Adon Olam
From Wikipedia, the free encyclopedia
  Israeli music |
|---|
| Religious |
| Secular |
| Israel |
| Piyyutim |
|
| Dance |
| Music for Holidays |
Adon Olam by Irina Rosenfeld
Adon Olam, with transliterated lyrics and melody, from the Jewish Encyclopedia.
written in lines of eight syllables; more precisely, each line is
composed of two segments of one yated and 2 tenu'ot, which indeed makes 8
syllables. It has been a regular part of the daily and Shabbat (Sabbath) liturgy since the 15th century.[1]
According to the custom of the Sephardim and in British synagogues generally, it is congregationally sung at the close of Sabbath and festival morning services, and among the Ashkenazi Jews also it often takes the place of the hymn Yigdal at the close of the evening service on these occasions, while both hymns are almost universally chanted on the Eve of Atonement (Kol Nidre).
Because of this solemn association, and on account of its opening and
closing sentiments, the hymn has also been selected for (tuneless)
reading in the chamber of the dying, and in some congregations it is
recited (subdued and tuneless) in the synagogue as a means of reporting a
death in the community.[2] It is likewise recited or chanted at the commencement of the daily early morning prayer,[3]
that its utterance may help to attune the mind of the worshiper to
reverential awe. When it is sung at the end of the service, the
congregation sits while singing it, as a demonstration that they are not
eager to leave the house of prayer but were willing to stay and
continue praying (by starting again at the beginning of the day's
prayers).[4]
There are varying texts in the Sephardic version; in some traditions
the hymn comprises six stanzas of two verses each, but the fourth (which
is but an amplification of the third) is omitted by the Ashkenazim, in
others it has 15 lines, in yet others it has 16 lines.[5]
For so widespread and beloved a hymn, the traditional tunes are
singularly few. Only four or five of them deserve to be called
traditional. Of these the oldest appears to be a short melody of Spanish
origin.
Of similar construction is a melody of northern origin associated by English Jews with the penitential season.
Its authorship and origin are uncertain. It is often attributed, as least tentatively, to Solomon ibn Gabirol
(1021–1058), who is known for his Hebrew poetry, but there is no solid
evidence apart from the quality of this hymn and the language appears to
be older. It has also been attributed to Rav Hai Gaon (939-1038) and
even to the Talmudic sage Yohanan ben Zakkai. Although its diction
indicates antiquity, it did not become part of the morning liturgy until
the 15th century.[6]
This melody is often sung antiphonally, between precentor
and congregation, although it was obviously intended for congregational
rendering only, like the Spanish tune given above it. The best known of
the other traditional antiphonal settings exists in two or three forms,
the oldest of which appears to be the one given below (C).
Every one of the synagogal composers of the 19th century has written
several settings for "Adon Olam". Most of them—following the earlier
practise of the continental synagogues during the modern period (see Choir)
— have attempted more or less elaborately polyphonic compositions. But
the absurdity of treating an essentially congregational hymn so as to
render congregational singing of it impossible is latterly becoming
recognized, and many tunes in true hymn form have been more recently
composed. Special mention should be made of the setting written by Simon W. Waley (1827–1876) for the West London Synagogue,
which has become a classic among the British Jews, having been long ago
adopted from the "reform" into the "orthodox" congregations, of England
and her colonies.
The Adon Olam is one of the most familiar hymns in the whole range of
the Jewish liturgy, employed in the various rituals all over the world,
though not always at the same period of the service or on the same
occasions; thus in the Roman Maḥzor it is placed at the end of Sabbath service and sung together with Yigdal (Leopold Zunz, "Ritus", p. 80). In the Sephardic liturgy it has 12 strophes; in the German, only 10. Baer, in his commentary on the "Prayer-book" (Rödelheim,
1868), says that the hymn seems to have been intended to be recited
before retiring, as it closes with the words: "Into His hand I commit my
spirit when I fall asleep, and I shall awake." There is a tradition of
reciting it each night at bedtime, and also on the deathbed.[7]
It may be, however, that the beauty and grandeur of the hymn
recommended its use in the liturgy, and that it was chanted
indiscriminately at the beginning or the close of the service. The date
and the name of the author are unknown. The most common tune is
attributed to the Russian cantor, Eliezar Mordecai Gerovitsch.[8]
This song is sung to many different tunes, and can be sung to
virtually any due to its meter. Many synagogues like to use "seasonal"
tunes, for instance, Shabbat before Hanukkah, they might do it to Maoz Tzur.[9] In Hebrew schools and Jewish summer camps, the Adon Olam hymn is sometimes set, for fun, to secular tunes like "Yankee Doodle". In 1976, Uzi Hitman
created a more upbeat tune for the 8th Annual Hasidic Song Festival.
This version has become a favorite worldwide sung outside traditional
liturgical settings.
Contents
Text
| English translation | Transliteration | Hebrew |
|---|---|---|
| Eternal master, who reigned supreme, | Adon 'olam, 'asher malakh, | אֲדוֹן עוֹלָם אֲשֶׁר מָלַךְ |
| Before all of creation was drawn; | b'terem kol yetzir niv'ra | בְּטֶרֶם כָּל יְצִיר נִבְרָא |
| When it was finished according to his will, | L'et na'asa v'ḥeftso kol, | לְעֵת נַעֲשָׂה בְחֶפְצוֹ כֹּל |
| Then "King" his name was proclaimed to be | Azai melekh sh'mo nikra | אֲזַי מֶלֶךְ שְׁמוֹ נִקְרָא |
| When this our world shall be no more, | V'aḥarey kikh'lot hakol | וְאַחֲרֵי כִּכְלוֹת הַכֹּל |
| In majesty he still shall reign, | L'vado y'imlokh nora | לְבַדּוֹ יִמְלוֹךְ נוֹרָא |
| And he was, and he is, | V'hu hayah v'hu hoveh | וְהוּא הָיָה וְהוּא הֹוֶה |
| And he will be in glory. | V'hu yih'yeh b'tif'arah | וְהוּא יִהְיֶה בְּתִפְאָרָה |
| Alone is he, there is no second, | V'hu 'eḥad v'eyn sheyni | וְהוּא אֶחָד וְאֵין שֵׁנִי |
| Without division or ally; | L'ham'shil lo l'haḥbirah | לְהַמְשִׁילֹ לוֹ לְהַחְבִּירָה |
| Without beginning, without end, | B'li reyshiyt b'li taḥ'liyt | בְּלִי רֵאשִׁית בְּלִי תַכְלִית |
| To him is the power and sovereignty | V'lo ha'oz v'hamis'rah | וְלוֹ הָעֹז וְהַמִּשְׂרָה |
| He is my God, my living redeemer | V'hu 'Eli v'ḥay go'ali | וְהוּא אֵלִי וְחַי גּוֹאֲלִי |
| Rock of my affliction in time of trouble | v'tsur ḥevli b'eit tsarah | וְצוּר חֶבְלִי בְּעֵת צָרָה |
| He is my banner and refuge | V'hu nisi 'umanos li | וְהוּא נִסִּי וּמָנוֹס לִי |
| Filling my cup the day I call | m'nat kosi b'yom 'ekra | מְנָת כּוֹסִי בְּיוֹם אֶקְרָא |
| Into his hand I commit my spirit | B'yado af'kid ruḥi | בְּיָדוֹ אַפְקִיד רוּחִי |
| When I sleep, and I awake | b'et 'ishan v'a'ira | בְּעֵת אִישָׁן וְאָעִירָה |
| And with my spirit, my body | v'im ruḥi g'viyati | וְעִם רוּחִי גְוִיָּתִי |
| The Lord is with me, I will not fear | Adonai li v'lo 'ira | אֲדֹנָי לִי וְלֹא אִירָא |
References
- Nulman, Macy, Encyclopedia of Jewish Prayer (1993, NJ, Jason Aronson) page 8.
Bibliography of the Jewish Encyclopedia
- Landshuth's note in Siddur Hegyon Leb, p. 5, Königsberg, 1845
This article incorporates text from a publication now in the public domain: Singer, Isidore; et al., eds. (1901–1906). "article name needed". Jewish Encyclopedia. New York: Funk & Wagnalls Company. ([1])
External links
Hebrew texts
- kadisha.biz article about the song (Hebrew)
- Lyrics on piyut.org.il(Hebrew)
Recordings
- Text, translation, transliteration, recordings from The Zemirot Database.
- some midis of various versions
- Recordings of Adon Olam spoken in different speeds
- Other
- Adon Olam setting by Kenneth Lampl
- Adam Olam Ashkenenazi version
- Adon Olam setting by Salamone Rossi (ca. 1570–1630)
- "Adon Olom: Past-Present-Future" a song about the prayer and its significance.
- Aaron Minsky plays his published cello variations on Adon Olam
- Traditional Sephardic Singing of Adon Olam
- Standard Book of Jewish Verse (NY 1917, now public domain) several English translations of Adon Olam, pages 390-396.; also, "English Versions of Adon Olam" by Cecil Roth, in his Essay and Portraits in Anglo-Jewish History (1962, Philadelphia, Jewish Publ'n Society) pages 295-302 and originally in the Jewish Monthly, May 1948.
- אדון עולם (Adon Olam), עוזי חיטמן ועודד בן-חור , השיר והמילים
page 232; 15 lines in the Koren Mizrahi siddur page 6, and the Orot
Sephardic Daily Siddur page 12, and Orot Sephardic Shabbat Siddur page
244. Silverman considers the Ashkenazic version, which is the shortest,
as the probable original version. Silverman, Morris, Further Comments on the Text of the Siddur, Journal of Jewish Music & Liturgy, vol. 13 (1991-1992) page 34.
No hay comentarios:
Publicar un comentario