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L'Shana Haba'ah B'Yerushalayim (Hebrew: לְשָׁנָה הַבָּאָה בִּירוּשָלָיִם), lit. " Next year in Jerusalem ", is a phrase that is often sung at the end of the Passover Seder and at the end of the Ne'ila service on Yom Kippur .
The song apparently is inspired by Psalm 74:16 ("Yours is the day, Yours is the night") and by a Midrashic passage (Genesis Rabbah 6:2) which enlarges on those words. The authorship and date of composition are unknown, it was originally sung year-round at meals, it was not part of the Seder in the 11th century but came to be part of the Seder ...
Nurit Hirsh (Hebrew: נורית הירש, born August 13, 1942) is an Israeli composer, arranger and conductor who has written over a thousand Hebrew songs. [1] Three of her most famous and widely known songs are Ba-Shanah ha-Ba'ah (Next Year, lyrics by Ehud Manor), Oseh Shalom bi-Meromav (text from the Kaddish prayer).
Pizmonim are traditionally associated with Sephardi Jews, although they are related to Ashkenazi Jews' zemirot.The best known tradition is associated with Jews descended from Aleppo, though similar traditions exist among Iraqi Jews (where the songs are known as shbaḥoth, praises) and in North African countries.
Ratziti Sheteda (Hebrew: רציתי שתדע, I wanted you to know) is an Israeli song written and composed by Uzi Hitman. The song is also widely known as "Elohim Sheli" or "My God". The song was written in 1979 and included in Hitman's second album I was born for Peace, album dedicated to his son for hopes of peace at the time.
Termed in Hebrew שירי ארץ ישראל ("songs of the land of Israel"), folk songs are meant mainly to be sung in public by the audience or in social events. Some are children's songs; some combine European folk tunes with Hebrew lyrics; some come from military bands and others were written by poets such as Naomi Shemer and Chaim Nachman ...
Lewandowski's principal works include: "Kol Rinnah u-Tefillah," for cantor; "Todah ve-Zimrah," for mixed chorus, solo, and organ; 40 psalms, for solo, chorus, and organ; symphonies, overtures, cantatas, and songs. During Lewandowski's life the issue of whether an organ should be part of a synagogue service was one of major contention.
The author draws from the rabbinic interpretation of the Song of Songs, suggested as linguistically originating in the 3rd century BCE, in which the maiden is seen as a metaphor for an ancient Jewish population residing within Israel's biblical limits, and the lover (dod) is a metaphor for God, and from Nevi'im, which uses the same metaphor. [6]