November 21, 2024 ~ Shabbat HAYE SARA. HIJAZ.
| Section | Pizmon | Page | Song | Commentary | Recordings | Application |
|---|---|---|---|---|---|---|
| Baqashot | 17 | 26 | מה נכבד |  Mordekhai Labaton Maqam Saba Saba. Written by H Mordekhai Labaton (1780-1869). About the importance and centrality of Shabbat. Saba. Aharon Rahamim Hares Baqashot Manuscript, 1917 |
Nahari- Shavat |
שועת עניים |
| Baqashot | 46 | 54 | יה מלך רם | Yehuda Ezra Attiah Maqam Nahwand Nahwand. Written by H Yehudah Attieh (?-1905). Consists of all the composers of the Baqashot. |
Y Nahari- Qaddish |
קדיש |
| 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 |
Nahari- Semehim Nahari- Naqdishakh |
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 |
Recording 4- Bayat Recording 3- Bayat Recording 2- Hijaz Recording 1- Bayat Recording 5- Saba Recording 6- Bayat Recording 7- Bayat Recording 8- Bayat Recording 9- Nahwand Recording 10- Bayat Recording 11- Sigah Recording 12- Bayat Recording 14- Bayat Recording 13- Bayat Recording 15- Nahwand Recording 16- Sigah/Ajam Recording 17- Ajam/Saba |
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| 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 |
Nahari- Semehim |
שועת עניים |
| Rast | 155.03 | 132a | אל חביב |  |
Y Nahari- Qaddish |
|
| Mahour | 169 | 145 | חסדך קדם | Raphael Tabbush Shabbat Bereshit, the Shalosh Regalim, as well as Purim. Tabbush. Turkish. |
Y Nahari- Qedusha Nahari- Nishmat |
נקדישך |
| 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. |
Y Nahari- Qaddish |
קדיש |
| Mahour | 186 | 153 | נעימה לי | Moses Ashear Eli S Haddad. Ashear Manuscript |
Nahari- Mimisrayim |
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 |
Nahari- Nishmat |
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| 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 |
Nahari- Shavat |
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 |
Nahari- Shavat |
שועת עניים |
| Bayat | 302 | 239 | נורא ורם | Raphael Tabbush The pizmon incorporates the poet's name and hints at the shortest prayer in the Bible, "El na Refah na Lah", "Oh God, pray heal her now" (Numbers 12:13). The Text of this pizmon calls of God to "heal my sickness and pain". The pizmon also asks God to banish the "son of Hagar". Hamaoui Manuscript Tabbush Manuscript |
Y Nahari |
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| Bayat | 391.07 | 318e | יה אלי ברך קהל |
Y Nahari- Qaddish |
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| Hoseni | 415 | 338 | זלף כמטר זלף |
Yehiel Nahari |
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| 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 |
Y Nahari |
ממצרים |
| 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 |
Nahari- Nishmat |
נקדישך |
| 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 |
Y Nahari |
כתר |
| 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 |
Nahari- Naqdishakh |
נקדישך |
| 512.2 | Sample- Saba | Maqam Saba |
 Nahari- Sample- Saba |
דוגמא | ||
| 559.03 | 466b | פורים פורים פורים לנו | Purim. |
Nahari |
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| Hijaz | 582 | 483 | יחיד נא קבץ לעדה | Raphael Tabbush This pizmon (HIJAZ, page 483), which translates as “Singular One, Please Gather the Congregation,” is a short song of personal petition to God. It’s author is H Raphael Antebi Tabbush and the acrostic of this song is “Raphael” (רפאל). There are four rhyming stanzas in this song, and one repeating chorus. The melody of this pizmon is from the Arabic song “Al Heena Al Heena,” and it can be transposed into the prayer piece EL HAHODAOT on days when the prayers are conducted in Maqam HIJAZ. In the first stanza (ר), the author requests that God satisfy his thirst and provide the blessings of the world to his body and his soul so that he can use these blessings to elevate God’s holy name. In the second verse (פ), the author asks for God to show him the redemption, the gathering of the exiles, and the rebuilding of the Temple; something more valuable than any treasure. In the third stanza (א), the author says that the relationship with God is the light of his eye, and that he awaits the time when God shows His “face”; meaning, a more direct interaction, where God delivers His people from servitude to freedom. The last verse (ל) concludes with words of praise that will be sung in the month of Nissan, the month of our future redemption, when all the redeemed people will show their gratitude for all of God’s kindness. Tabbush Manuscript |
Y Nahari |
אל ההודאות |
| 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 |
Y Nahari |
נקדישך |
| Berakhot | ברכות | 531 | ברכת קידושין ואירוסין | Maqam Ajam Wedding Ceremony. Mahzor Aram Soba 1527 |
Nahari |
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| 733 | 426f | אלי בא תור | Maqam Saba |
Nahari- EH |
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| 907 | 426g | הוא אל יחיד | YMizrachi Maqam Saba |
Y Nahari- Qaddish |
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| 2193 | 74 | קדיש | Maqam Baqashot |
Y. Nahari- Ajam Y. Nahari Y Nahari- Nahwand Y Nahari- Hijaz Y Nahari- Sigah Y Nahari- Ajam Nahari- Qaddish Nahari- Qaddish- Saba |
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| 2403 | W23 | קריאת שמע | Sample of the Shema portion. |
Y. Nahari Y Nahari 2 |
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| 4042 | 85 | אנא ה' הושיעה נא |
Y Nahari- Nahwand Y Nahari- Ajam Y Nahari- Bayat 2 |
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| 4086 | N3 | כי לה' המלוכה |
Y. Nahari |
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| 4096 | N7 | אל ההודאות | Light musical style. |
Nahari- EH- Ajam Nahari- EH- Rast |
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| 4098 | N17 | ממצרים | Light musical style. |
Nahari- Mimisrayim- Saba |
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| 4099 | N20 | נקדישך | Pillar #3 of Shaharit. Heavy musical style. |
Nahari- Naqdishakh- Rast |
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| 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. |
Nahari- Nishmat |
נשמת |
| Section | Pizmon | Page | Song | Commentary | Recordings | Application |
|---|---|---|---|---|---|---|
| Nahwand | 299.13 | 237m | ירנן פי בשיר ותפילה |
