August 7, 2020 ~ Shabbat EQEB. M SIGAH

 

Raphael Antebi Ades Tabbush - רפאל יצחק עדס ענתבי טבוש

Biography

Hakham Raphael Antebi Tabbush of Aleppo was an outstanding composer of pizmonim.  He was the son of Hakham Yisshaq Antebi and a rabbi who composed more than 400 pizmonim, and also restored those that had been lost.  He rejuvenated the use of pizmonim in the Syrian Jewish communities.

Hakham Tabbush gained respect among prominent singers. He was known teasingly as a “thief” because he would take melodies from other singers – at Arab weddings, coffeehouses, and other social events - to listen to the new Arabic songs and add Hebrew text, making the song a holy pizmon.

Hakham Tabbush was very famous for the pizmonim he wrote and they even made it to Morocco and to Aden where the communities included some of his pizmonim in their song books.  He used to teach in Midrash ‘Aboud Harari in Halab and he visited the Talmud Torah often to test out boys that he felt would have a capable future in hazzanut and pizmonim.  His first book, “Shira Hadasha,” was published in Aleppo 1888.  In 1893 he was in Jerusalem for the induction ceremony of Hakham Yaaqob Shaoul Elyashar as Rishon Lesiyon and he wrote a Golden Song for the event which he trained 2 choirs to sing at.  The song is “Yisa Berakah.”

Hakham Tabbush had a pizmon for every occasion, whether a wedding, bar misvah, or simple social gathering.  His poetic talents were so profound that even when in conversation with someone, he would find himself creating poetic stanzas from the subject matter of the discussion.

All of Hakham Tabbush’s pizmonim were incorporated into a book published in Jerusalem in 1905 by R’ Raphael Haim Cohen. This work was reprinted with further additions in 1921 and was called “Shir Ushbaha.”

He is the teacher of Hakham Moshe Ashear, Murad Harari, Afrir Cohen, Eliahou Hamaoui, among others.

Towards the end of Hakham Tabbush’s life he moved to Egypt. He passed away in Cairo, Egypt in 3 Kislev, December 1918.

Manuscripts

Section Pizmon Page Song CommentaryManuscripts Application
Rast 110 110 ידך עשת Hamaoui Manuscript
Tabbush Manuscript
167.4 142y מלכי אנא עבדך Maqam Rast Hamaoui Manuscript
Mahour 173 147 רם בך יגל לבב Hamaoui Manuscript
Tabbush Manuscript
Ajam 211 170 רחם על עם ידידים Maqam Mahwarna Hamaoui Manuscript
British Library Or. 10375
British Library Or. 10375
Bayat 306 241 אל יצרת Aseret Yeme Teshubah. Can be used for Shabbats of Maqam Bayat-Hijaz. Hamaoui Manuscript
Tabbush Manuscript
Bayat 338.1 318br רם גלה לקץ הנסתם Hamaoui Manuscript
Saba 470 387 למן אתפלל למן Hamaoui Manuscript
Saba 472 389 יה אודה לך יה Hamaoui Manuscript
Tabbush Manuscript
שועת עניים
Saba 508.1 426e בנה לעירך Hamaoui Manuscript

Pizmonim

Section Pizmon Page Song CommentaryRecordings Application
Baqashot 22 30 יום קדוש ומבורך Maqam Saba Petiha (introduction) written by H Rephael Tabbush (1830-1918). Saba. Tabbush Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917 E. Menaged
Archives
Baqashot 34 42 רם אור גדול 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 G. Shrem
Archives
E. Menaged
E. Menaged- Nishmat
G. Shrem
Ohabe Zion 1960
Isaac Cabasso- Qaddish
Charlie Chehebar- Qaddish
נשמת
Baqashot 37 45 מלא פי שירה Maqam Ajam Ajam. A Z Idelsohn notes, 1923 Aharon Rahamim Hares Baqashot Manuscript, 1917 Archives
Yosef Hamaoui
I. Cabasso
G. Shrem
G. Shrem
Ohabe Zion 1960
D Tawil- Nishmat
נקדישך
Baqashot 44 53 רונו ושבחו לאל Maqam Rahawi Nawah Composed by H Rephael Tabbush. Lahn: Ya Badri Toman Roqli. Rahawi Nawah. Attiah Manuscript Tabbush Manuscript Aharon Rahamim Hares Baqashot Manuscript, 1917 Archives
G. Shrem
G. Shrem
Ohabe Zion 1960
קדיש
Baqashot 63 70 מרום אל חי שוכן ערבות Maqam Rast Appeared in Tabbush's 1888 pizmonim book. It is written in honour of H Moshe Ashkenazie. Rast. Hamaoui Manuscript Tabbush Manuscript F. Yanani
Yom Tob Yanani
נקדישך
Baqashot 65 72 יה אל גדול ונאדר 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 M. Nadaf
I. Cabasso
G. Shrem
Nahari- Semehim
Nahari- Naqdishakh
שמחים
Petihot 86 100 יומם וליל Petiha Hamaoui Manuscript Y. Bozo
E. Menaged
Recording
H Obadia Yosef- Hijaz
Petihot 88 101 רחמיך יתעוררו Petiha Hamaoui Manuscript Recording
Petihot 89 101 יודך כל Petiha Hamaoui Manuscript E. Menaged
Yosef Hamaoui
Recording
Petihot 90 101 ראשית לא ככל ראשית Petiha Hamaoui Manuscript E. Sayegh
E. Menaged
E. Menaged 2
Petihot 91 101 מי יראנו טוב
Petihot 93 102 יום ליום Petiha Hamaoui Manuscript Tabbush Manuscript E. Menaged
E. Menaged 2
Recording
Petihot 94 102 רועי ודודי מאד Petiha Hamaoui Manuscript Recording
H Obadia Yosef
Rast 108 109 חנון מרום Shabbat Bereshit. Hamaoui Manuscript Tabbush Manuscript E. Menaged
Fule Yanani
Yom Tob Yanani
E. Menaged 2
Recording
פזמון
Rast 109 109 מלך אל חי In honor of Moshe D'Picciotto, first printed in 1888. Tabbush Manuscript
Rast 110 110 ידך עשת Hamaoui Manuscript Tabbush Manuscript E. Menaged
Arabic
I. Cabasso- Qaddish
Y. Bozo
G. Shrem
Recording
M Habusha
I Cabasso- Qaddish
E Sayegh
Rast 112 111 רצני אבי ומלכי סימן רפאל Hamaoui Manuscript Tabbush Manuscript S. Salem
E. Sayegh
Y. Bozo
Recording
Rast 113 111 ינהג לי E. Menaged
Rast 115 112 רופא חנם סימן רפאל Tabbush Manuscript
Rast 118 113 ישיר ישראל ברננים Hamaoui Manuscript Tabbush Manuscript S. Salem
Y. Bozo
I. Cabasso - Qaddish
G. Shrem
Recording
G Shrem 2
Rast 122 115 מה טוב כאישון For a Hatan that is a first born. Hamaoui Manuscript I. Cabasso
Fule Yanani
Y. Bozo
Recording
E Sayegh
Rast 123 115 יה אל מגן Hamaoui Manuscript Tabbush Manuscript Y Hamaoui
G. Shrem
Recording
Isaac Cabasso- Naqdishakh
נשמת
Rast 124 116 אתה יודע Y Hamaoui
G. Shrem
I Cabasso- Naqdishakh
Arabic
Maury Blanco
נקדישך
Rast 125 116 רפא צירי Refa Siri is a special composition written by H Raphael Tabbush A"H. The melody is attributed to a Judeo-Spanish song entitled "Triste Vida" (A Sad Life). The song has an acrostic of "Refael" and has been viewed as a prayer for good health. The first stanza of the song recognizes God as the ultimate doctor and healer. The song also contains a prayer for God to open the gates of mercy and to send freedom to our nation. The pizmon was used by H Moshe Ashear A"H (d.1940) for the PIZMON SEFER TORAH in 1940 for Shabbat Vayera because Abraham is thought to have been recovering from the Berit Mila at the opening of the perasha. Hamaoui Manuscript Tabbush Manuscript E. Menaged
Y Hamaoui
G. Shrem
Recording
אל ההודאות
Rast 126 117 רחום בך יגל לבבי Shabbat Va'era. Hamaoui Manuscript Tabbush Manuscript M Habusha
Recording
Musa Camjagi- Semehim
Musa Camjagi- Naqdishakh
Rast 127 117 חי הזן לכל תמיד In honor of the wedding of Tabbush's student, Hayyim Tawil. G. Shrem
E. Menaged
E. Menaged 2
S. Salem
S. Salem 2
Cain
Cain - Qaddish
Moshe Diib Laniado
Amos Dodi
Recording
Maury Blanco
קדיש
Rast 128 118 רצה שירי I. Cabasso
E. Menaged
Recording
Rast 131 119 יה תאיר לאורי Dor: yah talah il sa'adi. S. Salem
Moshe Diib Laniado
Albert Cohen Saban
Recording
M Habusha
Maury Blanco
Rast 132 120 יחיד נורא 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 Fule Yanani
S. Salem
M. Kairey
Albert Cohen Saban
G. Shrem
Recording
I Cabasso
Rast 133 120 אל נורא פי ינוב סימן רפאל. Hamaoui Manuscript Tabbush Manuscript S. Salem
G. Shrem
Recording
Rast 135 121 מה נעים החתן Hatan. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 M. Kairey
E. Menaged
G. Shrem
I Cabasso- Mimisrayim
ממצרים
Rast 137 122 דודי לי סימן רפאל Hamaoui Manuscript
Rast 138 123 רם ונעלם סימן רפאל Hamaoui Manuscript Tabbush Manuscript G. Shrem
G. Shrem
Recording
DMB - Mimisrayim
שמחים
Rast 139 123 הקץ יה חביבי סימן רפאל Hamaoui Manuscript S. Salem
Recording
I Cabasso - Haleluya
הללויה
Rast 140 124 רני שמחי צהלי סימן רפאל Hamaoui Manuscript Tabbush Manuscript E. Marcus
שמחים
Rast 141 124 נשאם עד העולם Hamaoui Manuscript M. Kairey
G. Shrem
Recording
I Cabasso- SA
שמחים
Rast 142 124 אני לשמך אהלל סימן רפאל. Birth of a baby boy and the Pidyon HaBen. Hamaoui Manuscript Tabbush Manuscript M. Kairey
Fule Yanani
G. Shrem
Recording
Eliahu Saal- Qaddish
אל ההודאות
Rast 143 125 רם לחסדך יקוו Same melody as "Frere Jacques" (French). This song is sometimes used for Berit Milah. Hamaoui Manuscript Tabbush Manuscript J. Mosseri & M. Arking
G. Shrem
Recording
Eliahu Saal- Qaddish
ממצרים
Rast 167.02 144a אנא יה רם E. Menaged
E. Sayegh
Y. Bozo
Arabic: Ana El Gharam
Shabetai Laniado & Qaddish
Maury Blanco
167.2 142a אלי אשיר לך Maqam Rast Amos Dodi
Recording
167.4 142y מלכי אנא עבדך Maqam Rast Hamaoui Manuscript Y. Bozo
Recording
Mahour 169 145 חסדך קדם Shabbat Bereshit, the Shalosh Regalim, as well as Purim. Tabbush. Turkish. G. Shrem
Kedusha
I. Cabasso - Qedusha
G. Shrem
Recording
R Elnadav- Naqdishakh
Y Nahari- Qedusha
Nahari- Nishmat
I Cabasso- Naqdishakh
נקדישך
Mahour 171 146 רצה נא 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. Arabic- Salah Abd El Hai
E. Menaged
E. Menaged 2
Recording
Y Nahari- Qaddish
Maury Blanco
קדיש
Mahour 173 147 רם בך יגל לבב Hamaoui Manuscript Tabbush Manuscript S. Salem
S. Salem 2
G. Shrem
Recording
Mahour 174 147 יחיד האל ומהלל Hamaoui Manuscript Tabbush Manuscript Yosef Hamaoui
I. Cabasso - Qaddish
G. Shrem
Recording
I Cabasso
קדיש
Mahour 175 148 מגיני רצני Tabbush Manuscript S. Salem
Recording
Mahour 176 148 רוממת עם נבחרי Hamaoui Manuscript Tabbush Manuscript Hayim Eliyahou
Qaddish
Mahour 177 149 חובי מלכי סלח I. Cabasso- Nishmat
G. Shrem
Recording
נשמת
Mahour 181 151 חנון רחם Sukkot. Hamaoui Manuscript Tabbush Manuscript M Kairey
Albert Cohen Saban
G. Shrem
Recording
I Cabasso
פזמון
Mahour 182 151 שבתי שבתי Aseret Yeme Teshuba. G. Shrem
I. Cabasso - Halleluyah
G. Shrem
Recording
M Habusha- Mimisrayim
I Cabasso
Eliahu Saal- Qaddish
I Cabasso- Mimisrayim
שמחים
Mahour 183 152 חי ורם J. Mosseri
Recording
Mahour 184 152 ידידי אמרו Arabic is "Fouadi Amro 'Agib," in Maqam Mahour, sung by the great Sheikh Yousef El Manyalawi. In 1936, Hakham Moshe Ashear used this for Qaddish of Perashat Toledot. E. Menaged
Recording
Maury Blanco
קדיש
Mahour 185 153 אל בחסדך גאלנו Hamaoui Manuscript Tabbush Manuscript G. Shrem
G. Shrem
E Menaged
I Cabasso- Nishmat
נשמת
Sasgar 198 163 שא נא לי Sasgar or Mahour.
Sasgar 199 163 אל רם חיים חן וחסד
Sasgar 200 163 אסיר ביוקשי 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. G. Shrem
E. Sayegh
M Tawil
M Tawil 2
David Saliah
Y. Bozo
Amos Dodi
Recording
Recording
E Menaged
I Cabasso - Qaddish
Maury Blanco
קדיש
Ajam 201 165 ישא ברכה This "Golden Song" was written in 1893 in honour of the Jerusalem induction ceremony of Hakham Yaaqob Shaoul Elyashar as Rishon Lesiyon. Tabbush trained two choirs to sings this song at that event. Songs contains allusions to the 10 Sefirot. Tabbush Manuscript I. Cabasso- Nishmat
Yosef Hamaoui
G. Shrem
Recording
Moshe Habusha
נשמת
Ajam 205 168 מלך רחמן Melekh Rahman (AJAM, page 168), or "Merciful King," is considered the ultimate wedding song. It was composed in Aleppo, circa 1897, by H Raphael Tabbush (d. 1918), for his close student, H Moshe Ashear (d. 1940), in honor of his wedding to Salha, the daughter of Mr Yaaqob Shamah. The acrostic is "Moshe" and names of family members (Moshe, Yaaqob, Shaol, Simha, Shelomo) are alluded to. The melody is from the Arabic song "Doom Ya Zaman." There are three stanzas in this song. The first two stanzas are from the point of view of the community; asking God to save the nation, and also to join in the happiness of the Hatan and Kallah on their wedding day. The third stanza, however, is from the view of the Hatan; asking to be blessed with the Blessing of Abraham. For Shabbat Vayesse, this melody can be applied in the prayers for Nishmat. The pizmon can be associated with this perasha, because we read about Jacob's wedding. Moshe Ashear and Family Manuscript M Kairey
E. Menaged
Yosef Hamaoui
Fule Yanani
SCC Choir
G. Shrem
Recording
Eliahu Saal- Qaddish
Charlie Chehebar- Naqdishakh
Recording
Moshe Habusha
נשמת
Ajam 207 169 יחיד מגן Maqam Girkah Tabbush Manuscript I. Ceezar
Fule Yanani
Y. Bozo
Recording
Qaddish
H Abraham Zafrani
Ajam 208 169 איברי יאמרו הב Tabbush Manuscript I. Cabasso- Nishmat
G. Shrem
G. Shrem
I Cabasso- Opening & Nishmat
G Shrem- Nishmat
נשמת
Ajam 209 170 היום רפא לעם נלבב Maqam Sasgar Hamaoui Manuscript Tabbush Manuscript Arabic
I Cabasso- Qaddish 1
I Cabasso- Qaddish 2
Maury Blanco
קדיש
Ajam 210 170 בעיר חמדה
Ajam 211 170 רחם על עם ידידים Maqam Mahwarna Hamaoui Manuscript British Library Or. 10375 British Library Or. 10375
Ajam 213 171 הללו אל יה Maqam Sasgar Hamaoui Manuscript Tabbush Manuscript G. Shrem
Recording
Recording
H Abraham Zafrani
Ajam 214 172 אני לקראת Engagement or Wedding. Manuscript Yosef Hamaoui
I. Cabasso
G. Shrem
G. Shrem
Recording
Eliahu Saal- Qaddish
ממצרים
Ajam 217 174 בקול רנה וצהלה For a wedding. Same melody of the pizmon "Kabir Koah." Melody that we have for this song is from the notes of Idelsohn, 1923. Tabbush Manuscript A Z Idelsohn notes, 1923 Leslie Grazi
M Faiena
Recording
DMB Wedding
G Shrem - Naqdishakh
Ajam 218 174 רוח נכון יה חדש לי Tabbush Manuscript
Ajam 221 176 אלה אלה הבה Tabbush Manuscript G. Shrem
Recording
ה' מלך
Ajam 222 177 רוזני חי אתה וגאוני Tabbush Manuscript
Ajam 225 178 לבית אל אבא בחבה DMB
D Kassin - EH
Ajam 226 178 אל חי ורם Tabbush Manuscript
Ajam 227 179 רועה נאמן הוא 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 G. Shrem
Fule Yanani
I. Cabasso - Qaddish
G. Shrem
Recording
I Cabasso
כתר
Ajam 228 179 אל רמה ימינך Hatan Me'Onah. Tabbush Manuscript Yom Tob Yanani
David Sebi
Recording
שועת עניים
Ajam 229 180 אל רם ארנן Tabbush Manuscript M Kairey
Fule Yanani
Recording
Ajam 230 180 ראה ה' כי צר לי This pizmon (AJAM, page 180), whose first words translate as "Observe, God, For I am in Anguish," is designated for Shabbat Nahamu, which is the Shabbat following Tisha B'Ab. The acrostic of this four stanza piece, רפאל, symbolizes that its author is H Raphael Antebi Tabbush (d. 1918). The theme of the first three stanzas is about how much the author, written in first person, and his people, the Jewish people, have suffered from the enemies rising in destruction and murder, vandalizing the Temple, exiling the people from their place, and leaving the city of Jerusalem 'abandoned like a widow' (a reference from Ekha 1:1). The last stanza, however, concludes on a hopeful note with God speaking back to the author saying: "For the sake of My holy name, I will build for them a house for My dwelling, 'Comfort, O Comfort, My Nation!' (a reference from Isaiah 40:1), I will redeem you! This is the year!" The melody of this song can be applied to Keter (in Musaf). Fule Yanani
כתר
Ajam 231 181 שמך יתרומם Maqam Sasgar Hamaoui Manuscript M Kairey
Moshe Diib Laniado
Y. Bozo
G. Shrem
Recording
ממצרים
Mahour 254.991 203o ארנן אליך רם Siman: Aharon. Song for wedding. Mahour or Ajam. Shir Ushbaha, 1921 F. Yanani
Recording
254.992 204i נעה מבית אביה Maqam Girkah Siman: Ezra. Song for Bar Misvah. Saba or Girkah. F. Yanani
Recording
Nahwand 256 206 אודה לאל Tabbush Manuscript Arabic
I Cabasso - Qaddish
קדיש
Nahwand 259 207 לנרי ואורי Hanukkah. E. Menaged
Recording
Recording
J Mosseri - EH
שועת עניים
Nahwand 260 207 אל אבי מחסדך I. Cabasso
E. Menaged
E. Sayegh
Recording
Maury Blanco and the Aram Soba Orchestra
נשמת
Nahwand 262 208 ארמוני יה נזנח Hamaoui Manuscript
Nahwand 265 210 אתה אל כביר 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
נשמת
Nahwand 266 210 לעיר חנה דורשה דודי E. Menaged
G. Shrem
G. Shrem
Recording
M Habusha
נשמת
Nahwand 267 211 רם ונעלם אדון עולם Tabbush Manuscript G. Shrem
G. Shrem
Recording
Shabetai Laniado
שועת עניים
Nahwand 269 212 רואה ובוחן לבב הכל I. Cabasso
Recording
נקדישך
Nahwand 270 212 רננות שירו אחי Tabbush Manuscript I. Cabasso
G. Shrem
I Cabasso
I Cabasso
שמחים
Nahwand 271 213 אחזה בנועם "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
פזמון
Nahwand 272 214 אל חובי יסלח לי
Nahwand 273 214 למה הקץ נסתם נא This pizmon, written in the 19th century by Refael Antebi, is based on a very popular Arabic (Egyptian) song of the times. This pizmon is commonly sung on Shabbat. G. Shrem
I. Cabasso- Qedusha
G. Shrem
Recording
R Barzani- Naqdishakh
Recording
נקדישך
Nahwand 274 214 יה נחלה המצחה E. Menaged
G. Shrem
I. Cabasso- Qaddish
G. Shrem
Recording
Recording
קדיש
Nahwand 275 215 אודך אודך Tabbush Manuscript I. Cabasso- Semehim
G. Shrem
Yosef Hamaoui
G. Shrem
Recording
שמחים
Nahwand 276 215 רעיוני יחיד Hamaoui Manuscript Tabbush Manuscript G. Shrem
G. Shrem
G. Shrem
Recording
Eliahou Ozen- Nishmat
Isaac Cabasso- Rau Banim
ממצרים
Nahwand 277 216 יבנה ביתו I. Cabasso
Recording
Moshe Habusha
שועת עניים
Nahwand 278 216 רחום אתה "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
ממצרים
Bayat 300 238 יחיד רם First song at all Sebets. The initials at the beginning of each stanza form the acrostic 'Yosef'. Hamaoui Manuscript Tabbush Manuscript M. Tawil
G. Shrem
Fule Yanani
Moshe Diib Laniado
Recording
פזמון
Bayat 301 239 למה בא אויבי Arabic Melody: لما بان. Tabbush Manuscript Darwish El Hariri
Maury Blanco
Bayat 302 239 נורא ורם 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 S. Salem
E. Sayegh
Fule Yanani
G. Shrem
G. Shrem
Recording
Y Nahari
H Abraham Zafrani
D Binker
Bayat 306 241 אל יצרת Aseret Yeme Teshubah. Can be used for Shabbats of Maqam Bayat-Hijaz. Hamaoui Manuscript Tabbush Manuscript G. Shrem
G. Shrem - Qedusha
G. Shrem
R Elnadav- Qaddish
Naftali Tawil- Qedusha
I Cabasso- Nishmat
Bayat 308 242 יה אלי מהר Title in Red Book of "Abd Al Ekhoua" is incorrect. The actual title is “min abli mah ahwah algamal.” I. Cabasso- Nishmat
M Tawil
S. Salem
Y. Bozo
Amos Dodi
G. Shrem
Recording
M Habusha
Isaac Cabasso- Nishmat
I Cabasso- Nishmat 3
Naftali Tawil- Nishmat
Arabic
Maury Blanco
נשמת
Bayat 314 244 היכלו היכלו Hanukkah. Thanking God for the deliverence against the enemies. Like "Al Hanissim", this song opens and closes with the Beit Hamikdash. This song also mentions Matityahu and the lighting of the Menora. Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 M. Nadaf
Recording
Maury Blanco
Bayat 315 244 יחידתי בת אימה I. Cabasso
Recording
שמחים
Bayat 319 246 מעזי אז כלה קץ “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 N. Salem
Vital Israel
E. Menaged
Fule Yanani
I. Cabasso- Shav'at
G. Shrem
Recording
R Barzani- Shaveat
I Cabasso
E Sayegh
D Binker
שועת עניים
Bayat 327 251 חיש זמנו A Z Idelsohn notes, 1923 Arabic- Hai Zaino Zaino
F Samra
ממצרים
Bayat 330 253 רם צורי נעלה J. Mosseri
Bayat 336 257 רנה ותהלה ישראל Rosh HaShana. Tabbush Manuscript M Kairey
Fule Yanani
Recording
Semehim
Maury Blanco
אל ההודאות
Bayat 338.1 318br רם גלה לקץ הנסתם Hamaoui Manuscript Recording
Bayat 358 276 אל דורשה נפשי Tabbush Manuscript G. Shrem
I. Cabasso- Mimisrayim
E. Menaged- Mimisrayim
Yosef Hamaoui
G. Shrem
ממצרים
Hoseni 416 339 יה חסדך גלי Aseret Yeme Teshuba. G. Shrem
E. Menaged
G. Shrem
G. Shrem
Recording
M Habusha
I Cabasso- SA
Shabetai Laniado- HM
שועת עניים
Hoseni 417 340 אל הנאזר בגבורתיה Tabbush Manuscript G. Shrem
G. Shrem
Recording
Charlie Chehebar- Nishmat
I Cabasso- Qaddish
קדיש
Hoseni 418 340 אודה שמך נורא עלילה Tabbush Manuscript
Hoseni 421 343 רב חסד חי לכל נברא Recording
Recording
Hoseni 422 343 רחש לבי Hamaoui Manuscript Tabbush Manuscript D Binker
Hoseni 423 344 בחר דודי Matan Torah. Lists the Ten Commandments. G. Shrem
Fule Yanani
G. Shrem
Recording
Rahawi Nawah 443 367 שמרתני וחיתני Hamaoui Manuscript Tabbush Manuscript G. Shrem
G. Shrem
Recording
ממצרים
Rahawi Nawah 445 368 מתי תשיר Hamaoui Manuscript Tabbush Manuscript G. Shrem
G. Shrem
שועת עניים
Rahawi Nawah 446 368 רם לי יה רם לי Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 G. Shrem
G. Shrem
Recording
Rahawi Nawah 450 372 אודך אל טובות Hanukkah song. Tabbush Manuscript G. Shrem
G. Shrem
ממצרים
Saba 453 376 יהלל לאל נורא Acrostic 'Yizhak'. Tabbush Manuscript E. Menaged
G. Shrem
E. Sayegh
Fule Yanani
Sion
Recording
Iraqi- Maqam Saba
Nahari- Nishmat
Charlie Chehebar- Nishmat
DMB - Se Fezura - Naqdishakh
נשמת
Saba 454 377 לעם אביר The original Arabic song (Adak Amir) was sung by Abdel Hai Hilmi. Itamar is singing exactly based on the version sung by the nephew of Hilim, Saleh Abdel Hai Salah. The Pizmon is clearly based on the Arabic song as the syllables match exactly. This pizmon fits better in the Bayat maqam. Thanks to Joey Harari, Jerusalem. Itamar Dweck
Saba 460 381 היום על עדרי I Cabasso
Recording
Shabetai Laniado
Saba 461 382 אדום ליי לו Arabic
M. Mustachi
J. Mosseri
Recording
Shabetai Laniado
Saba 463 383 טל אל רפא Maqam Mahour E. Sayegh
Recording
Maury Blanco
Saba 467 385 רם אמור Hamaoui Manuscript Tabbush Manuscript A Z Idelsohn notes, 1923 Fule Yanani
I. Cabasso - Nishmat
G. Shrem
Recording
I Cabasso- EH
Saba 468 386 רחום לעד Y. Bozo
Y Bozo 2
אל ההודאות
Saba 470 387 למן אתפלל למן Hamaoui Manuscript G. Shrem
Recording
Shabetai Laniado
Saba 472 389 יה אודה לך יה Hamaoui Manuscript Tabbush Manuscript I. Cabasso
J. Mosseri
Recording
Shabetai Laniado
Shabetai Laniado- Hashem Melekh
Shelomo Tob Cohen
שועת עניים
Saba 473 389 יה אלי צור משגבי Shabbat Zakhor, Ki Tisa, Ki Tesse. Hamaoui Manuscript British Library Or. 10375 G. Shrem
G. Shrem
Recording
G Shrem
Shabetai Laniado
Saba 474 391 אני לשמך מלין אחביר Tabbush Manuscript G Shrem
I Cabasso
R Elnadav- Naqdishakh
נקדישך
Saba 475 391 ארנן לשמך Tabbush Manuscript
Saba 477 393 אלי תמוגג E. Marcus
E. Menaged
Shabetai Laniado
ה' מלך
Saba 486 401 יה אלי הנחל לי Should be Bayat. The Arabic of this is called "El Arsiyah" sung by Sabri Moudallal. Hamaoui Manuscript J. Mosseri
Charlie Chehebar- Qaddish
Shabetai Laniado
הללויה
Saba 488 402 רחום דל דאגי מני E. Menaged
Moshe Diib Laniado
Arabic: Ya Daqaqitil Beini
Shabetai Laniado
כתר
Saba 500 414 עלובה ועזובה
Saba 501 415 חיש משגבי "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 Yosef Hamaoui
I. Cabasso
G. Shrem
G. Shrem
Recording
I Cabasso
Recording
כתר
Saba 506 422 לבת מעונה J. Mosseri
Saba 507 423 רעיה את שירי Hamaoui Manuscript Tabbush Manuscript G. Shrem
Saba 508.1 426e בנה לעירך Hamaoui Manuscript Recording
Awj-Oj 513 430 אני בחסדך גדלתי Song has the same acrostic as "Anah B'koakh" (which is a name of Hashem).
Awj-Oj 514 430 אל פקוד עמך El Füad Habaq - Amal Hussein. M. Nadaf
Moshe Diib Laniado
Y. Bozo
Amos Dodi
Recording
R Barzani- Qaddish
R Barzani- Keter
R Barzani- Naqdishakh
Arabic: El Fuad Habaq
Eliahou Ozen- Nishmat
נקדישך
Sigah 526 442 אנא הישר Hamaoui Manuscript Tabbush Manuscript E. Menaged
Sigah 527 442 הימי סתמי Hamaoui Manuscript Tabbush Manuscript G. Shrem
Recording
Naftali Tawil- Shavat
אל ההודאות
Sigah 528 443 אל יצרני לעמל Maqam Awj-Oj E. Menaged
E. Menaged 2
G. Shrem
Recording
Arabic: Ya Man Asarni Bilgamal
Isaac Cabasso- Nishmat
Naftali Tawil- Nishmat
נשמת
Sigah 529 443 מצפה לזמן Maqam Awj-Oj M. Kairey
Fule Yanani
G. Shrem
Recording
ה' מלך
Sigah 530 444 דבר סתר גל Maqam Rast M. Nadaf
I. Cabasso: Hashem Melekh
Shabetai Laniado
ה' מלך
Sigah 533 445 יה אוחיל Maqam Awj-Oj Hamaoui Manuscript Tabbush Manuscript E. Menaged
S. Salem
Arabic: Mohamed Selim: Ya Naheef AlQawam
Y. Bozo
Recording
I. Cabasso
Naftali Tawil- Nishmat
Shabetai Laniado- Nishmat
Shabetai Laniado- Nishmat 2
Sigah 538 448 רזי עולם Shalosh Regalim. Tabbush Manuscript Fule Yanani
I. Cabasso- Qaddish
Naftali Tawil- Nishmat
קדיש
Sigah 552 457 ראה זר גבר Hamaoui Manuscript Tabbush Manuscript I. Cabasso
I Cabasso- Mimisrayim
ממצרים
Sigah 557 464 אור גילה Purim. A song of praise and thanksgiving for God's deliverance of the Jews from Haman. The pizmon, by Refael Antebi (19th century), has allusions to the Megillah as well its midrashim. The Jews got saved from the evil decree after prayers. Shir Ushbaha, 1921 A Z Idelsohn notes, 1923 E. Menaged
Yosef Hamaoui
Fule Yanani
G. Shrem
Recording
I Cabasso- (3) songs
אל ההודאות
Sigah 558 465 תם ונשלם Purim. Shir Ushbaha, 1921 Yosef Hamaoui
Fule Yanani
G. Shrem
Recording
ממצרים
Hijaz 566 473 אזכיר תהילות Acrostic (follows the Aleph Bet pattern). Contains the 10 Sefirot. Tabbush Manuscript David Sebi
Y. Bozo
פזמון
Hijaz 571 476 אל רם נורא ואיום Maqam Shehnaz Yom Kippur. Tabbush Manuscript G. Shrem
Recording
G Shrem- Semehim
I Cabasso- Pizmon & EH
I Cabasso- Naqdishakh
שמחים
Hijaz 574 478 רבת שבעה High Holidays. Borrows the melody of the Spanish song "Mis Hermanos" ("My Brothers"). Tabbush Manuscript E. Menaged - Qaddish
I. Cabasso
G. Shrem
Recording
Recording- Qedusha
I Cabasso
G Shrem
G Shrem
נקדישך
Hijaz 580 482 רודף צדק ומשכיל Shabbat Vayehi. Tabbush Manuscript I. Cabasso
Recording
ממצרים
Hijaz 582 483 יחיד נא The initials at the beginning of each stanza form the acrostic 'Refael'. Tabbush Manuscript M. Nadaf
G. Shrem
Recording
Y Nahari
אל ההודאות
Hijaz 584 484 אתוהי כמה רברבין 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. M. Nadaf
E. Menaged
E. Menaged 2
E. Menaged 3
Recording
I Cabasso - Nishmat
1979 Choir
נשמת
Hijaz 585 485 רוכב עבים Shemini Asseret. E. Menaged
G. Shrem
Recording
I Cabasso
H Abraham Zafrani
שועת עניים
Hijaz 592 490 ראה בחלשי E. Menaged
Hijaz 594 492 רנו גילו This pizmon (HIJAZ, page 492), composed by H Raphael Antebi Tabbush, is a song written for Purim. Unlike other Purim songs, most of which are in Maqam SIGAH, this song is classified as Maqam HIJAZ; a maqam typically reserved for sad occasions. The acrostic of this piece is "Raphael Hazaq," and consists of 5 stanzas; corresponding to the letters of the author's name. Each stanza is followed by the chorus which begins with the words "Zekher Sadiq Yarum Hodo" etc. The song opens on a happy note ("Proclaim joy and rejoice all creations"); calling onto all the creations of the world to recognize the miracle of Purim. The middle of the pizmon is about the hard times and suffering that Haman put the Jews through ("the enemy conspired to be the head"). The last stanza ends on a hopeful note; calling for the Messiah and the rebuilding of the Temple so that we can offer sacrifices again. The melody of this song is applied to either Naqdishakh on Purim or Keter on Shabbat Zakhor. Tabbush Manuscript E. Menaged
Yosef Hamaoui
Yosef Hamaoui - Qedusha
Fule Yanani
Tawil- Qedusha
G. Shrem
Recording
Y Nahari
M Kairey
נקדישך
897 237u רצוני לעובדך Maqam Nahwand Hamaoui Manuscript Recording
2287 אל פני עבדך תצהל Maqam Sigah Hamaoui Manuscript Tabbush Manuscript
2308 רוממו לו שירו לו Maqam Rast Hamaoui Manuscript Shir Ushbaha, 1921 Tabbush Manuscript
2327 רחמן זכור נא גפן פוריה Maqam Bayat Hamaoui Manuscript A Z Idelsohn notes, 1923 M Faiena
2332 רם אשיר לך סלה Maqam Nahwand Hamaoui Manuscript
4011 162b ידידי אל רחמן Maqam Mahour Recording
Hebrew Recording
4014 162h אל מלך נאמן Maqam Mahour Purim. Recording
4016 203j ששוני חיש Maqam Ajam Recording
4021 318n כל מאמין בשמך Maqam Bayat Recording
Hebrew Recording
4030 356v מלכי אשאל ממך Maqam Kourd Siman: Maccabee. Recording
4034 426d יתן הדרך על כנו Maqam Saba Recording
4035 426d אל רחום חלץ ידידך Maqam Saba Recording
4995 רם ברך עם הנבחרים Maqam Mahour Shaare Zimra, Argentina book page 220. Shaare Zimra, Argentina
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