November 21, 2024 ~ Shabbat HAYE SARA. HIJAZ.
Nahwand - נהוונד - is named after a city in Iranian Kurdistan. This maqam was popular in Iran and Turkey before it made its way down to Syria and Egypt. This maqam was common among the Turks and Aleppo's close proximity to Turkey would account for a number of older pizmonim bearing Turkish musical origins.
Nahwand is the closest equivalent of the Western Minor Scale. The maqam is easy on the western ear and encompasses modern day Israeli tunes. There are many "Westernized" songs in this maqam.
In terms of perasha associations, this maqam is applied in cases of disharmony and conflict (i.e Vayesheb, Qorah, Matot, etc.).
Even though it is listed in the pizmonim book as a possible Shabbat maqam up to seven times a year, this is a new innovation. All older listings, both manuscripts and printed, fail to list Maqam Nahwand as an option. According to Arabic music scholars, this maqam was considered off limits for holy use until about 100 years ago when a well-respected Sheikh used it for the first time for religious chanting. Since that time it has begun to make roadways in Aleppo's Islamic and Jewish communities.
Nahwand tetrachord: starting on C
| Pizmon | Page | Song | Commentary | Recordings | Application |
|---|---|---|---|---|---|
| 254.999 | 205 | פזמונים במקאם נהוונד | |||
| 255 | 205 | שרים רוזנים | Wedding song. British Library Or. 10375 |
Fule Yanani Y. Bozo Recording I Cabasso Yosef Bozo - Qaddish |
נשמת |
| 256 | 206 | אודה לאל |  Raphael Tabbush Tabbush Manuscript |
Arabic I Cabasso - Qaddish |
קדיש |
| 257 | 207 | רצה לשירי | Introduction to the following song. |
I. Cabasso Recording G Shrem |
שמחים |
| 258 | 207 | בבית נאוה |  |
Moshe Mustachi Recording Maury Blanco and the Aram Soba Orchestra |
|
| 259 | 207 | לנרי ואורי | Raphael Tabbush Hanukkah. |
E. Menaged Recording Recording J Mosseri - EH |
שועת עניים |
| 260 | 207 | אל אבי מחסדך | Raphael Tabbush |
I. Cabasso E. Menaged E. Sayegh Recording Maury Blanco and the Aram Soba Orchestra |
נשמת |
| 261 | 208 | ישמחו נא עם ישרים | Tabbush Manuscript | ||
| 262 | 208 | ארמוני יה נזנח | Raphael Tabbush Hamaoui Manuscript |
||
| 262.1 | 208a | ירושלים של זהב | Naomi Shemer The pizmon "Yerushalayim Shel Zahab" (NAHWAND, page 208A), translated as "Jerusalem of Gold," is an Israeli song written by Naomi Shemer (1930-2004). This song, written in May 1967, became an unofficial second national anthem after Israel won the Six Day War (June 1967) and liberated Jerusalem. It's melody is based on the Basque lullaby "Pello Joxepe." The song originally had 3 stanzas but a fourth one was added after the Six Day War. The theme of the song is about the Jewish people's longing for Jerusalem. There is a stark contrast between the second stanza, which mourns over the sad, dry, and empty streets, and the amended fourth stanza, which celebrates the return to Jerusalem with happy streets full of life. Some say that the timing of the composition of this song is nothing short of prophetic. The melody of this song made its way to synagogue services and is usually heard transposed to various pieces of prayer around Yom Yerushalayim (28 Iyar). |
Fule Yanani G Shrem Moshe Dwek |
שמחים |
| 262.2 | 208b | מרום אל רם | ASaban Bar Misvah of Moise Jacob Beida, June 1984. Composed by Abraham Saban Cohen. |
||
| 263 | 209 | עליון רם על כל הרמים | Shabbat Hazon. |
Arabic J. Mosseri |
קדיש |
| 264 | 209 | רצה רחשי | Tabbush Manuscript | ||
| 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 |
E. Sayegh I. Cabasso- Nishmat G. Shrem G. Shrem 2 G. Shrem Recording R. Elnadav R Barzani- Qaddish Isaac Cabasso- Nishmat Isaac Cabasso- Qaddish R Elnadav Turkish Moshe Dwek Moshe Dwek - Nishmat Moshe Dwek - Rau Banim |
נשמת |
| 266 | 210 | לעיר חנה דורשה דודי | Raphael Tabbush |
E. Menaged G. Shrem G. Shrem Recording M Habusha Moshe Dwek - Qaddish Shlomo Antebi- Qaddish |
נשמת |
| 267 | 211 | רם ונעלם אדון עולם | Raphael Tabbush Tabbush Manuscript |
G. Shrem G. Shrem Recording Shabetai Laniado Moshe Dwek |
שועת עניים |
| 268 | 211 | תכון לעד יפה יפה |
Yosef Hamaoui G. Shrem Recording Recording I Cabasso I Cabasso Shabetai Laniado- HM Moshe Dwek |
נשמת | |
| 269 | 212 | רואה ובוחן לבב הכל | Raphael Tabbush |
I. Cabasso Recording |
נקדישך |
| 270 | 212 | רננות שירו אחי | Raphael Tabbush Tabbush Manuscript |
I. Cabasso G. Shrem I Cabasso I Cabasso |
שמחים |
| 271 | 213 | אחזה בנועם | Raphael Tabbush "Ehze BeNoam" (NAHWAND, page 213), translated as "I will gaze at the pleasantness of Your face," is a song written by master composer, H Raphael Antebi Tabbush (d. 1918). The 6 stanzas of the song form the acrostic: "Ani Refael" (אני רפאל). Though a favorite at the Shabbat afternoon Sebbits, this melody is almost never applied to any of the pieces of prayers. This composition describes what the author envisions he will do once he leaves the exile; dwelling in the House of the Lord, bowing in the holy sanctuary, and offering the burnt sacrifice in the Temple. He then asks for the Blessing of Abraham and not to be humiliated while in exile. He continues by asking for God to hasten the redemption for the Jewish nation. The battered Jewish nation, at times, feels "chained" (עגונים) in their exile, but finds comfort in their study of the Torah. The author asks God to accept the praises and songs of His beloved nation, because He is a merciful God that forgives transgressions and is eternally kind. Tabbush Manuscript |
M Kairey Fule Yanani G. Shrem G. Shrem Recording R Elnadav Moshe Dwek |
פזמון |
| 272 | 214 | אל חובי יסלח לי | Raphael Tabbush |
Arabic Pizmon Naqdishakh |
|
| 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. |
G. Shrem I. Cabasso- Qedusha G. Shrem Recording R Barzani- Naqdishakh Recording Moshe Dwek Moshe Dwek - Naqdishakh |
נקדישך |
| 274 | 214 | יה נחלה המצחה | Raphael Tabbush |
E. Menaged G. Shrem I. Cabasso- Qaddish G. Shrem Recording Moshe Dwek Moshe Dwek - Qaddish |
קדיש |
| 275 | 215 | אודך אודך | Raphael Tabbush Tabbush Manuscript |
I. Cabasso- Semehim G. Shrem Yosef Hamaoui G. Shrem Recording Moshe Dwek Moshe Dwek - Semehim / Mimisrayim Moshe Dwek - Naqdishakh |
שמחים |
| 276 | 215 | רעיוני יחיד | Raphael Tabbush Hamaoui Manuscript Tabbush Manuscript |
G. Shrem G. Shrem G. Shrem Recording Eliahou Ozen- Nishmat Isaac Cabasso- Rau Banim Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Rau Banim Moshe Dwek - Qaddish |
ממצרים |
| 277 | 216 | יבנה ביתו | Raphael Tabbush |
I. Cabasso Recording Moshe Habusha |
שועת עניים |
| 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 M Kairey Fule Yanani G. Shrem G. Shrem Recording Musa Camjagi- Semehim I Cabasso Moshe Dwek Moshe Dwek - Mimisrayim |
ממצרים |
| 279 | 216 | יחיד רם חי לעולם | Isaac Abadi Dahab Turkish melody. |
Yosef Hamaoui G. Shrem Fule Yanani G. Shrem Recording Moshe Dwek Moshe Dwek - EH Moshe Dwek - Rau Banim |
אל ההודאות |
| 280 | 217 | בשם יי אקרא | Moses Ashear Rishty. Ashear Manuscript |
I. Cabasso |
|
| 281 | 218 | מרים ראשי וכבודי | Moses Ashear Isaac Shalom. Ashear Manuscript |
I. Cabasso |
|
| 282 | 219 | מה נמלצו לחכי | Moses Ashear For Hebrat Sha'are Sedeq which was the Synagogue on the Lower East Side. Written pre 1928. The tune is Turkish. Ashear Manuscript |
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| 283 | 219 | מה נעמו אמריך | Moses Ashear Moshe Ezra Shrem. Ashear Manuscript |
E. Menaged I Cabasso I Cabasso |
|
| 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 E. Menaged G. Shrem G. Shrem 2 G. Shrem Moshe Dwek Moshe Dwek - SA |
שועת עניים |
| 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 G. Shrem G. Shrem Moshe Dwek Moshe Dwek - Ahallel VeAbia |
הללויה |
| 286 | 222 | מלך אב רם | Moses Ashear In honor of the birth of Joseph Bijou. Written by M. Ashear. Arabic is "Ya Dounia Ya Gharami", by Abdel Wahab. Ashear Manuscript |
J. Bijou G. Shrem: Haleluyah G. Shrem Moshe Dwek - Haleluya Moshe Dwek - Nishmat |
הללויה |
| 287 | 223 | יעלוזו ביה | Moses Ashear Shabot. Ashear Manuscript |
G. Shrem G. Shrem Recording R Barzani- Shaveat Moshe Dwek Moshe Dwek - HM Moshe Dwek - SA , BY Moshe Dwek - Qaddish Moshe Dwek - Qaddish |
ה' מלך |
| 288 | 224 | יה אל נורא | Moses Ashear Moshe Ezra Shrem. Ashear Manuscript |
Arabic Maury Blanco |
פזמון |
| 289 | 225 | מה עצמו | Moses Ashear Wedding of Selim and Nizha Gindi. Photograph is courtesy of David Catton, grandson. Ashear Manuscript Photograph of Selim and Nizha Gindi |
E. Menaged G. Shrem I. Cabasso- El Hahodaot M Tawil (and next song) G. Shrem Recording Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Qaddish I Cabasso - Naqdishakh |
קדיש |
| 290 | 225 | מאמר ותחנון | Moses Ashear Wedding of Selim and Nizha Gindi. Photograph is courtesy of David Catton, grandson. Classic song in Maqam Nawa-athar. It is a DOR by the name Ya Qamar Dar El 'Oyoun and this version is sung by Laure Dackashe. (Lor Dakash) Ashear Manuscript Photograph of Selim and Nizha Gindi |
Arabic- Lor Dakash E. Menaged Recording Maury Blanco |
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| 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 Recording I Cabasso Moshe Dwek |
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| 292 | 226 | יהלל אל רם ונעלה | Moses Ashear Wedding of Seyah M Ashear. April 2, 1939. Leaflet |
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| 293 | 228 | יה לו אעתיר | Moses Ashear Wedding of Shelomo Harra; April 14, 1935. Leaflet |
G. Shrem G. Shrem G. Shrem Arabic Recording |
קדיש |
| 293.1 | 228a | הרחב אולמי | Haim S Aboud |
Arabic Recording Moshe Mustachi |
|
| 293.2 | 228b | אני אשיר לך |
E. Nahum M Tawil M Tawil 2 Recording |
נקדישך | |
| 293.3 | 228b | יפרח יה אבי |
E. Nahum Fule Yanani Arabic I. Cabasso- Qaddish Recording Recording E Sayegh |
קדיש | |
| 294 | 229 | מרום יחיד בלי שני | Moses Ashear Wedding of Joseph Moshe Ashear. Nisan 1931. Leaflet |
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| 295 | 230 | צהלה וגילה | Moses Ashear Wedding of Saad Shames; April 6, 1933. Leaflet |
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| 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 Recording Moshe Dwek |
קדיש |
| 297 | 233 | אלי אנוהו ארוממנהו | Moses Ashear Ezra Abraham Husney (Levy) Bar Misvah. April 9, 1940. Leaflet |
E. Marcus - Abdel Wahab |
ה' מלך |
| 298 | 235 | מן שמיא חיש פורקנך | Ezra Dweck Arabic is Ensa El Donia. |
Arabic: Ensa El Donia |
|
| 299 | 236 | כל עוד בלבב פנימה | Naftali Herz Imber This song (NAHWAND, page 236), also referred to as "HaTiqva" (The Hope), became the Zionist national anthem in 1897, and eventually, the Israeli national anthem in 1948. It's text was written in 1878 by Galician poet Naphtali Herz Imber (1856-1911), and it was published in a collection of his poems called Barkai (The Morning Star) in Jerusalem in 1886. There are seven stanzas to this poem, and they are all followed by the chorus ('Od Lo Abda Tiqvatenu- we still did not lose our hope). The melody of this song is derived from a number of European songs starting with "La Mantovana," a 16th century Italian song composed by Giuseppe Cenci, and it's melody was reused in a number of other folk songs throughout Central Europe. It was also used in "Moldau" by the Czech composer Bedrich Smetana (1824-1884) in his set of six symphonic poems celebrating Bohemia. Like many other pizmonim in our tradition, the theme of this song is the gathering of the exiles and the return to the Land of Israel. A translation of the first stanza is as follows: "As long as within our hearts, the Jewish soul sings. As long as forward to the East, to Zion, looks the eye." The chorus then continues "Our hope is not yet lost, the hope is very old. To return to the land of our forefathers, the land of Zion and Jerusalem." Using this melody for various pieces of prayers is well documented by H Moshe Ashear in the late 1930's. Currently, it has been adapted to Syrian Hazzanut for the melody of Barukh She'amar each Shabbat, and it can also be applied to other pieces of prayers, such as Semehim or Naqdishakh for the Shabbat prior to Yom Ha'Assmaut (Israel Independence Day). |
G. Shrem G Shrem- HaTiqvah G. Shrem G. Shrem Moshe Dwek - Naqdishakh Moshe Dwek - Rau Banim |
נקדישך |
| 299.001 | 237 | אנא בחסדך |
I. Cabasso Recording Eliahou Ozen- Semehim |
||
| 299.01 | 237a | מלכי צורי אל כביר | Haim S Aboud |
I. Cabasso- Naqdishakh G. Shrem G. Shrem Recording Recording R Barzani- Nishmat R Barzani- Keter Moshe Dwek Moshe Dwek - EH Moshe Dwek - Qaddish Moshe Dwek - Semehim Moshe Dwek - Qaddish Moshe Dwek - Rau Banim |
|
| 299.02 | 237b | החיש לצירך | Haim S Aboud |
Yosef Hamaoui Recording R. Elnadav Isaac Cabasso- Qaddish R Elnadav Moshe Dwek Moshe Dwek - Qaddish Moshe Dwek - Yimlokh Moshe Dwek - Qaddish |
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| 299.03 | 237c | שאו ציונה נס ודגל | Early Israeli melody. |
Recording |
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| 299.04 | 237d | רוממו לו בקול | Raphael Yair Elnadav Composed for the Bar Misvah of Ezra Tawil to the melody of "Inta al-Hubb", a popular Arab song performed by Umm Kulthum. |
Arabic Recording Agudat Dodim (Buenos Aires)- Mimisrayim Moshe Dwek - Rau Banim |
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| 299.06 | 237f | הדור שומע | Raphael Yair Elnadav Jack D. Hidary Bar Misvah. Photograph of Jack David Hidary |
J. Mosseri R. Elnadav |
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| 299.08 | 237h | חביבי אלי תמכת בי | Haim S Aboud |
Recording Hebrew Recording Yaaqob Zeruq - Qaddish |
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| 299.09 | 237i | חביבי אל שוב למעונך | YMizrachi |
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| 299.1 | 237j | אל על שיר גיל נרון | Raphael Yair Elnadav Bar Misvah of Saul Ezra Ashkenazi. Composed by R Elnadav. 1984. |
M Habusha Recording Beth Torah: Haleluya |
קדיש |
| 299.102 | 237t | על הרי על הרי | Raphael Yair Elnadav Bar Misvah of Harry E Tawil. 1996. Composed by R Elnadav. Maqam Nahwand-Kurd |
M Habusha Recording |
קדיש |
| 299.12 | 237l | אשיר אני שיר בחיבה | Abraham Cohen Saban |
Albert Cohen Saban |
|
| 299.13 | 237m | ירנן פי בשיר ותפילה | YNahari |
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| 299.16 | 237n | אשירה בקול שמחה | Rahamim Abraham Haber Bar Misvah. August 4, 1980. |
Recording Qaddish- Rabbi Medina |
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| 299.17 | 237p | מלוא עולם נורא שמו | Haber Bar Misvah. March 13, 1982. |
Recording |
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| 299.18 | 237r | אפתח פי בשירה ובזמרה | Maqam Kourd David Abraham Haber Bar Misvah. October 7, 1993. | ||
| 390.5 | 316a | הנה מה טוב | Abraham Cohen Saban Melody is "Sunrise Sunset". |
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| 4872 | בחג פורים | SUHV page 237-T. In honor of the Purim festival. Arabic is to the melody of "Port Said," by Mohammed El Bakkar. |
 F Samra |
