הזמנה לפיוט

Yemen Sharadreh tradition, Binyamin Nachum performance.

Yemen Sharadreh tradition, Mari Yosef Mazaki performance.

Yemen – Sharadreh – High Holidays tradition, Binyamin Nachum performance.

Yemen – Sharadreh – High Holidays tradition, Mari Yosef Mazaki performance.

Israel – Melody by Yehoshua Engelman, Yehoshua Engelman performance.

Algeria – Constantine tradition, R. Binyamin Asulin performance.

Algeria tradition, Marcel and Yitzhak (Jacky) Amsali performance.

Morocco tradition, Maimon Meni Hacohen and Shimon Iluz performance.

Sfarad Jerusalem tradition, Yigal Ben Chaim performance.

Bobov Hassidic Tradition tradition, David Mestbaum performance.

Modzitz Hassidic Tradition 2 tradition, Ben Zion Shenkar performance.

Libya tradition, Shalom Benattia performance.

Babylon tradition, Maqam: Rast, R. Moshe Mutzafi and R. Meir Dori performance.

Morocco tradition, Nuba: Mazmum-Algeria, R. Haim Louk performance.

Morocco tradition, Nuba: Raml Al-Maya, R. Haim Louk in concert performance.

Morocco tradition, Nuba: Raml Al-Maya, R. Haim Louk in Kehilot Sharot performance.

Morocco tradition, Nuba: Raml Al-Maya, R. Haim Louk performance.

2. Dror Yikra / Dunash ben Labrat

One of the most ancient Shabbat piyutim known, it has been loved by many of the communities of Israel over the generations and has been honored with many melodies, many of which easily adapt themselves to this piyut due to its quantitative syllabification. The author of the piyut is Dunash ben Labrat, a 10th century poet and linguist. It was Ben Labrat who introduced and integrated the system of quantitative meter to Hebrew poetry. The time period in which he lived, and Dunash himself, signify the transition period of the center of the piyut from Babylon to Spain, and the incorporation of Arabic meter into Hebrew poetry.

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Georgia tradition, Shalom Davidashvili performance.

Hassidic tradition, Baruch Brener performance.

Hassidic tradition, Avraham Weingarten performance.

Yemen tradition, Aharon Amram performance.

Yemen tradition, David Avicazar performance.

Sfarad – West, Amsterdam tradition, Abraham Lopes Cardozo performance.

Sfarad – West, Amsterdam tradition, Mordechai Brom performance.

Ashkenaz – Lithuanian 1 tradition, Avraham Kabalkin performance.

Ashkenaz – Lithuanian 2 tradition, Avraham Kabalkin performance.

India – “Bene Israel” (Bombay), The Rag Tones Choir performance.

Algeria tradition, Marcel and Yitzhak (Jacky) Amsali performance.

Morocco tradition, Maimon Cohen performance.

Morocco tradition, The Andalusit Orchestra performance.

Bobov Hassidic Tradition tradition, David Mestbaum performance.

Persia - Hamadan tradition, Yuvia Nagari performance.

Persia - Hamadan tradition, Yuvia and Yitzchak Nagari performance.

Persia - Hamadan tradition, Yuvia Nagari performance.

Georgia tradition, Shota Yakovshvili performance.

India – Cochin tradition, R. Avraham Chai Vakil and Yosef Chai Vakil performance.

Kurdistan tradition, Drori Yehoshua performance.

Israel – based on a Yemenite melody, Shlomo Bar performance.

Bostoner Hassidic Tradition tradition, The Admor Levi Yitzchak Horowitz ben Pinchas David, the Bostoner Rebbe performance.

Ashkenaz tradition, Leib Glantz performance.

Ashkenaz tradition, Marcel Lang performance.

Ashkenaz – Lithuanian 2 tradition, Marcel Lang performance.

Babylon tradition, Maqam: Bayat, R. David Halbi performance.

Babylon tradition, Maqam: Hijaz, Rivers of Babylon performance.

Sfarad Jerusalem – Melody: Ezra Aharon tradition, Maqam: Rast, Ezra Aharon performance.

Babylon tradition, Maqam: Siga, Moshe Havusha performance.

Babylon tradition, Maqam: Siga Huzam, Grandchildren of Hachacham Jorji Yair performance.

Babylon tradition, Maqam: Siga Huzam, Shlomo Mualem and David Haba performance.

Babylon tradition, Maqam: Siga Huzam, R. David Halbi performance.

3. Yedidi Hashachachta / R. Yehuda Halevi

One of the most significant piyutim in the Babylonian and Moroccan traditions. The piyut was written by the poet and philosopher R. Yehuda Halevi (author of The Kuzari, one of the most significant philosophical works of Jewish thought). R. Yehuda Halevi is known as the great poet of the middle ages (12th century), many of his piyutim are sung by all of the communities of Israel and are also incorporated in the prayer services of many of the holidays and festivals. The poem is of the love and longing of the beloved, Knesset Yisrael, for her beloved. The Holy One Blessed Be He. It was written as a “reshut” (an introductory piyut) for the prayer of “Nishmat” for the seventh day of Passover. Like many of R. Yehuda Halevi’s poems, this poem is filled with yearning for redemption and longing for Zion. Legend has it that he made aliyah to Israel and shortly afterwards passed away.

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Babylon tradition, Maqam: Bayat, Yehuda Ovadya Ftaya and The Yona Ensemble performance.

Babylon tradition, Maqam: Bayat, Shlomo Mualem and David Haba performance.

Babylon tradition, Maqam: Bayat, Salah and Daud Al-Kuwait performance.

Morocco tradition, Maqam: Bayat, David Avicazar performance.

Morocco tradition, Maqam: Bayat, R. David Buzaglo performance.

Morocco tradition, Maqam: Bayat, R. Haim Louk performance.

Babylon tradition, Maqam: Bayat, Shlomo Mualem performance.

Morocco tradition, Maqam: Bayat, R. Haim Louk in concert performance.

Morocco tradition, Maqam: Bayat, Mordechai Buzaglo performance.

4. Shachar Avakeshcha / R. Shlomo Ibn Gabirol

One of the “reshut” (an introductory piyut) for the prayer of “Nishmat” written by the poet and philosopher R. Shlomo Ibn Gvirol, one of the great 11th century Spanish poets. The poem is part of the Songs of Supplication repertoire sung by the Jews of Morocco and Haleb. Many of R. Shlomo Ibn Gvirol’s piyutim are included in the various nusachim (orders of prayer), mostly among the High Holiday prayers. The most well known is his philosophical piyut “Keter Malchut” which is read on Yom Kippur.

R. Shlomo Ibn Gvirol was a man of poor health whose life was filled with suffering and hardships. In his short life (he died around the age of thirty) he wrote hundreds of piyutim, many of them written as a “reshuyot” (introductory piyutim) which like this poem are very personal; poems of conversations of man with his maker and with his soul.

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Sfarad – West, Amsterdam tradition, Abraham Lopes Cardozo performance.

Israel – Melody by Yehoshua Engelman, Yehoshua Engelman performance.

Morocco - Meknes tradition, Yitzchak Vaanunu performance.

Sfarad Jerusalem - Haleb tradition, Maqam: Nahawand, Members of the Shaharit Ensemble performance.

Sfarad Jerusalem - Haleb tradition, Maqam: Nahawand, Group of Cantors, Jerusalem 1980's performance.

Sfarad Jerusalem tradition, Maqam: Nahawand, Shirat Habakashot Concert, Jerusalem 2006 performance.

Morocco tradition, Maqam: Nahawand, Emil Zrihan performance.

Morocco tradition, Nuba: Hijaz Al Msharki, R. Haim Louk. R. Chaim Biton and other Paytanim performance.

Morocco tradition, Nuba: Hijaz Al-Kbir, R. Meir Attia performance.

Morocco tradition, Nuba: Isbihan, Emil Zrihan and The Israeli Andalusit Orchestra performance.

Algeria tradition, Nuba: Mazmum, R. Rachamin Zini performance.

5. Achot Ktana / R. Avraham Hazan Girundi

This piyut opens the Rosh Hashana prayers and thus the New Year in the Sfard Nusach. It is a love poem of the little sister – Knesset Yisrael, sung to her beloved. The poem conveys her troubles and suffering in the darkness of exile. The poem also holds hope for a good year and a plea for deliverance from exile, all the while emphasizing that the tie not be severed between Knesset Yisrael and her beloved savior. The poem concludes with the words “May the year and its blessings begin”.

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Morocco tradition, Sami Elmaghribi performance.

Morocco tradition, Yitzhak Revach performance.

Morocco tradition, Lior Elmalich performance.

Yemen - Sanaa tradition, Aharon Amram performance.

Bukhara tradition, Yair Elyashiav performance.

Libya tradition, Zion Badash and paytanim performance.

Libya tradition, Group of Paytanim performance.

Libya tradition, Yehuda Hayun and Sons performance.

Kurdistan – Barashi tradition, Cantors of the Barashi Family performance.

Kurdistan tradition, Group of Cantors performance.

Persia – Teheran tradition, Yaacov Bnafsha performance.

Skver Hassidic Tradition tradition, Pinchas Govrin performance.

Skver Hassidic Tradition tradition, Pinchas Govrin (accompanied by a story) performance.

Persia - Shiraz tradition, Yakar Shukri performance.

Sfarad – West, Amsterdam tradition, Abraham Lopes Cardozo performance.

Spanish Jews tradition, Esti Keinan-Ofri performance.

Georgia tradition, Group of Cantors performance.

India – Cochin tradition, Group of cantors, Moshav Nevatim performance.

Eastern Caucasia (The Mountain Jews) tradition, R. Rahmoni Bin Gadiil performance.

Kurdistan – Zacho tradition, Group of Cantors performance.

Turkey – Saloniki tradition, Group of Paytanim accompanied by a Chamber Orchestra performance.

Turkey – Saloniki tradition, Group of Cantors performance.

Greece - Chalkis tradition, Menashe Cohen performance.

India – Cochin tradition, R. Avraham Chai performance.

Italy tradition, Dario Israel performance.

Haleb tradition, Maqam: Bayat, Members of the Shaharit Ensemble performance.

Sapin Jerusalem tradition, Maqam: Bayat, Members of the Shaharit Ensemble performance.

Sfarad Jerusalem tradition, Maqam: Bayat, Ezra Barnea with cantorial students performance.

Babylon tradition, Maqam: Siga, Yehuda Ovadya Ftaya and The Yona Ensemble performance.

6. Yigdal Elohim Chai / Daniel ben Yehuda Dayan

One of the more well known piyutim among the communities of Israel, some of which tend to sing it to conclude the Shabbat evening prayers. The author of the poem is R. Daniel ben Yehuda Dayan, who lived in 13th century Italy. The piyut is based on Maimonides’ thirteen principles of faith. The poem was put to several melodies, those composed specifically for the poem and existing ones that were fitted to the words of the piyut.

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India – “Bene Israel” (Bombay), Bene Israel Congregation performance.

Konigsberg (Germany) tradition, Naftali Hershtik performance.

Georgia (Western Caucasia) tradition, Group of Cantors performance.

Kurdistan-Zacho tradition, Group of Cantors performance.

Eastern Caucasia (The Mountain Jews) tradition, R. Rahmoni bin Gadiil performance.

Ashkenaz tradition, Group of Singers performance.

Italy tradition, Azeglio Servi performance.

Algeria – Oran tradition, Shmuel Cohen performance.

Balkan – Bulgaria tradition, The congregation of Temple Sinai, Jaffa performance.

Bukhara tradition, Ezra Malakov and Roshel Aminov performance.

Yemen – Sharadreh Holiday melody tradition, Binyamin Nachum and Cantors performance.

Ashkenaz tradition, Asher Heinovitz performance.

Morocco 1 tradition, Yitzhak Revach and Cantors performance.

Turkey tradition, Group of Cantors performance.

Israel, Amir Benayun performance.

Morocco 2 tradition, Maimon Meni Hacohen and Shimon Iluz performance.

Italy 2 tradition, Leo Levi performance.

Italy 3 tradition, Guido Heller performance.

India tradition, The Rag Tones Choir performance.

Morocco 3 tradition, Maimon Meni Hacohen and Shimon Iluz performance.

Morocco 4 tradition, Maimon Meni Hacohen and Shimon Iluz performance.

Georgia tradition, Shota Yakovshvili performance.

Ashkenaz – Alzas, Yom Kippur Melody tradition, Alphonse Saraf performance.

Israel Based on a Morrocan Melody, Yoel Ben-Simhon and Sultana Ensamble performance.

Sfarad Jerusalem tradition, Ezra Barnea performance.

Algeria 2 tradition, Daniel Ashkenazi performance.

Algeria tradition, Daniel Ashkenazi performance.

Central Yemen 2 tradition, Hadar Ben Zion and Zion Golan performance.

Morocco tradition, Nuba: Rasad, R. Haim Louk performance.

7. Lecha Dodi / R. Shlomo Halevi Alkabetz

This Piyut, a gem of Jewish poetry, was written by R. Shlomo Alkabetz of the 16th century Tzfat Kabalists. Despite that the siddur (order pf prayer) was already sealed, the piyut was quickly accepted into the prayer liturgy of all the communities of Israel. This testifies to the great intensity and strength of this remarkable piyut written in layers both of pshat and Sod (simple meaning and hidden meaning). It became the central piyut in Kabalat Shabbat for which many melodies were written, from ancient traditional melodies to contemporary ones (R. Shlomo Carlebach).

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Ashkenaz – Danzig tradition, Naftali Hershtik performance.

Sfarad – West, Amsterdam tradition, Abraham Lopes Cardozo performance.

Eastern Caucasia (The Mountain Jews) tradition, Group of Cantors performance.

Breslov Hassidic Tradition tradition, Baruch brener and Zvi Zelevski performance.

Breslov Hassidic Tradition tradition, Alon Michael performance.

Italy tradition, Leo Levi performance.

Morocco tradition, Kol Oud Tof Trio performance.

Morocco tradition, Maimon Meni Hacohen and Shimon Iluz performance.

Ashkenaz1 tradition, David Ulman performance.

Ashkenaz – Sfirat Haomer Melody tradition, David Ulman performance.

Ashkenaz - Ben Hametzarim Melody tradition, David Ulman performance.

France tradition, Adolf Attia performance.

Yemen – Sharadreh tradition, Binyamin Nachum and Cantors performance.

India – “Bene Israel” (Bombay), The Rag Tones Choir performance.

Tunisia – melodies from various sources tradition, Abuhab Refael performance.

Morocco tradition, The Israeli Andalusit Orchestra performance.

Ashkenaz - Melody: Michael David Levi tradition, Shuli Natan performance.

Modzitz Hassidic Tradition 1 tradition, Ben Zion Shenkar performance.

Modzitz Hassidic Tradition 2 tradition, Ben Zion Shenkar performance.

Gaby Shtranger tradition, performance.

Turkey tradition, Shmuel Ben Aruya performance.

Yemen tradition, R. Aviad Akiva, his sons, and other cantors performance.

Chabad Hassidic Tradition tradition, Moshe Tolshevski performance.

Belz Hassidic Tradition tradition, R. Yirmiyahu Daman performance.

Ashkenaz - Melody: Even Idel tradition, Kehillat Shira Hadasha performance.

Ashkenaz - Melody: Yeedle Werdiger tradition, Kehillat Shira Hadasha performance.

Persia – Shiraz tradition, Yakar Shukri performance.

Ashkenaz2 tradition, Leib Glantz performance.

Sfarad tradition, Maqam: Ajam, Ezra Barnea performance.

Sfarad Jerusalem tradition, Maqam: Nawa, Members of the Shaharit Ensemble performance.

North America – Based on a melody from the Abayudaya Congregation, Uganda tradition, The Hadar Congregation performance.

Morocco tradition, Nuba: Arubi Algeria , Sami Elmaghribi performance.

Morocco tradition, Nuba: Zarka Morocco-Algeria, Maimon Cohen performance.

8. Yah Ribon Alam / R. Yisrael Najara

One of the most famous piyutim of R. Yisrael Najara. One of the great poets of the people of Israel from the Golden Age in Spain till this day; R. Najara was a son of exiled Spanish Jews and served as the Rabbi of Gaza in the 16th century. He pioneered the way to adopting foreign melodies (mainly Turkish) to suit piyutim, and significantly influenced the development of the poetry and music in his generation and those that followed. Although the piyut is written in Aramaic it is loved throughout the communities of Israel, some sing it on shabbat and others sing it on other occasions as well. The Poem, which glorifies God, has been set to many melodies, from 'nigunim' that vary from Hassidic sect to another, to modern melodies and renditions performed by non-Jewish Westerns bands all over the world.

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India – “Bene Israel” (Bombay), Bene Israel Congregation performance.

Sfarad – West, Amsterdam tradition, Hachacham Shlomo Rodrigo Ferrera performance.

Algeria – Oran tradition, Shmuel Cohen performance.

Slonim Hassidic Tradition tradition, Zvi, Razya and Netanel Zelevski performance.

Ashkenaz tradition, Zvi, Razya and Netanel Zelevski performance.

Ashkenaz – Austria tradition, Chaim Giladi performance.

Ashkenaz – Austria 2 tradition, Chaim Giladi performance.

Bukhara tradition, Ensemble Mizrach - Maarav performance.

Bukhara tradition, Ezra Malakov and Paytanim performance.

Ashkenaz – Lithuanian 1 tradition, Avraham Kabalkin performance.

Ashkenaz – Lithuanian 2 tradition, Avraham Kabalkin performance.

Ashkenaz – Lithuanian 3 tradition, Avraham Zimmerman performance.

Yemen – Sharadreh tradition, Mari Yosef Mazaki performance.

Syria (Damascus) tradition, Moshe Latti performance.

Bobov Hassidic Tradition tradition, David Mestbaum performance.

Ruzhin Hassidic Tradition 1 tradition, Prof. Yaacov Rand performance.

Ruzhin Hassidic Tradition 2 tradition, Prof. Yaacov Rand performance.

Tunisia tradition, R. Shimon Nataf and R. Eliyahu Gez performance.

North America – Melody: Basya Schechter, 21st Century tradition, Basya Schechter performance.

tradition, performance.

Ashkenaz-Hungary tradition, Avigdor Herzog performance.

Ashkenaz - Switzerland tradition, Yitzhak and Mordechai Brom performance.

Ashkenaz 2 tradition, Marcel Lang performance.

Ashkenaz 3 tradition, Rotney Zentner performance.

Ashkenaz-England – melody: goldberg Family tradition, Marcel Lang performance.

Breslov Hassidism tradition, Yitzhak Shapira performance.

Israel – melody: jonathan katzoff, Marcel Lang performance.

Babylon tradition, Maqam: Ajam, Moshe Havusha performance.

Babylonian tradition, Maqam: Jeharkah, Grandchildren of Hachacham Jorji Yair performance.

Babylon tradition, Maqam: Jeharkah, Yair Dalal performance.

Babylonian tradition, Maqam: Jeharkah, Moshe Havusha performance.

Babylon tradition, Maqam: Jeharkah, Salah and Daud Al-Kuwaiti performance.

Babylonian tradition, Maqam: Jeharkah, R. David Menachem performance.

Babylonian tradition, Maqam: Jeharkah, Group of Cantors performance.

Sfarad Jerusalem – Haleb tradition, Maqam: Jeharkah, R. David Halbi performance.

Tunisia tradition, Maqam: Nahawand, David Riachi and the Tiferet Hamizrach Choir performance.

Sfarad Jerusalem tradition, Maqam: Rast, Members of the Shaharit Ensemble performance.

Babylonian tradition, Maqam: Rast, Paytanim from the Aram Tzuba Congregation, New York performance.

Sfarad Jerusalem tradition, Maqam: Rast, Congregants of the Ohavei Zion Synagogue, Jerusalem 1960 performance.

Sfarad Jerusalem tradition, Maqam: Rast Suznak, Members of the Shaharit Ensemble performance.

9. Yedid Nefesh / R. Elazar Azkari

This piyut of longing and yearning for the closeness of God holds a highly respected place among the traditions of the communities of Israel. The piyut is sung by various ethnic groups in one of it many melodies whether during Kabalat Shabbat, Shabbat, Tikkun Hatzot, morning prayers, or before dawn, the hour between darkness and light. Few Piyutim have been honored with the privilege of being sung at these hours of special meaning to the people of Israel.

The piyut was written by R. Elazar Azkari of the Tzfat Kabalists in the 16th century, a descendant of the exiled Spanish Jews and author of ‘Safer Haredim’. The piyut, which expresses profound devotion from deep within the heart, is composed of four verses, and is an acrostic poem that spells out the name of God.

Text (english)

Morocco tradition, R. David Buzaglo performance.

Ashkenaz tradition, Zvi Zelevski, Baruch Brener and Yair Harel performance.

Ashkenaz tradition, From the 2008 Piyut Festival, musical arrangement by Nitzan Chen Razel performance.

Ashkenaz tradition, The Shira Hadasha Davening Community performance.

Breslov Hassidic Tradition tradition, Baruch Brener performance.

Breslov Hassidic Tradition tradition, Alon Michael performance.

Yemen – Sharadreh tradition, Mari Yosef Mazaki performance.

Israel based on Moroccan melody, Shuli Natan performance.

Modzitz Hassidic Tradition tradition, Ben Zion Shenkar performance.

Bobov Hassidic Tradition - Melody R. Yitzchak of Kaliv tradition, David Mestbaum performance.

Chabad Hassidic Tradition tradition, performance.

India – “Bene Israel” (Bombay), Bene Israel Congregation performance.

Tunisia tradition, Natan Cohen and Group of Cantors performance.

Tunisia tradition, R. Shimon Nataf performance.

Sfarad Jerusalem tradition, Maqam: Bayat, Group of Cantors, Jerusalem 1980's performance.

Babylon tradition, Maqam: Nawa, Hachacham Jorji Yair Family in concert performance.

Babylon tradition, Maqam: Nawa, Moshe Havusha performance.

Sfarad Jerusalem tradition, Maqam: Rast, Congregants of the Ohavei Zion Synagogue, Jerusalem 1960 performance.

Morocco tradition, Nuba: Geribat Alchssin, R. Meir Attia performance.

Morocco tradition, Nuba: Hijaz Al Msharki, R. Meir Attia performance.

Morocco tradition, Nuba: Hijaz Al-Kbir, R. Haim Louk and Waish Cohen performance.

Morocco tradition, Nuba: Hijaz Al-Kbir, Parashat Mishpatim performance.

Morocco tradition, Nuba: Iraq El Ajam, R. Meir Attia performance.

Morocco tradition, Nuba: Istihalal, Shirat Habakashot Concert, Jerusalem 2006 performance.

Morocco tradition, Nuba: Raml Al-Maya, R. Avraham Suissa and students performance.

Raml Al-Maya Algeria tradition, Nuba: Raml Al-Maya - Algeria, Maimon Cohen at Piyut Website Launching performance.

Raml Al-Maya Algeria tradition, Nuba: Raml Al-Maya - Algeria, R. Haim Louk performance.

Raml Al-Maya Algeria tradition, Nuba: Raml Al-Maya - Algeria, Shlomo Bar performance.

10. Adon Hakol / R. Shalom Shabazi

A significant piyut in the Yemenite tradition sung on Shabbat and at celebrations. The piyut was written in the 17th century by, one of Yemen’s most renowned paytanim (piyut writers), R. Shalom Shabazi. His name is signed in the form of an acrostic אלשבזי ש"צ ,ש"צ=שוֹמרוֹ צוּרוֹ – Shomro Tzuro – watched over by his God. The Piyut serves as the opening song when gathering to sing. The poet writes of the soul if Israel, the Shekhinah and The Holy One Blessed Be He, and concludes with the anticipation of the soon to come redemption of Zion.

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Yemen tradition, Shlomo Dahiani performance.

Central Yemen tradition, Havurat Moreshet performance.

Yemen - Sharadreh tradition, Binyamin Nahum and Cantors performance.

11. Melech Goel U'moshia / R. Moshe Hutzen

This piyut holds a central place in the Babylonian tradition regarding the month of Nissan in general but more specifically Passover. Over the years it has become somewhat of a redemption ‘anthem’ telling of the month of Nisan and the coming Passover. The piyut was written by R. Moshe bar Tzdaka Hutzen who lived in Baghdad in the end of the 18th century. This was the beginning of the era in which spirituality and Torah flourished and in Baghdad. Though R. Moshe Hutzen wrote many piyutim only twenty-four of them are known to us. Most of them are songs of praise and glory to God and piyutim for the holidays. This piyut tells of the redemption from Egypt and the central events that took place at the time. It especially tells of the night the Jews left Egypt and the Mitzvot that were given then, and for the generations to come. This was the first redemption a “small prototype” of the final redemption that, like the redemption from Egypt, is to come in the month of Nisan.

Text

Babylon tradition, Maqam: Rahaw Jeharkah, Kehilot Sharot performance.

Babylon tradition, Maqam: Rahaw Jeharkah, Shlomo Mualem performance.

Babylon tradition, Maqam: Rahaw Jeharkah, Moshe Havusha performance.

Babylon tradition, Maqam: Rahaw Jeharkah, Shlomo Mualem and David Haba performance.

Babylon tradition, Maqam: Rahaw Jeharkah, Haguli Shummel Darzi performance.

Babylon tradition, Maqam: Rahaw Jeharkah, R. David Menechem and Elad Gabay performance.

12. Eli Lama Azavtani / R. David Buzaglo

This piyut hold a central place in the tradition of the Moroccan Jews. It was written by R. David Buzaglo, one of the great Moroccan poets of the past generation, and the spiritual leader of the community in its times of hardship and crisis during the aliyah to Israel. R. David Buzaglo, a poet and musician, immigrated to Israel in 1965 and passed way ten years later. Despite his blindness, he worked vigorously and was deeply dedicated to passing on the tradition of the piyut. He trained a generation of piyut writers many of whom are still writing today and passing on his legacy to the next generations. In this poem R. David Buzaglo cleverly combines aspects of the thirteen principles by which the torah is interpreted. But most of all one senses his pain over the exile of the shekhinah and the destruction of the Temple.

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Morocco tradition, Nuba: Hijaz Al-Kbir, R. Haim Louk performance.