	אל דורשה נפשי	Raphael Tabbush Tabbush Manuscript	E. Menaged- Mimisrayim	ממצרים
Bayat	379	299	אני לו אשיר	Moses Ashear Continuation of previous song. Abdel Wahab song EL NIL NAGASHI. The section that Menaged is using is minute 2:40 through 4:20 of the Arabic song. In the pizmon it's from the 5th line on page 300 (Malkekh Yinhar) until the 12th line (El Ahoub Yahel Lah). Leaflet	E. Menaged	שועת עניים
Mehayar-Bayat	392	319	מגן ועזרה	Moses Ashear Shames wedding. Alludes to the Ten Sefirot.	E. Menaged
Mehayar-Bayat	393	320	עירי בנה	Moses Ashear	E. Menaged E. Menaged 2
Mehayar-Bayat	398	324	מלכי יוצרי	Moses Ashear Composed by H Moshe Ashear in honor of the wedding of Ezra Moshe and Nahmo Azar Cohen, on February 25, 1925. Photographs courtesy of descendents Jack and Ezra Azar. Ashear Manuscript Wedding of Ezra and Nahmo Azar 2-25-1925 Photograph of Ezra Moshe and Nahmo Azar	E. Menaged	שועת עניים
Mehayar-Bayat	402	328	ידידי יה נפשי טהר	Arabic is "Gadedi Ya Nafsi," sung by Saleh Abd El Hai. Maqam Hoseni. Ashear Manuscript	E. Menaged E. Menaged 2
Mehayar-Bayat	404	329	מנת חבלי	Moses Ashear Franco.	E. Menaged E. Menaged 2
Mehayar-Bayat	406	331	מלך הדור	Moses Ashear Wedding of Isaac Haim Massri; March 20, 1934. Leaflet	E Menaged- Shavat	קדיש
Hoseni	407	333	משמחי לב	Each stanza ends with the name "David." Attiah Manuscript Abraham Sitehon Manuscript	E. Menaged E. Menaged 2	קדיש
Hoseni	408	334	דודי אתן	דוד חזק Attiah Manuscript Mosseri-Kozli Manuscript Yabess Manuscript British Library Or. 10375	E. Menaged	קדיש
Hoseni	416	339	יה חסדך גלי	Raphael Tabbush Aseret Yeme Teshuba.	E. Menaged	שועת עניים
Ashiran	431	354	אני אשיר שיר	Ezra Moshe Soued	E. Menaged	שועת עניים
Saba	452	375	עליון רם גדול	Ezra Attia Manuscript British Library Or. 10375	E. Menaged	נשמת
Saba	453	376	יהלל לאל נורא	Raphael Tabbush This pizmon (SABA, page 376), whose opening words are translated as “He Will Give Praise to the Awesome God with Sounds of Song,” is a masterpiece in the Syrian Jewish tradition. Composed by H Raphael Antebi Tabbush (d. 1918), perhaps in honor of the birth of his brother's son ("Isaac ben Abraham"), it has the acrostic "Isaac" (יצחק) and has 4 stanzas; with the first stanza also serving as the chorus. The song opens with a promise that the Jewish nation, and “every living thing that has breath” (alluding to Psalms 150:6), will praise God in song. The second stanza asks God to remember the covenant of Isaac (son of Abraham), gather the Jews from exile, and bring them to the city of Jerusalem where they will praise Him in happiness. The third stanza asks God to grant us “life, grace, and kindness,” and give us a sign, or better yet, a miracle; similar to those experienced in the days of Moses. But the miracle now will be the redemption and to quickly bring the Messiah. The final stanza, in a very moving petition, beseeches God to "accept to the prayers of his nation"; this includes protecting us, saving us, healing us, and having mercy on us. Finally, the song concludes, that when all these prayers have been answered, the prophecies of Isaiah will now be fulfilled and we will “sing to God a new song” (Isaiah 42:10), and we will encounter new priests serving in a new Beit Hamiqdash (temple) in the rebuilt city of Jerusalem. Tabbush Manuscript	E. Menaged	נקדישך
Saba	477	393	אלי תמוגג	Raphael Tabbush	E. Menaged	ה' מלך
Saba	487	401	תדד שנת עיני		E. Menaged
Saba	488	402	רחום דל דאגי מני	Raphael Tabbush	E. Menaged	כתר
Saba	489	403	קומי יונה	Israel Najara	E. Menaged
Saba	509	425	אל מוכתר בכתר	Moses Ashear פיוט על סדר אלף בית אומרה- Alludes to 10 Sefirot. Ashear applies this tune often to Naqdishakh. Ashear Manuscript	E. Menaged - Nishmat	נשמת
Sigah	515	432	יצו האל	יעקב עבדי Alludes to the 10 Sefirot. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript British Library Or. 10375	E. Menaged E. Menaged 2 E. Menaged 3 E. Menaged 4 E. Menaged 5	נשמת
Sigah	517	434	ראש פעלי	Arabic: Eshfa'ouli. Sung by Muhammad Salim.	E. Menaged E. Menaged 2	קדיש
Sigah	518	435	אתה מרום	This pizmon (SIGAH, page 435), whose title is translated as "You, Who Lives in Heaven and Resides Above," is a song for the Yom Tob festivals. The acrostic of this song is Abraham (אברהם), and there is a reference here to each of the three patriarchs. What makes this song unique is that each of the five rhyming stanzas ends with a biblical source referencing God's name. The song begins with how the author and the entire community will rejoice and praise God at happy occasions; in the happiness of the bride and groom (in the first stanza), and in the happiness of the Yom Tob festivals (in the second stanza). The third stanza then asks that God, the merciful One, will spread his kindness on the children of Abraham. The fourth stanza says that we should praise God, because He will rebuild the Beit HaMiqdash where we will soon offer sacrifices to God in the future. The poem concludes (in the fifth stanza) with a plea to fulfill the prophecy of Ezekiel of returning to Zion, rebuilding the Temple, and then sending the Messiah, from the House of King David, to redeem the Jewish nation. Due to the song’s clear reference to “Eleh Moadei Hashem (Leviticus 23:4),” the source in the Torah that discusses the annual holiday cycle, this can be used as a PIZMON SEFER TORAH on the Shalosh Regalim. Tabbush Manuscript	E. Menaged
Sigah	519	436	יום יום אל שדי	יצחק חזק Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript	E. Menaged	נשמת
Sigah	520	436	עורי כלה	Acrostic: Ezra. British Library Or. 10375	E. Menaged E. Menaged 2	נקדישך
Sigah	522	438	מלך רם ונשא	Moshe Ashkenazi Tabbush Manuscript British Library Or. 10375	E. Menaged E. Menaged 2	פזמון
Sigah	523	439	את כלה	Alef-Bet. Tabbush Manuscript British Library Or. 10375	E. Menaged	קדיש
Sigah	524	441	יתברך שם האל		E. Menaged
Sigah	525	441	אשיש אל בך	This song is a DOR and the name in Arabic is 'Aziz Hobak.	E. Menaged	קדיש
Sigah	526	442	אנא הישר	Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript	E. Menaged
Sigah	528	443	אל יצרני לעמל	Raphael Tabbush Maqam Awj-Oj	E. Menaged E. Menaged 2	נשמת
Sigah	533	445	יה אוחיל	Raphael Tabbush Maqam Awj-Oj Hamaoui Manuscript Tabbush Manuscript	E. Menaged
Sigah	535	446	עזר היו לי		E. Menaged
Sigah	536	447	אדיר ונורא	Tabbush Manuscript	E. Menaged E. Menaged 2 E. Menaged 3	קדיש
Sigah	554	459	אברך את	אלעזר Maqam Iraq Purim. This is the first pizmon that Gabriel A. Shrem has learned. Attiah Manuscript Sassoon Manuscript #647 Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Shire Zimrah, Algiers, 1889 A Z Idelsohn notes, 1923	E. Menaged	שמחים
Sigah	555	460	אלי צור ישועתי	"My God, the Rock of my Salvation; Why have you abandoned me?" is a translation of the first line of the pizmon "Eli Sur Yeshuati" (SIGAH, page 460); considered the flagship song of Purim. The author of this pizmon is said to be H David Yaaqob Pardo, although the acrostic written in the older manuscripts is "Asher Ben Yaaqob Hazaq." The song featured in most current pizmonim books is incomplete- only containing 5 stanzas; corresponding to the first five letters of the alphabet (אבגד״ה). In Aleppo manuscripts from before 1850 (such as Sassoon #647), however, this song has more stanzas. This song, consisting of references from Megillat Esther, contains rhyming sequences within each verse. The thing in common in each stanza is that the last verse always starts with the word "Chai" or life; proclaiming that despite all the hardships that we go through, this is life and God keeps us alive. This melody is applied to Naqdishakh on Shabbat Zakhor and on Purim. Sassoon Manuscript #647	E. Menaged	נקדישך
Sigah	557	464	אור גילה	Raphael Tabbush Purim. A song of praise and thanksgiving for God's deliverance of the Jews from Haman. The pizmon, by Refael Antebi (19th century), has allusions to the Megillah as well its midrashim. The Jews got saved from the evil decree after prayers. Shir Ushbaha, 1921 A Z Idelsohn notes, 1923	E. Menaged	אל ההודאות
Sigah	565.03		אליך דודי אקרא	Shir Ushbaha, 1921	play pause E. Menaged
Hijaz	574	478	רבת שבעה לה נפשי	Raphael Tabbush This pizmon (HIJAZ, page 478), whose opening words are translated as “My Soul is Satiated” (based on a reference from Psalms 123:4), is a song for Yom Kippur. It is composed by the great Aleppian poet, H Raphael Antebi Tabbush, whose first name, ‘Raphael’ (רפאל), forms the acrostic of this 4 stanza rhyming song. The origin of this melody is the Spanish song called “Mis Hermanos” (My Brothers), and it can be applied to Naqdishakh on the morning of Yom Kippur. The theme of this song is about the “Day of Judgment” and the Hebrew word “Dean” (דין), or judgment, is the last word of each stanza. The author opens with an expression of trouble and despair, saying that his soul is filled with the suffering caused by the hands of his adversaries. He asks God for help; asking Him to judge against these adversaries. The author then recognizes that his transgressions are the main causes of his sufferings and then expresses regret about his misdeeds. He ponders to himself “If I don’t observe the commandments of the Torah, how will I come out on the day of judgment?” In the third stanza, the author asks for forgiveness and for his lot to be placed with “good people” or those who are knowledgeable in law. The author concludes by asking God to save him, to satiate him with good (in contrast to the satiation mentioned in the opening stanza), and to judge him favorably, leniently, and with mercy. Tabbush Manuscript	E. Menaged - Qaddish	נקדישך
Hijaz	583	484	מהונך תעשר	Tabbush Manuscript	E. Menaged
Hijaz	584	484	אתוהי כמה רברבין	Raphael Tabbush This pizmon (HIJAZ, page 484), whose title translates as "How Great Are His Signs," is written by H Raphael Tabbush. This song is unique in that it is one of our shortest pizmonim (only 20 words; 10 words in each of the two stanzas), and it is one of the only ones to be written in Aramaic. The melody is from the Arabic song "Ahwa Al-Ghazal Al Rabrabi," and can be transcribed into Nishmat or Naqdishakh. The opening words of this song are based on Daniel 3:33. After seeing how God saves Hanania, Mishael, and Azaria from the burning furnace, Nebuchadnessar praises God, 'How great are His signs! How mighty are His wonders! His kingdom is everlasting, and His dominion is over every generation!' The first stanza describes how God's glory is displayed through His miraculous signs. Although both Israel and the angels sing praises to God, it is Israel that God favors, because according to the Talmud (TB Hullin 91b), the angels only start praising God in the Heavens once Israel initiates the praises down on Earth.	E. Menaged E. Menaged 2 E. Menaged 3	נשמת
Hijaz	585	485	רוכב עבים ומהלך	Raphael Tabbush This pizmon (HIJAZ, page 485), whose title is translated as "Driver of Clouds," is a song about God's role in controlling nature. This song is composed by H Raphael Antebi Tabbush, and the acrostic "Raphael" is spelled in the song's 4 stanzas. The beginning of the song introduces the concept of God being 'the Driver of clouds' and 'Controller of wind' (see Psalms 104, Isaiah 19:1, and Exodus 15:22); meaning the 'gatekeeper' of most precious resource in the world: rain. With rain, the second stanza says that the desert can bloom, and the land can become paradise (like the Garden of Eden). The words "Masheeb Ruah U'Moreed Gesem," the traditional Jewish prayer for rain, is also alluded to in the second stanza. Acknowledging that God is the master of all nature, the third stanza pleads to the Almighty to use this strength to help and protect the Jewish nation and redeem them so that they will celebrate this in the Temple. The author concludes with a prayer to help renew and invigorate him so that he, too, can partake in the upcoming redemption. The melody of this song can be applied to Shav'at Aniyim on weeks when Maqam HIJAZ is applied, and the song is traditionally sung as the PIZMON SEFER TORAH on the Shemini Asseret festival, because this is the first day of the year that Jews start to pray for rain in the Amida prayer.	E. Menaged	שועת עניים
Hijaz	589	488	עליון ונאדר		E. Menaged E. Menaged 2 E. Menaged 3	כתר
Hijaz	590	488	אור הנעלם	א''ב Tabbush Manuscript	E. Menaged Another Recording - Hahodaot	כתר
Hijaz	591	490	שמח נפשי	שלמה חזק This pizmon (HIJAZ, page 490), whose opening words can be translated as “My Soul Will Rejoice,” is one of the most popular pizmonim known in the Syrian Jewish tradition. In Shabbat morning services, whenever its joyous melody is transposed to Mimisrayim, it seems to bring immense happiness to the crowd. The melody of this is from the Arabic song “Qadokh Al Mayas” and over the years, a number of Hebrew pizmonim have been composed to fit into this great melody (i.e. ‘Elekha Kama Besari’ and ‘Niflaot Nissim’ are other Hebrew pizmonim written to the same melody). The Hebrew pizmon “Samah Nafshi” is the version of the song that has survived in part due to its inclusion in the important book “Shir Ushbaha” by H Raphael Cohen (1922). The author of the song is unknown, but the acrostic of the song suggests that it was written either by or in honor of a “Shelomo” (שלמה חזק). In its 5 rhyming stanzas, the author exclaims that his soul will rejoice if the following prayers are answered: solving all troubles of the Jewish people, a returning of Israel to the status it had during the days of King Solomon, the rebuilding of the Temple in Jerusalem as well as the entire Land of Israel, and ultimately, the announcement of a redeemer by Eliahou HaNavi that the Messianic age has arrived.	E. Menaged Elekha Kamah- E. Menaged	ממצרים
Hijaz	592	490	ראה בחלשי	Raphael Tabbush	E. Menaged
Hijaz	594	492	רנו גילו	Raphael Tabbush This pizmon (HIJAZ, page 492), composed by H Raphael Antebi Tabbush, is a song written for Purim. Unlike other Purim songs, most of which are in Maqam SIGAH, this song is classified as Maqam HIJAZ; a maqam typically reserved for sad occasions. The acrostic of this piece is "Raphael Hazaq," and consists of 5 stanzas; corresponding to the letters of the author's name. Each stanza is followed by the chorus which begins with the words "Zekher Sadiq Yarum Hodo" etc. The song opens on a happy note ("Proclaim joy and rejoice all creations"); calling onto all the creations of the world to recognize the miracle of Purim. The middle of the pizmon is about the hard times and suffering that Haman put the Jews through ("the enemy conspired to be the head"). The last stanza ends on a hopeful note; calling for the Messiah and the rebuilding of the Temple so that we can offer sacrifices again. The melody of this song is applied to either Naqdishakh on Purim or Keter on Shabbat Zakhor. Tabbush Manuscript	E. Menaged	נקדישך
Hijaz	605	501	אל השב	Moses Ashear Same melody as page 491. Ashear Manuscript	E. Menaged- Full Shaharit
Kippur	612.11	511b	ודוי הגדול- מצות לא תעשה	Vidoui (Confessions) for Yom Kippur; recited in Arbit and Shaharit. Negative Commandments. Composed in Aleppo.	E Menaged Selihot 1952
	2115	514r	יה שמך ארוממך	Yehuda HaLevi Rosh Hashana---Meant to be a Reshut for the Kaddish of Yosser---Meant to recognize the greatness of Hashem.	E Menaged	קדיש
Selihot	2135	S2	לך אדני הצדקה	Different pizmonim melodies to be transposed to this piece according to Sassoon Manuscript #647: אלהי אל תדינני, המבורך, אוחילה לאל, חביב אללה אליהו, במוצאי יום מנוחה, המרחם, ה' יום לך, בעוד לייל	E Menaged Selihot 1952
Selihot	2198	S19	עננו		E Menaged Selihot 1952
Selihot	2225	582	סליחות	Benayahu #131 (Jacob R Mishaan, 1780)	E Menaged Full Selihot (1952)
	2260		עלוז יעלזו חסידים	עזרא Maqam Sigah This pizmon was written by Ezra Attia in honour of Hazzan Hakham Shelomo Sitehon Didia Salama Rabia Ouri. Song for Purim. Ezra Attia Manuscript Shir Ushbaha, 1921	play pause E. Menaged
	2353		שמח בני חתן נעים בן פרת יוסף	Maqam Hoseni Arabic melody: רקץ אל באן. Specifically applied to Nishmat on weeks related to Mattan Torah. Hamaoui Manuscript British Library Or. 10375	play pause Nishmat - Menaged play pause Nishmat - Menaged 2 play pause E Menaged- Nishmat play pause E Menaged- Naqdishakh	נשמת
Selihot	2374	S14	ה' מלך	Different pizmonim melodies that can be applied to Hashem Melekh in Selihot according to Sassoon Manuscript 647: אחות קטנה, חזקו וגילו מאחות קטנה, לך אלי תשוקתי, ה' בקול שופר, ה' בוקר, עת שערי רצון, שואף כמו עבד, שפעת רביבים, כל ברואי מעלה ומטה, יום זה לישראל, שבעה שחקים, יה עוז התאזר, יודו הגיוני, תרומם בת	E Menaged Selihot 1952
	4086	N3	כי לה' המלוכה		E. Menaged- Bayat Menaged- Zakhor (Sigah) E. Menaged: Hijaz
	4094	N4	נשמת	Pillar #1 of Shaharit. Heavy musical style.	E Menaged- Nishmat Ajam
	4096	N7	אל ההודאות	Light musical style.	E Menaged- Rast
	5787		יה אל שמח לעם הנבחר	Yosef Ades Maqam Rast לחן- דיר אל קדח יא חובי. Old SU. Old SU	play pause E Menaged