December 2, 2024 ~ Sh VAYESSE. GIRKA-AJAM.
Born in Brooklyn, New York, Isaac J. Cabasso
was brought up in the Syrian Brooklyn community and was influenced
by the generation of Hakham Moshe Ashear, Ezra and Naftali A. Tawil,
Eliahou Menaged, Gabriel A. Shrem, and his uncle, Ezra Sayegh.
Isaac Cabasso and his uncle
Mickey Kairey were students of Hakham Eliahou Menaged.
Isaac Cabasso is affectionately known as “Cabby” and his beautiful hazzanut, delivered by his mellifluous voice, represents the authentic customs of the Aleppo Jewish community.
Isaac Cabasso was the official cantor of the Community Junior League (the Youth Congregation) in 1959 and later joined Congregation Beth Torah, where, nearly 60 years later, he is still currently the hazzan alongside famed cantor Yehezkel Zion. He is also on the board of Beit Edmund Safra Sephardic Synagogue in Aventura, Florida. He is a senior advisor to the Sephardic Pizmonim Project and has recorded over a hundred pizmonim recordings throughout his career. Cabasso was also on the original pizmonim book committee in 1959.
Isaac was married to Claire Mishaan a’h, and has four daughters: Marilyn Tawil, Lorie Jonas, Debbie Rahmey and Ellen Cohen.
Section | Pizmon | Page | Song | Commentary | Recordings | Application |
---|---|---|---|---|---|---|
Qiddush | 0.01 | 1 | יגדל אלהים חי | Thirteen Primary Jewish Beliefs according to Maimonides. R' Daniel ben Yehuda HaDayan- 13th century- Italy |
I Cabasso- Saba- Milah tune- Semehim |
|
Qiddush | קדוש | 3 | אשת חיל | Last Chapter of Proverbs. Said prior to Qiddush to honor the women of the household. |
I. Cabasso |
|
Qiddush | 0.05 | 6 | קדוש לליל שבת | Qiddush for Friday Night. |
I Cabasso |
|
Qiddush | 0.15 | 7 | קדוש ליום שבת | Qidusha Rabbah for Saturday Morning. |
I Cabasso |
|
Baqashot | 10 | 20 | ה' בוקר | Shelomo Ibn Gabirol Maqam Hoseni Hoseni. Psalms 5:4. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
I. Cabasso |
ה' מלך |
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 |
I Cabasso- SA |
שמחים |
Baqashot | 23 | 30 | כי אשמרה שבת | Abraham Ibn Ezra Maqam Saba Saba. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
I Cabasso- SABA- Semehim |
שמחים |
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 |
Isaac Cabasso- Qaddish |
נשמת |
Baqashot | 37 | 45 | מלא פי שירה | Raphael Tabbush Maqam Ajam Ajam. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
I. Cabasso |
נקדישך |
Baqashot | 38 | 46 | אשא לבי | Eliahu Sasson Maqam Hoseni Written by H Eliahou Sasson (?-1869). Hoseni. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
I. Cabasso - Mimisrayim Isaac Cabasso- Mimisrayim I Cabasso- Mimisrayim |
ממצרים |
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 |
I Cabasso- Semehim |
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 |
I. Cabasso - Qaddish Isaac Cabasso- Nishmat I Cabasso- Domamim- Qaddish I Cabasso- Qaddish (Domamim) |
נשמת |
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 |
I. Cabasso |
|
Baqashot | 53 | 61 | בר יוחאי נמשחת | Shimon Labi Maqam Sigah The pizmon "Bar Yohai" (SIGAH, page 61), is written by H Simeon Labi (b. Spain, 1486- d. Tripoli, Libya,1585), in honor of Rabbi Shimon Bar Yohai, a 2nd century Tannaitic sage strongly associated with Jewish mysticism. Rabbi Simeon Labi, whose name forms the acrostic at the beginning of each stanza, was en-route to the Land of Israel, but on his way, he was stopped in Tripoli. Upon seeing the community's low spiritual situation, he decided to stay there his entire life, where he contributed to their revival of Jewish life. Excluding the first line, which is meant to be a repeating verse, there are ten stanzas to this song; all filled with rich allusions to Bar Yohai's life. In our tradition, there is a slow melody and a fast "Beirut" melody to this song. During the Baqashot of Shabbat, we use the slow melody for the first and last stanzas, and the fast melody for all the middle stanzas. On Lag La'Omer, which is the anniversary of his death, the slow melody of this pizmon is applied to Naqdishakh. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
I Cabasso - Naqdishakh |
נקדישך |
Baqashot | 59 | 67 | אדון יחיד | Menashe Sitehon Maqam Sigah Alludes to the Ten Sefirot that God used to create the world. Written by Menashe Sittehon (?-1876), in honor of Isaac Harari. Sigah. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
I. Cabasso - Semehim I Cabasso- Semehim |
שמחים |
Baqashot | 61 | 69 | ידיד נפש | Elazar Azkari Maqam Sigah 16th century. He defines this piyut as “a supplication for union and the desire of love”. Sigah. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 |
I. Cabasso |
ממצרים |
Baqashot | 65 | 72 | יה אל גדול ונאדר | Raphael Tabbush Maqam Saba This pizmon first appeared in Tabbush's 1888 pizmonim book. It is listed as Maqam Hijaz. It was written in honour of H Yaaqob Barzani. Saba. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
I. Cabasso |
שמחים |
Mossaei Shabbat | 72.03 | 85 | הבדלה | All of these Habdalot recordings, courtesy of Steven M Ashear, took place in the Edmond J Safra Synagogue of South Deal (Hathaway) by Cantor Yehiel Nahari. Mahzor Aram Soba 1560 |
I Cabasso |
|
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 |
Isaac Cabasso- Nishmat |
נקדישך |
Rast | 107 | 108 | מאמרי פי | Hatan. Hamaoui Manuscript Tabbush Manuscript Tabbush Manuscript |
I. Cabasso I Cabasso |
|
Rast | 110 | 110 | ידך עשת | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso- Qaddish I Cabasso- Qaddish |
|
Rast | 114 | 111 | אחבירה לך |
I Cabasso |
ואני תפלתי | |
Rast | 118 | 113 | ישיר ישראל ברננים | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso - Qaddish |
|
Rast | 120 | 114 | אתה אל טוב |
I. Cabasso |
||
Rast | 121 | 114 | דלני מיד הזרי |
I. Cabasso |
קדיש | |
Rast | 122 | 115 | מה טוב כאישון | Raphael Tabbush For a Hatan that is a first born. Hamaoui Manuscript |
I. Cabasso |
|
Rast | 123 | 115 | יה אל מגן | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Isaac Cabasso- Naqdishakh |
נשמת |
Rast | 124 | 116 | אתה יודע | Raphael Tabbush |
I Cabasso- Naqdishakh |
נקדישך |
Rast | 128 | 118 | רצה שירי | Raphael Tabbush |
I. Cabasso |
|
Rast | 129 | 118 | יאיר יזרח | Shalosh Regalim. |
I Cabasso |
|
Rast | 130 | 119 | הנה זה עומד |
Isaac Cabasso- Mimisrayim |
ממצרים | |
Rast | 132 | 120 | יחיד נורא | Raphael Tabbush This jovial pizmon (RAST, page 120), composed by H Raphael Antebi Tabbush (deceased December 1918) of Aleppo, Syria, is one of the most important and popular songs for the festival of Pesah. There are four stanzas in this pizmon; corresponding to the four letter of name of God (Tetragrammaton). Within each stanza, there are multiple rhyming clauses. Although the melody of this song should not be applied to any of the pieces of prayers, this pizmon is used for the PIZMON SEFER TORAH (typically on Shabbat HaHodesh or 1-2 Pesah). Many aspects of the month of Nisan, including the Haggadah and the counting of the Omer, are alluded to in this special pizmon. In general, the composer gives praise to God for all of His kindness to mankind, and specifically to the Jewish nation for the Exodus from Egypt and the splitting of the sea. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 |
I Cabasso |
|
Rast | 134 | 121 | אל רם ברך |
I. Cabasso |
שועת עניים | |
Rast | 135 | 121 | מה נעים החתן | Raphael Tabbush Hatan. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 |
I Cabasso- Mimisrayim |
ממצרים |
Rast | 139 | 123 | הקץ יה חביבי | Raphael Tabbush סימן רפאל Hamaoui Manuscript |
I Cabasso - Haleluya |
הללויה |
Rast | 141 | 124 | נשאם עד העולם | Raphael Tabbush Hamaoui Manuscript |
I Cabasso- SA |
שמחים |
Rast | 144 | 125 | מימים ימימה | Moses Ashear Ashear Manuscript |
I Cabasso |
שועת עניים |
Rast | 145 | 126 | יה שמע תפלה | Moses Ashear Ashear Manuscript |
I Cabasso- SA I Cabasso |
|
Rast | 148 | 128 | יחיד אל נורא | Moses Ashear Ashear Manuscript |
I Cabasso |
|
Rast | 149 | 128 | תען לשוני ותגיד | Moses Ashear (Maqam Sigah). Ashear Manuscript |
I Cabasso I Cabasso |
ממצרים |
Rast | 153 | 131 | מבשר אתן | Moses Ashear In honour of the groom, Yosef Abraham Me'Eli HaKohen. Ashear Manuscript |
I Cabasso- EH I Cabasso- EH |
|
Rast | 161 | 137 | מה לך רעיה יחידה | Moses Ashear Nissim Shaul Dabbah Bar Misvah. February 23, 1935. Leaflet |
I. Cabasso I. Cabasso 2 |
|
Rast | 162 | 138 | דגלך ישא על הרים | Moses Ashear Nissim Shaul Dabbah Bar Misvah. February 23, 1935. Leaflet |
I Cabasso- Semehim (Lo Ahale Ki) |
|
Rast | 163 | 139 | טל עלי יה | Moses Ashear Ephraim Mordechai Haddad Bar Misvah. January 1935. Leaflet |
I. Cabasso |
פזמון |
Rast | 164 | 140 | אב הרחמן אהבת | Ezra Dweck and Gabriel Shrem Wedding of Lew Grazi on his wedding day, 15 Tammuz, 1956. The melody is from "Bint Il Jiran." |
I. Cabasso |
כתר |
Rast | 166 | 143 | רננות שיר ושבחה | Raphael Yair Elnadav Gindi Bar Misvah. |
I. Cabasso |
|
Mahour | 169 | 145 | חסדך קדם | Raphael Tabbush Shabbat Bereshit, the Shalosh Regalim, as well as Purim. Tabbush. Turkish. |
I. Cabasso - Qedusha I Cabasso- Naqdishakh |
נקדישך |
Mahour | 170 | 146 | אל חון על בת המענה | Baby Girl. |
I. Cabasso - Hahodaot |
ה' מלך |
Mahour | 174 | 147 | יחיד האל ומהלל | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso - Qaddish I Cabasso |
קדיש |
Mahour | 177 | 149 | חובי מלכי סלח | Raphael Tabbush |
I. Cabasso- Nishmat
|
נשמת |
Mahour | 179 | 149 | ידך תנחני | ישראל Yadekha Tanheni is a composition written by the legendary poet and Sephardic rabbi H Israel ben Moshe Najara (1555-1625). Based on the words in Psalms 139:10, the pizmon opens with the words "Your hand will guide me, O Living God, my maker." Throughout his life as a refugee (from Safed, to Damascus, and then to Gaza) filled with personal tragedy (loss of his wife and daughter at an early age), Najara manages to keep his faith in the Almighty and relies on Him for support. Still questions are asked of God, "Where is David? Where is Ben Yishai?" - referencing the Messiah and a promised redemption. In the prayers, H Moshe Ashear uses the MAHOUR melody of this pizmon on Shabbat Toledot for Semehim. This relates to the narrative of this perasha, because we are introduced to Jacob, also named Israel; an individual who also had a very difficult life but nevertheless relies on God for support. Hamaoui Manuscript Attiah Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923 |
I. Cabasso- Semehim Isaac Cabasso- Semehim 2 |
ה' מלך |
Mahour | 181 | 151 | חנון רחם | Raphael Tabbush This pizmon (MAHOUR, page 151), whose title can be translated as "Merciful One, Have Compassion on Your Beloved People," is a song for the Shalosh Regalim, the three times of the year when Jews make the pilgrimage to the Temple in Jerusalem. It is composed by H Raphael Antebi Tabbush, and the acrostic of this 4 stanza song spells "Hayim" (סימן חיים), or ‘life’. The melody of this song is from the Arabic song “Midlam Minina.” Traditionally, our community sings this melody as the PIZMON SEFER TORAH on the second day of Sukkot. The first part of this song (first two stanzas) is a prayer for God to have compassion on His nation, and rebuild the Temple in Jerusalem, because the “time has come” for the redemption. The restoration of the Jewish people to their ancestral homeland and the end of their exile is represented by “living waters flowing out of Jerusalem,” and this is alluded to clearly in Zecharia 14:8. The second part of this song (the last two stanzas) goes on to express the great happiness that will befall the Jewish people (like the happiness of a bride and groom) once God performs these miracles of providing the new Temple, ending the exile; and having the Messiah announce the good news about the redemption. When these things happen, the Jewish people will be extremely happy and praise God, their Merciful Father. Hamaoui Manuscript Tabbush Manuscript |
I Cabasso |
פזמון |
Mahour | 182 | 151 | שבתי שבתי | Raphael Tabbush This pizmon (MAHOUR, page 151), whose opening words are translated as “I Have Returned,” is a song for the Aseret Yeme Teshuba, or the ten days of repentance, and more specifically, for the Pizmon Sefer Torah on Shabbat Shuba. This melody, which can fit into the prayer piece of Mimisrayim, is said to have originated from Turkey, but no exact source of this melody can be identified. It is composed by the great Jewish poet H Raphael Antebi Tabbush (d. 1918) from Aleppo, Syria, and it is about the author’s personal journey to repentance. In this piece, the author starts by stating that he has returned to God by his refraining from the three categories of sins: Het (חטא), Avon (עון), and Pesha (פשע). In addition, he is offering God his constant praises and his heartfelt prayers. The prayers that he is asking for, mentioned in the second stanza, is for the general blessings of God’s kindness and a forgiveness for his transgressions. He then asks God for his own personal redemption and gathering of his community towards their redemption. The second stanza with the open question: Why do I continue to sit in this exile for such a long time? The song concludes with a prayer to God to strengthen the Jewish nation, send “their messenger” (צירם) and to reveal the end of days. He considers the hidden nature of God to be a sign of the nation's unworthiness and is trying to convince God that the nation is worthy of having God act in a more revealed way so that the nation can have God reign over them as their king forever. |
I. Cabasso - Halleluyah I Cabasso I Cabasso- Mimisrayim |
שמחים |
Mahour | 185 | 153 | אל בחסדך גאלנו | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
I Cabasso- Nishmat |
נשמת |
Mahour | 186 | 153 | נעימה לי | Moses Ashear Eli S Haddad. Ashear Manuscript |
Isaac Cabasso- Shavat I Cabasso- SA |
שועת עניים |
Mahour | 187 | 154 | ריבה ריבה | Moses Ashear Gabe Shasho. Ashear Manuscript |
I Cabasso- EH |
ואני תפלתי |
Mahour | 190 | 155 | לביתך יה ארוצה | Moses Ashear Shalom. For Yom Kippur. Ashear Manuscript |
I. Cabasso |
|
Mahour | 191 | 156 | בואי ברנה | Moses Ashear Bo'ee BeRina is one of the most beautiful compositions authored by H Moshe Ashear (d. 1940). This pizmon was written for the groom, Seymour Charles Semah, in honor of his wedding to Sara Ashkenazie (daughter of Lulu and Aharon Ashkenazie). The content of the pizmon is written from the point of view of the Hatan talking to his new wife. Although the acrostic is Moshe- named after the author, the names Shaul, Sion, and Semah are alluded to in the first, second, and last stanzas, respectively. The melody of this pizmon is from the Arabic "Hawad Min Hina," sung by Egyptian singer Munira al-Mahdiya (1884-1965). Although this song is only listed in Maqam MAHOUR, Ashear made another melody to this pizmon in Maqam HIJAZ. It is the HIJAZ version that Ashear applied to Semehim on Shabbat Haye Sara in 1940. The pizmon relates to this Torah portion, because Isaac becomes a groom. Ashear Manuscript |
I. Cabasso- Shav'at I. Cabasso- Hijaz |
שמחים |
Mahour | 196 | 161 | יה ניבי לך | Moses Ashear Isaac Harry Franco wedding. Kislev 1931. Leaflet |
I Cabasso I Cabasso |
|
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. |
I Cabasso - Qaddish |
קדיש |
Ajam | 201 | 165 | ישא ברכה | Raphael Tabbush This pizmon (AJAM, page 165) is composed by H Raphael Antebi Tabbush in honor of the installation of Rabbi Yaaqob Shaul Elyashar (Safed, 1817- Jerusalem, 1906) as the new Rishon LeSion (Sephardic Chief Rabbi) in 1893. The debut of this special song took place at the Rabbi Yohanan Ben Zakai synagogue in the Old City of Jerusalem by two choirs of boys (one from the Talmud Torah Doresh Zion and the other from the yeshiva Tiferet Yerushalayim) under the direction of H Raphael Tabbush. At the end of the performance, the Chief Rabbi thanked H Tabbush greatly and as a token of his gratitude, gave him 3 napoleon gold coins; hence the song became referred to as the "Golden Song". The title of this song "Yisa Berakha" refers to the abbreviation of Rabbi Elyashar's name (יש״א), and the acrostic of the four stanzas of this song is Yaaqob (יעקב); a reference to his first name. The melody of this song can be applied to Nishmat on weeks of Maqam AJAM, and is specifically associated with Shabbat Shofetim due to the Deuteronomy 17:20 reference of "Ya'arikh Yamim Al Mamlakhto" (translated as "long days for his reign") in the second stanza of the song. Tabbush Manuscript |
I. Cabasso- Nishmat |
נשמת |
Ajam | 206 | 169 | לעם חביב | Maqam Sasgar Arabic: Sayed El Safti singing "Bid'i il Habib" in Maqam Geharka. Hamaoui Manuscript |
I. Cabasso Kaddish |
קדיש |
Ajam | 208 | 169 | איברי יאמרו הב | Raphael Tabbush סימן אני נסים Tabbush Manuscript |
I. Cabasso- Nishmat I Cabasso- Opening & Nishmat |
נשמת |
Ajam | 209 | 170 | היום רפא לעם נלבב | Raphael Tabbush Maqam Sasgar Hamaoui Manuscript Tabbush Manuscript |
I Cabasso- Qaddish 1 I Cabasso- Qaddish 2 |
קדיש |
Ajam | 214 | 172 | אני לקראת | Raphael Tabbush Engagement or Wedding. Manuscript |
I. Cabasso |
ממצרים |
Ajam | 215 | 173 | מקהלות עם | Mordechai Abadi This pizmon (AJAM, page 173), whose opening words translate as "In the assembly of the nation God is blessed," is a popular celebratory song associated with weddings. It is composed by the prominent rabbi, judge, and poet, H Mordekhai Abadi (b. Aleppo, 1826 - 1883), who is the author of "Dibre Mordekhai" (Aleppo, 1873), a collection of sixty nine pizmonim assorted by maqam, as well as "Miqra Qodesh," a collection of Baqashot. This song has four stanzas (acrostic: מ-ר-ד-כי) and a repeating chorus ("Haleluhu Gadeluhu"). The song seems to honor a bridegroom with the first name 'Jacob,' but this name is a metaphor for the entire nation of Israel. The song is an ongoing blessing to this bridegroom (i.e. wealth, honor, and longevity), as well as an ongoing praise to God for His generosity and kindness. The song ends with a remembrance of the strength that Israel had at the exodus from Egypt as well as a blessing for us to merit a future redemption when we will all live in Jerusalem. A Z Idelsohn notes, 1923 British Library Or. 10375 |
I Cabasso |
נקדישך |
Ajam | 216 | 173 | יחיד רם שוכן בשחק |
I Cabasso - Halleluya |
||
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. |
I. Cabasso |
אל ההודאות |
Ajam | 224 | 177 | ינון שמו | Raphael Tabbush This pizmon (AJAM, page 177), whose opening words are translated as “It Will Flourish,” is a song that celebrates the beauty of the Torah and the aspirations of the Jewish people. It is most likely composed by the great Jewish poet H Raphael Antebi Tabbush (d. 1918) from Aleppo, Syria. There are 4 stanzas in this song corresponding to the Hebrew name of ‘YisHaq’ (יצחק); which happens to be the author’s middle name and the name of his father. Taken from an Arabic march called “Intiyamo,” this melody can be heard with great enthusiasm when applied to the prayer-piece Shav’at Aniyim in virtually all Syrian Sephardic synagogues throughout the world. The song opens with a reference from Psalms 72:17 about someone named “Yinon,” which in Hebrew is translated as ‘it will flourish.’ According to rabbinic tradition, ‘Yinon’ refers to a future Messianic figure (see end of Piyut “Et Sha’are Rasson”). The author asks, where is Yinon of the Messianic age, and when will God bring the time when the people can rejoice in the Temple? He requests God to return the divine presence to the Temple and to treat the people with the kindness that they yearn for. The third stanza praises God for giving us the Torah; a gift exclusively for the Jewish people for them to both enjoy and live by. The song concludes with a prayer to gather the scattered people from foreign lands, to restore the Beit HaMiqdash as a place of song, and to shower the Jewish people with God’s greatness. Tabbush Manuscript |
I. Cabasso |
שועת עניים |
Ajam | 227 | 179 | רועה נאמן הוא | Raphael Tabbush The pizmon "Ro'eh Ne'eman Hu" (AJAM, page 179), translated as "Faithful Shepherd Is He," is a song associated with the festival of Shabuot. It is composed by H Rephael Antebi Tabbush (d. Cairo, 1918), and the acrostic of his name, "Raphael," is spelled out in the song's four stanzas. The melody of this pizmon is adapted from "Salam Affandina" (translated as "Salute of our Lord"); a melody composed by Giuseppe Pugioli. This melody is well known because it was Egypt's national anthem from 1871-1958. The theme of the pizmon is about receiving of the Torah and the importance of it. In the last stanza of this pizmon, it says "Learn from it (the Torah) day by day, and all your days, you will find peace." The song concludes by saying that the way of the Torah will "save you from troubles and your words [of prayer] will be listened to by God." According to the Hazzanut notes of H Moshe Ashear, this pizmon is traditionally used as the PIZMON SEFER TORAH on the first day of Shabuot. Tabbush Manuscript |
I. Cabasso - Qaddish I Cabasso |
כתר |
Lami | 233 | 183 | למי יזרח אור ופורקן | Moses Ashear Sion Ezra Levy wedding. September 20, 1938. Leaflet |
I. Cabasso |
קדיש |
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 |
I. Cabasso |
נשמת |
Ajam | 235 | 187 | מי זאת הנשקפה | Moses Ashear Its melody is taken from the Neapolitan song "Santa Lucia", by Teodoro Cottrau, Written in honor of the birth of a baby girl. The text begins with a paraphrase of Song of Songs 6:10: "Who is she that shines through like dawn, tired. She is radiant and beautiful, the pleasing daughter of Zion." Written for Hebrat Qadimah which was a Zionistic society as the words of the song clearly indicate and not a community synagogue. Ashear wrote this song before 1928. Ashear Manuscript |
I. Cabasso |
שמחים |
Ajam | 239 | 189 | מלאכי מרום | Moses Ashear Wedding of Isaac and Fortunee Betesh. German melody. Ashear Manuscript Photograph of Isaac S Betesh and Fortunee Antebi |
I. Cabasso I. Cabasso 2 I Cabasso- SA |
שועת עניים |
Ajam | 240 | 190 | מה נורא מעשיך | Moses Ashear Sam Franco. Ashear Manuscript |
I. Cabasso |
אל ההודאות |
Ajam | 242 | 191 | כל עת אליך | Moses Ashear Naftali Tawil. Arabic is: "Tilet Yamahla Nourha". Ashear Manuscript |
I. Cabasso - Semehim I Cabasso- Semehim |
שמחים |
Ajam | 243 | 193 | אני בפי אביע | Moses Ashear Mizrachi. Ashear Manuscript |
I. Cabasso - Nishmat |
שמחים |
Ajam | 246 | 194 | יה שוכן זבול | Moses Ashear Sutton. Ashear Manuscript |
I. Cabasso I. Cabasso 2 |
|
Ajam | 247 | 195 | מה יפית ומה נעמת | Moses Ashear Written for Hebrat Qahal Qadosh Magen David. Tune is "The Star Spangled Banner." Written by Ashear pre 1928. |
I. Cabasso |
|
Ajam | 253 | 202 | מלכי אתה פודי | Murad Maslaton Bar Misvah of Sion Maslaton. |
I Cabasso - Keter |
כתר |
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 |
I. Cabasso - Nishmat I. Cabasso - Nishmat 2 Isaac Cabasso- Nishmat- 3 |
נשמת |
Rast | 254.4 | 204 | הללי תשמע | Ezra Mishaniye Written in honor of birth of Joseph Yehudah Levy; March 27, 1952. Leaflet |
I. Cabasso - Nishmat |
|
Ajam | 254.7 | 204e | רמ"ח אברי | "The Wheat Song." Bar Misvah of Moe Abraham Tawil (May 23, 1982). |
Tawil & Cabasso |
|
254.91 | 203f | Yah Ma Banait | Maqam Ajam Used for Qaddish by G. Shrem on Shabbat Shirah. |
I. Cabasso- Nishmat I Cabasso - Nishmat (higher pitch) |
קדיש | |
Nahwand | 255 | 205 | שרים רוזנים | Wedding song. British Library Or. 10375 |
I Cabasso |
נשמת |
Nahwand | 257 | 207 | רצה לשירי | Introduction to the following song. |
I. Cabasso |
שמחים |
Nahwand | 260 | 207 | אל אבי מחסדך | Raphael Tabbush |
I. Cabasso |
נשמת |
Nahwand | 265 | 210 | אתה אל כביר | Raphael Tabbush The initials at the beginning of each stanza form the acrostic 'Ani Refael'. The song talks about Israel's redemption. The beginning of the pizmon has the composer turning to God to ask for mercy. The composer says that he will not stop praying until his prayers are accepted. He prays for the redemption of the Jewish people, the gathering of the exile, and returning to the Land of Israel. Tabbush Manuscript |
I. Cabasso- Nishmat Isaac Cabasso- Nishmat Isaac Cabasso- Qaddish |
נשמת |
Nahwand | 268 | 211 | תכון לעד יפה יפה |
I Cabasso I Cabasso |
נשמת | |
Nahwand | 269 | 212 | רואה ובוחן לבב הכל | Raphael Tabbush |
I. Cabasso |
נקדישך |
Nahwand | 270 | 212 | רננות שירו אחי | Raphael Tabbush Tabbush Manuscript |
I. Cabasso I Cabasso I Cabasso |
שמחים |
Nahwand | 273 | 214 | למה הקץ נסתם נא | Raphael Tabbush This pizmon (NAHWAND, page 214), whose title can be translated as "Why is the End Concealed," is composed by H Raphael Antebi Tabbush (d. 1918). The structure of this song is that it has five lines, and each one ends with a repeated chant of “Ne’eman, Ne’eman, Ne’eman,” or "Eli, Eli, Eli." In this song, the author starts by asking why the end of the exile cannot be revealed? But despite not knowing the answer to this difficult question, the Jewish people are nevertheless committed to remaining faithful, or “Ne’eman,” to the Almighty. The author continues by asking why his nation, Israel, finds themselves “locked up” in scenarios of sorrow and trouble? The author petitions that if it is because Israel is stained with sins, then those sins should be quickly forgiven, and God should revert Israel's status to “white as snow” (based on a reference from Isaiah 1:18). In the closing verse, the author requests for God to rebuild the Temple so that he, the author, can come and offer the 'Olah sacrifice to God, in order to thank Him for His overwhelming kindness. Regarding the melody of this pizmon, it is a very famous muwashshah called "Lama Bada Yatathana." Although the exact date of this melody is uncertain, in modern times, this melody has been recorded by many Arabic artists; including: Fairuz, Souad Massi, and Lena Chamamyan. The melody of this pizmon is also heard in Syrian synagogues when it is transposed to Naqdishakh on days when Maqam NAHWAND is applied to the prayers. |
I. Cabasso- Qedusha |
נקדישך |
Nahwand | 274 | 214 | יה נחלה המצחה | Raphael Tabbush |
I. Cabasso- Qaddish |
קדיש |
Nahwand | 275 | 215 | אודך אודך | Raphael Tabbush Tabbush Manuscript |
I. Cabasso- Semehim |
שמחים |
Nahwand | 276 | 215 | רעיוני יחיד | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
Isaac Cabasso- Rau Banim |
ממצרים |
Nahwand | 277 | 216 | יבנה ביתו | Raphael Tabbush |
I. Cabasso |
שועת עניים |
Nahwand | 278 | 216 | רחום אתה | Raphael Tabbush "Rahum Ata" (NAHWAND, page 216) is composed by H Rephael Tabbush (Aleppo, ~1830 - Cairo, 1918), author of the "Shir Ushbaha" pizmonim book (1888). According to the notes of H Moshe Ashear, this song is reserved for Shabbat Beshalah (Shabbat Shira), and the Seventh Day of Pesah. There are 4 stanzas in this pizmon; corresponding to ר-פ-א-ל. The melody of this pizmon is called "Bafta Hindi," and can be applied to Mimisrayim on weeks of Maqam NAHWAND. "Merciful are You for redeeming us from captivity," the pizmon opens; referring to the captivity of slavery under Pharaoh. The second verse is a prayer to redeem us now and to send Eliahu the Prophet to herald the redemption. After we hear of the redemption, the third verse says that we will sing praises to God. The fourth verse mentions how on the seventh day after the Exodus, God rescued our nation by overpowering nature and splitting the Red Sea. Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso I Cabasso |
ממצרים |
Nahwand | 280 | 217 | בשם יי אקרא | Moses Ashear Rishty. Ashear Manuscript |
I. Cabasso |
|
Nahwand | 281 | 218 | מרים ראשי וכבודי | Moses Ashear Isaac Shalom. Ashear Manuscript |
I. Cabasso |
|
Nahwand | 283 | 219 | מה נעמו אמריך | Moses Ashear Moshe Ezra Shrem. Ashear Manuscript |
I Cabasso I Cabasso |
|
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 |
I. Cabasso |
שועת עניים |
Nahwand | 285 | 220 | אהלל ואביע | Moses Ashear "Ahallel Veabia" (NAHWAND, page 220), a pizmon associated with the festival of Shabuot, is composed by H Moshe Ashear (1877-1940). There are fifteen stanzas in this pizmon; all rhyming with one another. The acrostic of the pizmon is "Anokhi Hashem Elohekha, Lo Tahmod Asher Lere'ekha" (אנכי ה׳ אלהיך לא תחמד אשר לרעך); referring to the first and tenth commandments, respectively. The melody of this pizmon is called “Izmir Sefasi”; named after Izmir, Turkey. This pizmon is a poetic rendition of the narrative in Exodus 19 and 20; the narrative that discusses Israel's preparation, receiving, and acceptance of the Ten Commandments on Mount Sinai. The song concludes with a plea for God to listen to our prayers of returning the Jews to Zion so that they can live there in peace. The melody of this pizmon is traditionally applied to Halleluya (Psalm 150) on Shabuot, as well as on Shabbat Yitro and Shabbat Vaethanan. Ashear Manuscript |
I. Cabasso- Halleluyah |
הללויה |
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 |
I. Cabasso- El Hahodaot I Cabasso - Naqdishakh |
קדיש |
Nahwand | 291 | 226 | יעטר יה | Moses Ashear Wedding of Sam and Renee Esses. Shabbat Vayesse. Photograph is courtesy of grandson Ike Esses in Phoenix. Names of family members scattered throughout this pizmon. Photograph of Sam and Renee Esses |
I. Cabasso I Cabasso |
|
Nahwand | 293.3 | 228b | יפרח יה אבי |
I. Cabasso- Qaddish |
קדיש | |
Nahwand | 296 | 231 | ירומם צורי | Moses Ashear Ashear composed this pizmon in honor of the birth of his grandson Moshe to his son Yosef. The initials at the beginning of each main stanza form the acrostic 'Yosef HaCohen Hazak'. June 8, 1935. Leaflet |
I. Cabasso I Cabasso- Semehim I Cabasso- Semehim 2 |
קדיש |
Nahwand | 299.001 | 237 | אנא בחסדך |
I. Cabasso |
||
Nahwand | 299.01 | 237a | מלכי צורי אל כביר | Haim S Aboud |
I. Cabasso- Naqdishakh |
|
Nahwand | 299.02 | 237b | החיש לצירך | Haim S Aboud |
Isaac Cabasso- Qaddish |
|
299.14 | Oh How We Danced | Gabriel A Shrem Maqam Nahwand Al Jolson Anniversary Song |
Isaac Cabasso- Rau Banim |
ואני תפלתי | ||
Bayat | 305 | 240 | יפת עין לבבתיני | Ezra Attiah Siman "Yeshaya". Yeshaya is the name of his father. Pizmon for Abi HaBat. |
I. Cabasso- Nishmat |
נשמת |
Bayat | 306 | 241 | אל יצרת | Raphael Tabbush Aseret Yeme Teshubah. Can be used for Shabbats of Maqam Bayat-Hijaz. Hamaoui Manuscript Tabbush Manuscript |
I Cabasso- Nishmat |
|
Bayat | 308 | 242 | יה אלי מהר | Raphael Tabbush Title in Red Book of "Abd Al Ekhoua" is incorrect. The actual title is “min abli mah ahwah algamal.” |
I. Cabasso- Nishmat Isaac Cabasso- Nishmat I Cabasso- Nishmat 3 |
נשמת |
Bayat | 309 | 242 | אני אגיד בקהל עם זו | Arabic: Ahd El Ekhewwa. DOR in Maqam Bayat. |
I. Cabasso- Qaddish |
|
Bayat | 311 | 243 | שבחו אל רוממו | Hatan/Kallah. British Library Or. 10375 |
I Cabasso- Nishmat |
נשמת |
Bayat | 313 | 243 | אבוא אל ציון |
I. Cabasso |
נשמת | |
Bayat | 315 | 244 | יחידתי בת אימה | Raphael Tabbush |
I. Cabasso |
שמחים |
Bayat | 316 | 245a | למה אויבי רדפוני |
I. Cabasso |
||
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 |
I. Cabasso- Shav'at I Cabasso |
שועת עניים |
Bayat | 320 | 246 | חביבי הב |
I. Cabasso |
||
Bayat | 324 | 248 | חזק אל ידי |
I. Cabasso |
||
Bayat | 331 | 254 | אל רם ואיום |
I Cabasso- Shavat |
שועת עניים | |
Bayat | 339 | 260 | לשם יי צבאות | Moses Ashear Bar Misvah. Ashear Manuscript |
I. Cabasso |
|
Bayat | 343 | 263 | מה יפו לי פעמיך | Moses Ashear Bijou. Ashear Manuscript |
I. Cabasso |
|
Bayat | 344 | 264 | מענה לשון | Moses Ashear Safdieh. Ashear Manuscript |
I. Cabasso I. Cabasso- Qedusha |
הללויה |
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 |
I Cabasso |
|
Bayat | 346 | 266 | אל מאד נעלה | Moses Ashear The pizmon “El Meod Na’ala” (BAYAT, page 266) is one of the most famous compositions written by cantor H Moshe Ashear (1877-1940). This was written in honor of the groom Mr Elie J Gindi (born in 1900, Syria) for his wedding (circa 1924 in Brooklyn, NY). The acrostic of the pizmon is “Eliah Moshe” with the first word of each of the three stanzas spelling “Eliah” and the second word of each stanza spelling “Moshe.” The names of the bride’s father, Moses (Attieh), and the bride, Rachel, are alluded to in the first and third stanza’s respectively. The melody of this pizmon is from polka music from Istanbul, Turkey. In the prayers, this melody is commonly applied to Semehim on weeks of Maqam BAYAT. This song is also traditionally used as the PIZMON SEFER TORAH for Shabbat Shemot because of it mentioning Moshe and Aharon, two important people introduced in this Torah portion. Ashear Manuscript |
I. Cabasso- Semehim |
שמחים |
Bayat | 349 | 267 | הודך יה תנה לי | Moses Ashear Wedding of Ezra S Tawil. Song is a mixture of Bayat and Hijaz. Ashear Manuscript |
I. Cabasso Qaddish I. Cabasso Qaddish I Cabasso- Naqdishakh I Cabasso - Pizmon |
נקדישך |
Bayat | 350 | 268 | 'הללו את ה | Moses Ashear Matan Torah. Ashear Manuscript |
I Cabasso I Cabasso |
|
Bayat | 351 | 269 | איומה לי שובי בחבה | Moses Ashear Ashear Manuscript |
I. Cabasso |
|
Bayat | 352 | 270 | לדודי נא | Moses Ashear Ashear Manuscript |
I. Cabasso |
|
Bayat | 354 | 272 | תנהלני לעיר כבודך | Moses Ashear Serure. Ashear Manuscript |
I. Cabasso |
|
Bayat | 355 | 273 | יה הושיעה עדתי | Moses Ashear Wedding of Jacob Isaac Cabasso, father of Eli and Isaac J Cabasso. Ashear Manuscript Photograph of Isaac Cabasso with DMB |
I. Cabasso I Cabasso 2 |
|
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 |
I. Cabasso Qaddish I Cabasso- EH & Qaddish |
שמחים |
Bayat | 358 | 276 | אל דורשה נפשי | Raphael Tabbush Tabbush Manuscript |
I. Cabasso- Mimisrayim |
ממצרים |
Bayat | 359 | 276 | אבי כחותם שימני | Shrem Manuscript |
I. Cabasso- Qedusha |
נקדישך |
Bayat | 361 | 278 | לך חילי | Ezekiel Dweck Shrem Manuscript |
I. Cabasso |
|
Bayat | 362 | 278 | אל נעלה רפא | Moses Ashear Eli Ashear Bar Misvah. Kislev 1929. Leaflet |
I Cabasso I Cabasso I Cabasso- Nishmat |
קדיש |
Bayat | 363 | 280 | שובי העדי | Moses Ashear Written May 26, 1940. Song in memory of Rabbi Shimon Bar Yohai, for Lag LaOmer. Leaflet |
I. Cabasso |
כתר |
Bayat | 364 | 282 | יה נורא ונשגב | Moses Ashear Mordechai Israel Missry Bar Misvah. March 19, 1935. Leaflet |
I. Cabasso |
|
Bayat | 365 | 284 | לאל עתרתי תעלה | Moses Ashear David Moshe Ashear Wedding. March 14, 1937. Leaflet |
I. Cabasso |
|
Bayat | 368 | 288 | אנא אנא אימא | Moses Ashear Moshe Pinehas Schwecky Bar Misvah. Sivan 1931. Leaflet |
I. Cabasso |
|
Bayat | 371 | 291 | יחידה התנערי | Moses Ashear Bar Misvah of Joe Saff. The pizmon contains references to Bar Mitzvah as well as allusions to the particular situation of the Saff family. 1933. Leaflet Photograph of Joseph E Saff |
I. Cabasso |
|
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 |
I. Cabasso I. Cabasso - only page 300 |
שועת עניים |
Bayat | 381 | 302 | שבחך אני אגידה | Ezra Mishaniye Composed by Hakham Ezra Mishaniye for Nissim Franco, Hazzan of Congregation Magen David and subsequently Shaare Zion (Brooklyn, New York), for the occasion of the Bar Misvah of his son, Steve Franco (yeshaya) . It is sung to the Arabic melody of ANI MANI RAYISAH. Can be applied to Odecha or Keter. Bar Misvah on January 19, 1950. Leaflet Photograph of Nathan Nissim Franco |
I Cabasso- Semehim |
כתר |
Bayat | 382 | 304 | חוס לעמך | Ezra Mishaniye Sam Haddad- "Simbol" (Joseph) Kassin Wedding. December 1, 1951. Leaflet |
I Cabasso |
קדיש |
Bayat | 387 | 311 | יה אל הבט למענה | Ezekiel Dweck Written during the time of the Holocaust. Shrem Manuscript |
I. Cabasso- Qaddish I Cabasso- SA |
קדיש |
Bayat | 388 | 312 | שירו שיר חדוה | Ezekiel Hai Albeg This special pizmon (BAYAT, page 312) is composed to the Arabic melody of "Al Hiya Helwa" by Cantor Ezekiel Hai Albeg in honor of the Bar Misvah of Benny Levy (1939-2024) son of Olga and Elie Bechor Levy. Benny Levy is one of the pioneers of Ahi Ezer Congregation. It is said about him that he lived a humble yet fulfilling life. He passed away the 24th of Adar 1, 5784 (which is March 4, 2024). The melody of this song can be applied to Semehim when prayers are conducted in Maqam BAYAT. Photo of Benny Bechor Levy (1939-2024) |
I. Cabasso Isaac Cabasso- Qaddish |
שמחים |
Bayat | 391.05 | 318c | קולי שמעה |
I. Cabasso I. Cabasso - El Hahodaot |
אל ההודאות | |
Mehayar-Bayat | 392 | 319 | מגן ועזרה | Moses Ashear Shames wedding. Alludes to the Ten Sefirot. |
I. Cabasso |
|
Mehayar-Bayat | 395 | 321 | אשיר אני בבית נאוה | Moses Ashear J Gindi. |
I. Cabasso I Cabasso 2 |
קדיש |
Mehayar-Bayat | 397 | 323 | יה מתנשא | Moses Ashear Meyer Salem wedding. Ashear Manuscript |
Isaac Cabasso- Rau Banim |
|
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 |
I Cabasso |
שועת עניים |
Mehayar-Bayat | 399 | 325 | מראשית כל | Moses Ashear Harari wedding. Ashear Manuscript |
I Cabasso |
קדיש |
Mehayar-Bayat | 406 | 331 | מלך הדור | Moses Ashear Wedding of Isaac Haim Massri; March 20, 1934. Leaflet |
I. Cabasso |
קדיש |
Hoseni | 407 | 333 | משמחי לב | Each stanza ends with the name "David." Attiah Manuscript Abraham Sitehon Manuscript |
I Cabasso- Qaddish I Cabasso- Nishmat |
קדיש |
Hoseni | 409 | 334 | דעת ומזמה | דוד חזק This pizmon, entitled “Knowledge and Discretion” (HOSENI, page 334), is a very sacred song in Aleppo tradition reserved for Matan Torah, the giving of the Ten Commandments. This song pre-dates most other pizmonim in our tradition; being older than 1850. The opening verse says “Knowledge, discretion, and words of wisdom; more than them, on the day Moses spoke; her (Wisdom’s) profit is greater than fine gold; this is the Law that Moses place.” There are a total of eight stanza’s in the original manuscripts; all ending with the word “Moshe,” and each phrase, containing rich biblical allusions, rhyme with one another. The acrostic of this pizmon, “David Hazaq,” indicates that the first name of the author is David, but his specific identity is unknownto us. The melody of the pizmon is from the Arabic song “Tazri Bel Ajafen,” and is only applied for Naqdishakh three times a year: Shabbat Yitro, Shabbat Kallah (the Shabbat prior to the Shabuot festival), and Shabbat Vaethanan. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Commentary on Pizmon British Library Or. 10375 |
I Cabasso- Qedusha |
נקדישך |
Hoseni | 411 | 336 | יה אשאל ממך | ידידיה חזק אמץ Attiah Manuscript Mosseri-Kozli Manuscript |
I. Cabasso |
|
Hoseni | 416 | 339 | יה חסדך גלי | Raphael Tabbush Aseret Yeme Teshuba. |
I Cabasso- SA |
שועת עניים |
Hoseni | 417 | 340 | אל הנאזר בגבורתיה | Raphael Tabbush Tabbush Manuscript |
I Cabasso- Qaddish |
קדיש |
Hoseni | 425 | 348 | יהיו כמוץ | Israel Najara Attiah Manuscript Abraham Sitehon Manuscript |
I Cabasso- EH |
אל ההודאות |
Hoseni | 430 | 353 | אמרי פי והגיוני | אברהם Maqam Hoseni or Tahir. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript |
Isaac Cabasso- Semehim I Cabasso- Semehim |
שמחים |
Ashiran | 431 | 354 | אני אשיר שיר | Ezra Moshe Soued |
I Cabasso |
שועת עניים |
Rahawi Nawah | 434 | 358 | מגן אל צורי | Moshe Tabbush Manuscript |
I. Cabasso- Qedusha Isaac Cabasso- Qaddish I Cabasso |
קדיש |
Rahawi Nawah | 438 | 361 | בנה לי זבול משכני | רפאל (חזק) "Build Me An Abode For My Dwelling" (NAWAH, page 361) is a song for Pesah. It is composed by the early nineteenth century Aleppian poet H Raphael Dwek HaKohen (acrostic: רפאל). It's melody is transposed from the Arabic song "Ya Sahee El Sabree." In this four stanza rhyming song with a repeating chorus, the author speaks from God's point of view in the first person. God, through the lens of the author, is describing what He desires to see in a future messianic era. He asks the Jewish people to build a place for Him to dwell (like the Mishkan). In this sanctuary, the Kohen will bring sacrifice offerings, the Levites will return and sing from their posts, and the Israelites will come with their families to celebrate good times. The second stanza describes how the Pesah offering will be brought at the right time, as well as the 'Omer offering, and everything will return back to the pre-exilic normal. The song then focuses on describing the sorry state of affairs of the Jewish people in exile, and how God commits to sending help via a messenger from King David's household (the Messiah). The fourth stanza is God pleading for the Jewish people not to return to God empty handed, but rather take what belongs to them, and overcome their troubles by defeating their enemies. The imagery of returning to the Land of Israel and bringing the Pesah offering to the future Beit Hamiqdash makes this pizmon especially meaningful and appropriate for the Pesah festival. The melody of this pizmon is often applied to various pieces of prayers on Shabbat Hagadol (the Shabbat prior to Pesah), and the pizmon itself is sung at the beginning of the Pesah holiday. Attiah Manuscript Abraham Sitehon Manuscript Yabess Manuscript Mosseri-Kozli Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375 |
Isaac Cabasso- Rau Banim |
נקדישך |
Rahawi Nawah | 439 | 361 | מי ימלל | Mordechai Abadi This pizmon, (Maqam NAWAH, page 361), is composed by H Mordekhai Abadi (Aleppo, 1826, - Jerusalem, 1884), author of "Dibre Mordekhai," and other Halakha responsa. There are a total of 5 stanzas in this pizmon; corresponding to מ-ר-ד-כ-י. "Who can recount the strengths and wonders of the most perfect and wise?" the poem begins, and then proceeds to list the miracles that God orchestrated as the Children of Israel leave Egypt. Starting with the third stanza, the 10 plagues that occurred in Egypt are poetically described. In the last verse, after the festival of Pesah is mentioned, there is a reference to the belief that Pesah, a time of a previous redemption, will be the season in the future when "we will be redeemed." As per the Hazzanut notes of H Moshe Ashear, this song is reserved for Shabbat Bo and Shabbat Hagadol. The Ades synagogue in Jerusalem, however, has a tradition of using this song one week earlier on Shabbat Vaera. Abraham Sitehon Manuscript |
I Cabasso |
ממצרים |
Saba | 452 | 375 | עליון רם גדול | Ezra Attia Manuscript British Library Or. 10375 |
I. Cabasso- Qaddish I Cabasso Isaac Cabasso- Nishmat |
נשמת |
Saba | 458 | 380 | יחיש מבשר | This pizmon (SABA, page 380), which translates as "Our Father Will Hasten the Messenger," is an important song about praying for the redemption. This song is composed by H Raphael Tabbush (d. 1918) to the Arabic melody of "Ya'ish WeYe'Shaq Qalbi". In this song, the author asks God to answer our prayers, to forgive our transgressions, to save us from our enemies who are planning acts of violence on us, and to hasten the arrival of Eliahou the Prophet who will announce the redemption of the Jewish people. Traditionally, this song is associated with the last day of a Shalosh Regalim festival (Pesah, Shabuot, Sukkot); the time when we most yearn for the redemption and the rebuilding of the Bet HaMiqdash. H Moshe Ashear applied this melody for the Qaddish of Shabbat Naso in 1937 and 1938 (the Shabbat after the Shabuot festival). In addition, Cantor Isaac J Cabasso applies this melody to Nishmat on the last day of Pesah and Shemini Asseret. |
I. Cabasso - Nishmat I. Cabasso - Nishmat |
נשמת |
Saba | 459 | 381 | נורא תתן כח לי | Tabbush Manuscript |
I Cabasso |
קדיש |
Saba | 460 | 381 | היום על עדרי | Raphael Tabbush |
I Cabasso |
|
Saba | 467 | 385 | רם אמור | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 |
I. Cabasso - Nishmat I Cabasso I Cabasso- EH |
|
Saba | 470 | 387 | למן אתפלל למן | Raphael Tabbush Hamaoui Manuscript |
I Cabasso |
|
Saba | 471 | 388 | בנין מעוני תמהר | Tabbush Manuscript |
I Cabasso |
|
Saba | 472 | 389 | יה אודה לך יה | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso |
שועת עניים |
Saba | 481 | 397 | יה אל גדול ונאדר | Tu Bishvat/ Baqashot. The text of this song has nothing to do with Tu Bishvat except for the references to inviting guests to eat different fruits. The reason why this tune is used for Tu Bishvat is based on a Judeo-Arabic song with the same tune as this. Tabbush Manuscript |
I Cabasso |
שמחים |
Saba | 483 | 398 | ענני יה |
I. Cabasso I. Cabasso - Nishmat |
נשמת | |
Saba | 484 | 399 | יה הוריד נא | Hamaoui Manuscript |
I Cabasso |
ממצרים |
Saba | 485 | 400 | אל בידו | אליהו חזק "El Beyado Yado Yado," (SABA, page 400) translated as "God, with His hand, will redeem Israel his servant" is used to herald the month of Nisan, the month of redemption, and the Pesah festival. The acrostic of this song is "Eliahou Hazaq" (אליהו חזק); referring to Eliahou HaNabi, the one who will announce the redemption. The author of this song is most probably H Raphael Antebi Tabbush from Aleppo, Syria. The melody of this is from the Arabic song "Hai Kardo Kardo." Originally, there were two separate texts written for this melody; one entitled "Beyado" (not discussing the month of Nisan) and the other called "El Beyado." Eventually, the author merged the two songs into one; retaining the first stanza of the "Beyado" song (אהבתיך צור ידידי) and putting it into the holiday-oriented "El Beyado" song. This pizmon can be sung as PIZMON SEFER TORAH on the Shabbat prior to Rosh Hodesh Nisan, and the melody of this pizmon, as per H Isaac Cabasso, can be applied to Mimisrayim on Shabbat Hagadol. Hamaoui Manuscript Tabbush Manuscript Tabbush Manuscript |
I Cabasso I Cabasso |
כתר |
Saba | 489 | 403 | קומי יונה | Israel Najara |
I. Cabasso |
|
Saba | 490 | 403 | אל חי ונורא | Abraham Shabbat Bereshit. |
I. Cabasso I Cabasso |
קדיש |
Saba | 491 | 404 | ערבים שבת אחים |
I Cabasso |
||
Saba | 494 | 409 | אהלל ואגילה | Milah Tabbush Manuscript |
I Cabasso |
אל ההודאות |
Saba | 495 | 410 | אתה אהובי | Abraham I Antebi Ata Ahubi (SABA, page 410), translated as "You are my Beloved," is the first song heard in a young boy's life; at his Berit Milah at eight days old. Composed by the illustrious H Abraham I Antebi (1765-1858), Chief Rabbi of Aleppo, the song has the acrostic "Abraham Hazaq." Each of the 6 stanzas end with the word "Eyn," meaning eye. In the first stanza, the author thanks God for "Him giving happiness in my heart" and is comforted that "in You, I can lean." The next four stanzas refer to the Berit Milah, the covenant between God and Abraham, and allude to some of its festive rituals. The last stanza, in the original version of the song, states "Strengthen Aram Soba (Aleppo), the good city, and also the [resting] place of the master, Ezra [HaSofer], a fine pearl that the eye shall see." In later publications, in an attempt to standardize the song, this last stanza was altered to remove the references to Aleppo. This melody is applied to Naqdishakh preceding a Berit Milah as well as on Shabbat Lekh Lekha and Tazria. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript Shire Zimrah, Algiers, 1889 |
I Cabasso |
נקדישך |
Saba | 496 | 411 | מה טוב מה נעים | Mordechai Abadi This pizmon (SABA, page 411), whose opening words are “How Good, How Nice Are Things In Their [Proper] Time,” is a song for the Mila; the circumcision ceremony. It is composed by the Aleppian sage, H Mordekhai Abadi (1826-1884), author of “Dibre Mordekhai.” The acrostic is “Mordekhai Hazaq Abadi,” and each of the 6 stanzas is followed by the famous chorus “Eliahou, Mebaser Hu...”. In the chorus, we recall Eliahou the Prophet as one who announces the redemption and who attends every Mila ceremony. There are references in the song to three blessings recited: "HaGefen," “Al HaMila,” and “Koret HaBerit," as well as a reference to the tradition of setting up a special chair for Eliahou, who is referred to as the “angel of the covenant.” At the song's conclusion, in the merit of Abraham (the father of the covenant), there is a prayer to rescue (like in the days of Mordekhai) all those who partake in the festive meal of this very special Misvah (one which weighs equivalent to all the other laws combined). In differing sources, this song is classified as either Maqam SABA, BAYAT or NAWAH, and in the morning prayers of a Mila, this melody can be heard for El Hahodaot. Abraham Sitehon Manuscript A Z Idelsohn notes, 1923 British Library Or. 10375 |
I Cabasso |
אל ההודאות |
Saba | 501 | 415 | חיש משגבי | Raphael Tabbush "Hish Misgabi" (SABA, page 415) is a pizmon composed by H Raphael Antebi Tabbush in honor of Purim. It has been said by Rabbi Aaron Hamaoui of Boston that H Raphael Antebi Tabbush (d. 1918) was blind in his later years, and he needed his students to assist him to walk in the shuq, market, in Syria. One day, as he was walking, he heard the catchy Arabic melody “Hisbi Rabi“ being chanted in the market place. H Tabbush then rushed home, and immediately, he dictated words to his student, H Eliahou Hamaoui, the grandfather of Rabbi Aaron Hamaoui, to fit this melody. This ended up being “Hish Misgabi”; a song in honor of Purim. This pizmon has the acrostic “Raphael Hazaq”, and has 5 stanzas (in addition to the first verse, which serves as the chorus). The melody of this pizmon can be applied to Keter or Va’ani Tefilati, but should only be applied in close proximity to Purim. Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso I Cabasso |
כתר |
Saba | 503 | 417 | ידידי רועי מקימי | ישראל חזק Yedidi Ro'ee Meqimi (SABA, page 417), whose acrostic is "Yisrael Hazaq," is written by H Israel Najara (1555-1625). This poem compares God to a shepherd who takes care of a flock of sheep. The sheep, mentioned at the end of each stanza, is a metaphor for the people of Israel. It is God, the shepherd, who rescues Israel, the sheep, from her enemies and who will gather a scattered people back to the Holy Land to rebuild the Temple. This relates to the Torah portion of Vayesse due to the reference in the last stanza to Genesis 29:9 when "Rachel comes out with her sheep." When Jacob is a refugee, it isn't until he spotted Rachel that he finds the hope needed to survive. On Shabbat Vayesse, the melody of this pizmon is traditionally applied to Semehim. Although SABA is not the "Maqam of the Week," the Hazzan should switch from AJAM to SABA shortly before Semehim to apply this important melody. Attiah Manuscript Yabess Manuscript Mosseri-Kozli Manuscript |
I Cabasso - Semehim |
שמחים |
Saba | 505 | 422 | אנה אלך מרוחך | ישראל Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript |
I Cabasso- Mimisrayim I Cabasso |
אל ההודאות |
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 |
I. Cabasso I. Cabasso - Nishmat I Cabasso- El Mukhtar- Nishmat I Cabasso 2 |
נשמת |
Saba | 510.5 | 426a | לי יה לי יה יבנה יה | NLevy |
I Cabasso- EH |
|
Saba | 511 | 427 | רצני אהוב | Ezra Dweck and Gabriel Shrem This pizmon (SABA, page 427), whose title can be translated as “My Beloved Will Want Me,” is a song that describes the love between man and his creator. The Hebrew words to the pizmon were composed by H Ezra Dweck with the assistance of Hazzan Gabriel A Shrem. It is written in honor of the great rabbi, H Baruch Ben Haim, who moved into the Syrian Jewish community of Brooklyn circa 1950 and got married to Charlotte, the daughter of the Chief Rabbi, Jacob S Kassin. The melody of this is from an Arabic song by the famous and influential Syrian-Egyptian composer, singer, and Oud player, Farid Al-Atrash (1910 - 1974). The song, called “Ghali Ya Bouy” (Dear Boy), was featured in the 1948 film called “Bolbol Effendi” (Mr Nightingale), and became wildly popular and beloved throughout the world; our community included. The melody of this song has been adapted to many pieces of prayers, such as Halleluya (Psalm 150), when prayers are being conducted in Maqam SABA. In addition, this song became associated with Pesah, and the entire month of Nissan, due to the references to them mentioned in the song’s second stanza. Leaflet Photograph of H Barukh Ben Haim |
Isaac Cabasso- Qaddish |
הללויה |
Awj-Oj | 514 | 430 | אל פקוד עמך | Raphael Tabbush This pizmon (OJ, page 430), "Lord, Take Note of Your Nation," is composed based on the Arabic melody called "El Füad Habaq." The Hebrew song is found in the Old "Shir Ushbaha" (page 49), and is most likely written by H Raphael Antebi Tabbush. This melody is popularly applied to Naqdishakh on weeks of Maqam SIGAH. This pizmon is actually a solemn prayer to God from the author, Tabbush; written in first person. The author requests for God to single out and notice His nation, gather them to His house, and to shelter those that are God-fearing. He should have mercy on the poor people, and elevate their paths to be smoother. God should be good to them because they rely on Him and call out to Him. The author continues and petitions God for his own personal welfare. Paraphrasing his words, he says that at all times my heart has high emotions for You (God). God carries my wrongdoings and should have mercy on me and help me. God should watch over me, at all times I pray; and should sustain me forever. |
I Cabasso - Naqdishakh |
נקדישך |
Sigah | 515 | 432 | יצו האל | יעקב עבדי Alludes to the 10 Sefirot. Attiah Manuscript Yabess Manuscript Abraham Sitehon Manuscript British Library Or. 10375 |
I Cabasso- Nishmat |
נשמת |
Sigah | 517 | 434 | ראש פעלי | Arabic: Eshfa'ouli. Sung by Muhammad Salim. |
I. Cabasso- Qaddish |
קדיש |
Sigah | 520 | 436 | עורי כלה | Acrostic: Ezra. British Library Or. 10375 |
I. Cabasso- Qedusha I Cabasso - Qedusha 2 |
נקדישך |
Sigah | 522 | 438 | מלך רם ונשא | Moshe Ashkenazi Tabbush Manuscript British Library Or. 10375 |
Isaac Cabasso |
פזמון |
Sigah | 523 | 439 | את כלה | Alef-Bet. Tabbush Manuscript British Library Or. 10375 |
I. Cabasso- Qaddish Isaac Cabasso- Qaddish Isaac Cabasso |
קדיש |
Sigah | 525 | 441 | אשיש אל בך | This song is a DOR and the name in Arabic is 'Aziz Hobak. |
I Cabasso- Qaddish |
קדיש |
Sigah | 528 | 443 | אל יצרני לעמל | Raphael Tabbush Maqam Awj-Oj |
Isaac Cabasso- Nishmat |
נשמת |
Sigah | 530 | 444 | דבר סתר גל | Raphael Tabbush Maqam Rast |
I. Cabasso: Hashem Melekh |
ה' מלך |
Sigah | 532 | 445 | חסדך עם | Sing for philantropist. Hamaoui Manuscript Tabbush Manuscript Tabbush Manuscript |
I. Cabasso |
|
Sigah | 533 | 445 | יה אוחיל | Raphael Tabbush Maqam Awj-Oj Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso |
|
Sigah | 536 | 447 | אדיר ונורא | Tabbush Manuscript |
I. Cabasso Isaac Cabasso- Qaddish |
קדיש |
Sigah | 538 | 448 | רזי עולם | Raphael Tabbush Shalosh Regalim. Tabbush Manuscript |
I. Cabasso- Qaddish |
קדיש |
Sigah | 540 | 449 | ארך זמני | Pesah association. |
I. Cabasso I. Cabasso- Shav'at |
שועת עניים |
Sigah | 541 | 450 | קץ ימין יפרח יציץ |
I Cabasso- Naqdishakh I Cabasso- Naqdishakh 2 |
||
Sigah | 542 | 451 | יחיד אל דגול מרבבה | This pizmon (SIGAH, page 451) is composed by H Yeshaya Sutton Rabia, a mid-nineteenth century Aleppo rabbi who composed many pizmonim. The acrostic of the song is Yeshaya, and it contains four rhyming stanzas. It is possibly written in honor of an "Ezra Shalom," whose name is alluded to in the third stanza. The song intends to give praise to an important person, such as a Rabbi. Here is a translation: "Only God stands out in the tens of thousands; He will bless this big man; the one my soul likes; with love and much endearment. The Lord will bless him and protect his arrival and departure; the whole nation goes out to greet him and exclaim to him "welcome." Above will exalt his fortune, and He will be a help to him; His good treasure will be open to him, and he will merit a good ending. God will bless his efforts, years of life will be added for him, peace will be placed in his borders, because he will have a high wall." When praying in Maqam SIGAH, this melody can be applied to "Befi Yesharim." Hamaoui Manuscript Abraham Sitehon Manuscript Shir Ushbaha, 1921 British Library Or. 10375 |
I. Cabasso |
בפי ישרים |
Sigah | 543 | 451 | שוכן רומה | Rosh Hashana. |
I. Cabasso I Cabasso |
פזמון |
Sigah | 545 | 452 | אגילה אגילה | Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso- El Hahodaot I. Cabasso - Alternate version |
אל ההודאות |
Sigah | 550 | 456 | ידיד השב את שיבותי | Isaac Dabbah יצחק דבח חזק Abraham Sitehon Manuscript Mosseri-Kozli Manuscript Mosseri-Kozli Manuscript |
I. Cabasso |
ממצרים |
Sigah | 552 | 457 | ראה זר גבר | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
I. Cabasso I Cabasso- Mimisrayim |
ממצרים |
Sigah | 556 | 462 | אל עושה נקמה | This pizmon (SIGAH, page 462), whose first words are translated "God who makes revenge," is an entertaining song that retells the miracle of Purim using rhymes. There are a total of 22 stanzas in this piece; corresponding to each letter of the Hebrew alphabet (א״ב). Within a stanza, each clause rhymes with one another, except for the last clause of the stanza, which rhymes with all the previous stanzas. The pizmon, which is classified as Maqam OJ in the older manuscripts, originates from Aleppo and is older than 1850. The author of this piece is uncertain, although there is a possibility that it may be H Raphael Antebi Tabbush. The melody of this pizmon is from the Arabic "Ya Dini Yeaman," and is typically applied to Shavat Aniyim on Shabbat Zakhor, and to El Hahodaot on Purim itself. The song concludes with a prayer for redemption; to give good things to the Jewish nation in order to raise their spirits. Hamaoui Manuscript Tabbush Manuscript |
I Cabasso |
שועת עניים |
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 |
I Cabasso- (3) songs |
אל ההודאות |
Sigah | 563 | 468 | ענני אל במרחב יה | Ezra |
Isaac Cabasso- Nishmat I Cabasso - Qaddish |
קדיש |
Hijaz | 571 | 476 | אל רם נורא ואיום | Raphael Tabbush Maqam Shehnaz Yom Kippur. Tabbush Manuscript |
I Cabasso- Pizmon & EH I Cabasso- Naqdishakh |
שמחים |
Hijaz | 572 | 477 | ירצני אהוב יה אלי | Yehudah Ben Noah Maqam Shehnaz Yabess Manuscript |
I. Cabasso |
|
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 |
I. Cabasso I Cabasso |
נקדישך |
Hijaz | 579 | 481 | אתה רוממה אתה | Tabbush Manuscript |
I. Cabasso I. Cabasso 2 |
שמחים |
Hijaz | 580 | 482 | רודף צדק ומשכיל | Raphael Tabbush Shabbat Vayehi. Tabbush Manuscript |
I. Cabasso |
ממצרים |
Hijaz | 580.01 | 482a | יחיד ורם |
Isaac Cabasso |
||
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. |
I Cabasso - Nishmat |
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. |
I Cabasso |
שועת עניים |
Hijaz | 590 | 488 | אור הנעלם | א''ב Tabbush Manuscript |
I Cabasso- Pizmon & EH |
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. |
I Cabasso- SA |
ממצרים |
Hijaz | 596 | 494 | מרומי ברך לחברת ק"ק מגן דוד | Moses Ashear This pizmon (HIJAZ, page 494), whose title can be translated as “From Above, Send Blessing to the Group, the Holy Congregation of Magen David,” is a song written in honor of Congregation Magen David of 67th Street in Bensonhurst, Brooklyn. It was composed by the community’s chief cantor, H Moshe Ashear (1877-1940), for the inauguration of the synagogue in December 1921. In addition to the repeating chorus, there are three stanzas to this song, and the acrostic spells out “Moshe Hai” (משה חי). The melody of this song is said to be from an “English opera,” but no definite identification of this melody is known to us. The melody of this song can be transposed into SEMEHIM BESSETAM on days when the services are conducted in Maqam HIJAZ. The content of this song praises the community for their hard work, day and night, especially when taking care of one another. The song blesses the members of this community that God should repay their hard work with success and prosperity. They should be numerous like the stars in the sky, and all groups, from youngest to oldest, should be included in this blessing. In the second stanza, it petitions God to bestow the people with the blessing of the forefathers, redeem them, and “like the times of old, renew their days” (a reference to the closing verses of Megillat Eikha). Just like the waves completely cover and overwhelm the ocean, so too shall peace and happiness completely cover the tents (homes) of all the members of this community. The song concludes by saying that this community, together with the angels, praise God's generosity and proclaim the biblical verse "Barukh Hashem LeOlam," meaning: Blessed be God for all of eternity. |
I Cabasso- Nishmat |
שמחים |
Hijaz | 598 | 496 | יה לגני בא נא יה | Moses Ashear Ashear Manuscript |
Isaac Cabasso- Nishmat |
|
Hijaz | 602 | 498 | מהר חביבי רחמני | Moses Ashear Ashear Manuscript |
Isaac Cabasso I Cabasso- Nishmat |
נשמת |
Hijaz | 605 | 501 | אל השב | Moses Ashear Same melody as page 491. Ashear Manuscript |
Isaac Cabasso |
|
Hijaz | 605.5 | 502a | מול אלי וגודלו | NLevy |
I Cabasso- Semehim |
|
Hijaz | 610 | 506 | נדה אני | Moses Ashear Bar Misvah of Shaul Abraham Houssni. January 1938. Leaflet |
I Cabasso - Qaddish |
קדיש |
Hijaz | 611.01 | 509 | אנא אלי נאמן |
I Cabasso- Qaddish |
||
Hijaz | 611.1 | 514i | יום וליל | Maqam Shehnaz About the spliting of the Red Sea. Appropriate for Seventh Day of Pesah. |
Isaac Cabasso |
|
860 | Gahalah | Maqam Bayat This Qaddish in Maqam Bayat is said to be a standard for Arbit of Saturday night. |
I Cabasso- Qaddish- Gahala |
|||
2102 | 514j | אחות קטנה | Abraham Hazan Maqam Rahawi Nawah "Ahot Qetana," or "Young Sister," is a poem by the 13th century rabbi H Abraham Hazan of Girona, in eastern Spain (acrostic: “Abraham Hazan Hazaq”). This piyut is sung on the eve of Rosh Hashana; at the closing of the old year. According to Gabriel A Shrem, its melody, which is in Maqam NAWAH, is also applied for Semehim on the Shabbat prior to Rosh Hashana. What relates this poem to Rosh Hashana are the words at the end of each of the first eight verses "Tikhle Shana Veqileloteha" (end the year and all its curses). The poem compares the Jewish people to a young sister; one who relies on her brothers to survive. This young sister is suffering from all types of problems. She is constantly under attack from enemies. Her possessions are looted and vandalized by foreigners. She is left with nothing; humiliated and alone. In essence, this poem is a protest to God on how He can allow such bad things to happen to the suffering Jewish nation. In the last verse, however, God responds: "Strengthen and Rejoice, for your exile is over." Echoing the words of Isaiah, there is a call for all the people to get on the paths to Zion and return from the exile. On that note, the poem concludes with the words: "Tahel Shana Ubirkhoteha" (begin the year with all it's blessings). |
I Cabasso |
ה' מלך | |
2104 | 514v | אוחילה לאל אחלה פניו | This is also used prior to the Amidah of Musaf on Rosh Hashanah and Yom Kippur. |
I. Cabasso - Nishmat I. Cabasso |
נשמת | |
2105 | ה' הוא האלוהים | נגמת מוסה אשר ע"ה |
I. Cabasso |
נשמת | ||
2107 | בן אדמה | Abraham Ibn Ezra "Ben Adama," or "Son of Earth," is considered one of the most sacred and thought-provoking hymns of the entire Sephardic liturgy. It is said to be composed by H Abraham Ibn Ezra (1089-1167) during the Golden Age of Spain. There is a tradition among Syrian Jews to sing this poem on the eve of Yom Kippur after Arbit. In addition, according to Aleppo sources, including H Moshe Ashear, it's melody is used for the Qaddish on Yom Kippur as well as Shabbat Shuba. "Ben Adama" is especially appropriate for Yom Kippur, because it is a composition of introspection of some of the existential aspects of life. In each of it's ten stanzas, the author describes one decade of a person's life. The general message of the poem is to take a step back from where you are in life and think about the different stages of your life. The last verse concludes "Happy is the man who considers himself to be a transient visitor," because all of us are only here for a short time, and once life is over, we should have no regrets. |
I. Cabasso |
קדיש | ||
2108 | 514k | עת שערי רצון | Yehuda Samuel Abbas Aleppo, 12th Century, Used on Rosh Hashana before the shofar. The piyyut relates the Akedah of Isaac to the themes of Judgment, and loyalty to Hashem. |
I Cabasso |
שמחים | |
2110 | 514u | שואף כמו עבד | Shelomo Ibn Gabirol Song is meant to be a Reshut for Nishmat for Shaharit of Rosh Hashanah---The song compares us to slaves who must return to serve our master, Hashem. |
I Cabasso |
נקדישך | |
2111 | Unspecified Traditional Melodies |
I. Cabasso I. Cabasso |
||||
2114 | שיך סלאמה חג'אזי | Maqam Hijaz |
I. Cabasso - Qedousha |
נקדישך | ||
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. |
I. Cabasso |
קדיש | |
2116 | S24 | יה שמע אביוניך | Yehuda HaLevi Song, which is used in Selihot, discusses the situation of the Jewish people. |
I Cabasso - Rau Banim |
ראו בנים | |
2117 | כי לה' המלוכה לימים הנוראים |
I. Cabasso I Cabasso- Ajam for High Holidays |
דוגמא | |||
2118 | ומבלעדיך | Sample of how to read plainly after Nishmat and throughout the prayers prior to the Amidah. |
I. Cabasso |
דוגמא | ||
2119 | שועת עניים בלתי נגון | Most commonly used. |
I. Cabasso |
שועת עניים | ||
2120 | אל ההודאות בלתי נגון | Most commonly used. |
I. Cabasso |
אל ההודאות | ||
2125 | ה' בקול שופר | Before blowing the shofar on Rosh Hashana. |
I Cabasso |
פיוט | ||
2127 | 514j | חזקו וגילו מאחות קטנה | This is the last verse of the above song. that the cantor sings alone. |
I. Cabasso |
פיוט | |
2128 | 514l | חון תחון על בניך | Binyanim Hazak--- Opens the prayers for the Second night of Rosh Hashana--- closes the Selihot prayers--- |
I Cabasso |
פיוט | |
2130 | 514m | אלהי אל תדינני | Isaac Ibn Mar Shaul Spain--10th-11th century--- The piyyut, used on Rosh Hashanah, is an alphabetical acrostic, and portrays a person confessing his sins. |
I Cabasso |
פיוט | |
2131 | 514o | ידי רשים | Yehuda HaLevi |
I Cabasso |
פיוט | |
2132 | 514o | המבורך | This is the last verse of the above song that the cantor sings alone. |
I. Cabasso I. Cabasso - Qaddish |
פיוט | |
2193 | 74 | קדיש | Maqam Baqashot |
I. Cabasso - Rast 1 I. Cabasso- Nawah I Cabasso- Ajam 2 Isaac Cabasso- Ajam- Qaddish Isaac Cabasso- Rast- Qaddish I Cabasso- Nahwand 1 I Cabasso- Nawah 1 I Cabasso- Nahwand 2 I Cabasso- Bayat 02 I Cabasso- Plain Reading- No Maqam I Cabasso- Qaddish- Nahwand |
||
Haggadah | 2302 | כי לא נאה | Maqam Ajam |
I Cabasso |
||
Azharot | 2351 | A4 | אזהרות | Solomon Ibn Gabirol Composed by Sephardic Poet H Solomon Ibn Gabirol. Recited on the Shabuot holiday. Day 1- Positive Commandments. Day 2- Negative Commandments. |
I Cabasso- Semehim |
שמחים |
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 |
I Cabasso- Opening & Nishmat |
נשמת | ||
2642 | מלכי איום ונורא | Ezekiel Hai Albeg Maqam Sigah Lehen: Wansit Ta'abi. Pizmon by E Albeg, in Maqam Sigah, composed in honor of H Mordekhai Maslaton on the day of a Torah Dedication in Congregation Ahi Ezer. Song mentions Menorah. E Albeg, "Mizmor Shir." |
I Cabasso |
אל ההודאות | ||
2643 | Allamou Kaifa Yagfou | Maqam Sigah Arabic song of Abdel Wahab; Maqam Sigah. Popular tune for El Hahodaot. |
I Cabasso- EH- Sigah |
אל ההודאות | ||
Sigah | 2684 | אדון עולם ישועתי | אליעזר Melody of this song traditionally associated with Purim, although nothing in the song's text refers to holiday. Yabess Manuscript Shire Zimrah, Algiers, 1889 |
I Cabasso- Qaddish |
||
2729 | לך אל חי יצחק ירנן | Maqam Ajam "Doulab AJAM" |
I Cabasso- EH |
|||
2730 | Ahon Aleq (Abdel Wahab) | Maqam Ajam |
I Cabasso- Mimisrayim |
|||
Haftarot | 3985 | P568 | הפטרת וזאת הברכה | Joshua 1:1–9. Simhat Torah. Aleppo Codex- Joshua 1 |
I Cabasso- Haftarat Simhat Torah |
ראש יהושע |
4027 | 353b | אור צח קדוש ונעלם | Haim S Aboud Maqam Bayat In honor of "Hebrat Hobebei Shirah" |
I Cabasso - Qaddish |
||
4083.2 | N1 | זמירות ליום השבת |
I Cabasso |
|||
4083.41 | למנצח מזמור לדוד השמים מספרים | Psalm 19. |
I Cabasso |
|||
4083.42 | רננו צדיקים | Psalm 33. |
I Cabasso |
|||
4083.43 | לדוד בשנותו | Psalm 34. |
I Cabasso |
|||
4083.44 | תפלה למשה איש האלהים | Psalm 90. |
I Cabasso |
|||
4083.45 | ישב בסתר עליון | Psalm 91. |
I Cabasso |
|||
4083.46 | מזמור שירו |
I Cabasso |
||||
4083.47 | שיר למעלות אשא עיני |
I Cabasso |
||||
4083.48 | שיר המעלות לדוד שמחתי באמרים לי |
I Cabasso |
||||
4083.49 | שיר המעלות אליך נשאתי |
I Cabasso |
||||
4083.5 | שיר המעלות לדוד לולי ה' שהיה לנו |
I Cabasso |
||||
4083.51 | הללויה הללו את שם |
I Cabasso |
||||
4083.52 | הודו לה' כי טוב |
I Cabasso |
||||
4086 | N3 | כי לה' המלוכה |
I. Cabasso: Mahour I. Cabasso- Sample in Ajam I. Cabasso- Another Ajam Sample I. Cabasso: Sigah I. Cabasso- Nahwand I. Cabasso- Rast I. Cabasso- Sigah I. Cabasso- Bayat I. Cabasso- Saba I Cabasso- Ajam Opening I Cabasso- Hijaz Opening Cabby 2015- RAST Cabby 2015- MAHOUR Cabby 2015- AJAM Cabby 2015- NAHWAND Cabby 2015- BAYAT Cabby 2015- HOSENI Cabby 2015- SABA Cabby 2015- SIGAH Cabby 2015- HIJAZ |
|||
4093 | ירד דודי לגנו | Israel Najara Maqam Hijaz To the Hebrew song "Ess HaRimon" (עץ הרימון). |
I Cabasso - Qaddish |
נקדישך | ||
4094 | N4 | נשמת | Pillar #1 of Shaharit. Heavy musical style. |
I Cabasso- Nishmat- Sigah |
||
4096 | N7 | אל ההודאות | Light musical style. |
I Cabasso- Bayat 01 I Cabasso- EH- Ajam |
||
4099 | N20 | נקדישך | Pillar #3 of Shaharit. Heavy musical style. |
I Cabasso- Bayat 01 I Cabasso- Saba- Qedusha |
||
4859 | El Leil Yetawil Alayah | Maqam Hijaz This is a song from Abdel Wahab. Using this for Nishmat on Yom Kippur was an innovation of the Tawil brothers. |
I Cabasso- Nishmat (Nahwand) |
נשמת | ||
4863 | מלך רם ונשגב | MArking Maqam Ajam The following is a Pizmon written in honor of the wedding of Mary Salem to Victor Dweck that took place on August 27, 2020 (7 Elul 5780) in Farmingdale, NJ. It was written by Morris Arking, Joseph Harari, and Joseph Mosseri. Victor Dweck, son of Eliane and Bobby Dweck, is the Marketing Director of the Sephardic Community Alliance (SCA). The SCA is mentioned in this song. The name of the melody is "Rah Ashghal Fekri" from the Arabic song "Yalli Nawet Teshghelni." Victor Dweck Wedding Song |
I Cabasso - Pizmon and EH |
אל ההודאות | ||
Minha-Arbit | 5000 | ובא לציון |
I Cabasso- Uba Lesion- Nahwand I Cabasso 2 |
|||
Minha-Arbit | 5001 | ואני תפלתי |
I Cabasso- Rare Traditional Tune |
|||
5568 | שירו לאל ברכו שמו | שלמה Maqam Sigah Old SU. Old SU. |
I Cabasso- Nishmat |
נשמת | ||
5569 | קדיש המערה | Maqam Rahawi Nawah Qaddish Ha'Me'arah, literally "The Qaddish of the Cave," is named such, because each Friday night in the Great Synagogue of Aleppo, they used to go to the Cave of Eliahou the Prophet, read Tehillim, and use this tune for Qaddish. |
I Cabasso- Qaddish |