𝑩𝒊𝒃𝒍𝒊𝒄𝒂𝒍 𝑯𝒆𝒃𝒓𝒆𝒘 𝒔𝒊𝒏𝒈𝒊𝒏𝒈: 𝒂𝒏 𝒂𝒏𝒄𝒊𝒆𝒏𝒕 𝒑𝒓𝒂𝒚𝒆𝒓 – 𝒐𝒓𝒊𝒈𝒊𝒏𝒂𝒍 𝒀𝒆𝒎𝒆𝒏𝒊𝒕𝒆 𝒑𝒓𝒐𝒏𝒖𝒏𝒄𝒊𝒂𝒕𝒊𝒐𝒏 – 𝑺𝒉𝒊𝒓 𝑮𝒂𝒅𝒂𝒔𝒊
12 Tʀɪʙᴇs Mᴜsɪᴄ ⁻ ʙʏ Mᴜsɪᴄ Pᴏʀᴛ Isʀᴀᴇʟ.
traditional. original. sacred. secular.
Non profit that promotes music and musicians from Israel.
Spotify – https://open.spotify.com/artist/1b8AO07hS1g3xs1MK47uQC?si=osLhu0nFRcK0_6XE6krxyA
email: 12tribesmusic@musicport.org.il
~ 𝑨𝒕𝒔𝒖𝒍𝒂 𝒍𝒆𝒇𝒂𝒏𝒊𝒎 ~
Lyrics: 𝑨𝒃𝒓𝒂𝒉𝒂𝒎 𝒊𝒃𝒏 𝑬𝒛𝒓𝒂
Composition: 𝒕𝒓𝒂𝒅𝒊𝒕𝒊𝒐𝒏𝒂𝒍 𝒃𝒚 𝒕𝒉𝒆 𝑱𝒆𝒘𝒔 𝒐𝒇 𝒀𝒆𝒎𝒆𝒏
~ ~ ~
𝑺𝒉𝒊𝒓 𝑮𝒂𝒅𝒂𝒔𝒊 – lead vocals
𝑺𝒆𝒇𝒊 𝑨𝒔𝒇𝒖𝒓𝒊 𝑯𝒊𝒓𝒔𝒉 – oud
𝑰𝒕𝒛𝒉𝒂𝒌 𝑽𝒆𝒏𝒕𝒖𝒓𝒂 – ney
𝑩𝒆𝒏 𝑫𝒂𝒈𝒐𝒗𝒊𝒕𝒄𝒉 – percussion
𝑨𝒗𝒓𝒊 𝑩𝒐𝒓𝒐𝒄𝒉𝒐𝒗 – percussion
~ ~ ~
Artistic director and content editor: 𝑻𝒂𝒍𝒚𝒂 𝑮.𝑨 𝑺𝒐𝒍𝒂𝒏
musical director, arrangement and mix: 𝑨𝒗𝒓𝒊 𝑩𝒐𝒓𝒐𝒄𝒉𝒐𝒗
Recorded by 𝑹𝒐𝒏 𝑮𝒂𝒗𝒓𝒊𝒆𝒍𝒚
filming & Editing: 𝑺𝒏𝒊𝒓 𝑲𝒂𝒕𝒛𝒊𝒓
styling and dressing: 𝑰𝒕𝒛𝒉𝒂𝒌 𝑽𝒆𝒏𝒕𝒖𝒓𝒂
Artistic consultant: 𝑹𝒐𝒏𝒆𝒏 𝑷𝒆𝒍𝒆𝒅 𝑯𝒂𝒅𝒂𝒅
Location shooting: 𝑩𝒆𝒊𝒕 𝑲𝒆𝒏𝒅𝒊𝒏𝒐𝒇, 𝒐𝒍𝒅 𝒄𝒊𝒕𝒚 𝑱𝒂𝒇𝒇𝒂
~ ~ ~
Supported by: 𝑻𝒉𝒆 𝑮𝒆𝒏𝒆𝒔𝒊𝒔 𝒑𝒓𝒊𝒛𝒆 𝒇𝒐𝒖𝒏𝒅𝒂𝒕𝒊𝒐𝒏
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~ אצולה לפנים ~
מילים: ר׳ אברהם בן עזרא
לחן: מסורתי, יהדות תימן
~ ~ ~
שיר גדסי – שירה
ספי הירש עספורי – עוד
יצחק ונטורה – ניי
בן דגוביץ׳ – כלי הקשה
אברי בורוכוב – כלי הקשה
~ ~ ~
ניהול אומנותי ועריכת תוכן: טליה ג. סולאן
מנהל מוזיקלי, מעבד ועורך סאונד: אברי בורוכוב
הקלטה: רון גבריאלי
סטיילינג והלבשה: יצחק ונטורה
צילום ועריכה: שניר קציר
ייעוץ אומנותי: רונן פלד-חדד
~ ~ ~
צילומי הווידאו נערכו בבית קנדינוף, יפו העתיקה
בתמיכת קרן פרס בראשית
______________________
“אצולה לפנים” לרבי אברהם בן עזרא (מאה ה-12) אומץ על ידי יהודי תימן לתוך ה”תכלאל”, סידור התפילה התימני.
דברי שבח לתורה הקדושה.
השיר מבוצע במעמד של שמחה והתעלות הנפש בעת הוצאת ספר התורה בחג השבועות ובשמחת תורה
. הביצוע המסורתי של השיר הוא במבנה של call & response
הסולן פותח בשירת הפיוט בלחן איטי ומדוד, מלא הוד והדר,
והקהל כולו עונה בשירה חגיגית את הפזמון “אצולה לפנים” לאחר כל בית.
שני הבתים הראשונים של השיר עניינם דברי שבח לתורה.
כֹּל הַנְּשָׁמָה תְּהַלֵּל יָהּ הַלְלוּ יָהּ
אֲצוּלָה לְפָנִים בְּכִסֵּא עֲרָבוֹת
לְאֶרֶץ מְשׁוּכָה בְּחַבְלֵי אֲהָבוֹת
בְּאָרוֹן גְּנָזָהּ אֲבִיר הַתְּעוּדָה
וְעִזּוּז צְפָנָהּ בְּחַדְרֵי לְבָבוֹת
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Atsula lefanim by Rabbi Avraham ben Ezra (12th century) was adopted by Yemenite Jews into the “Tachalal”, the Yemenite prayer book for praising the Holy Torah.
The song is performed in a state of joy and transcendence of the soul during the time of year on which the Torah scrolls are taken out of the ark and read at night on Shavuot and Simchat Torah.
In some congregations, the Torah scrolls are carried out into the streets and the dancing may continue far into the evening.
The traditional performance of the song is in a structure of call & response.
The singer opens with the singing of the piyyut in a slow and measured melody, full of majesty and splendor,
And the entire audience responds with solemn singing to the chant after each house.
The first two stanzas of the poem deal with words of praise to theTorah.
The Jews of Yemen
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Yemenite Jewish music has been an integral part of Yemenite Jewish culture since time immemorial. The Jews of Yemen have preserved a well-defined singing arrangement which includes the very poetic creation itself also involves a vocal and dance performance, accompanied by drumming on an empty tin-can (tankah) or a copper plate.
The Jews of Yemen, maintaining strict adherence to Talmudic and Maimonidean halakha, observed the gezeirah which prohibited playing musical instruments and “instead of developing the playing of musical instruments, they perfected singing and rhythm.
The Jews of Yemen are one of the most isolated and forgotten communities of the Jewish people. This vibrant Jewish community lived in Yemen until the mid-20th century, when almost all the inhabitants emigrated from Yemen and settled in Israel. Yemeni Jewish traditions claim that the Jewish settlement goes back to biblical times.
Scholars are fascinated by ‘Yemenite-accented’ Hebrew, regarding it as a very close to the Hebrew of biblical times; the Yemenite were the only Jewish community to have lived continuously – and insulated – in one country for at least two and half thousand years.
This songs of Yemenite Jews divide into men’s songs and women’s songs. Men’s songs are usually sung in Hebrew and the women’s songs always in Arabic
Men’s songs come mainly from the Diwan, religious poetry book and mostly written by the renowned Rabbi shalom Shabazi in the Seventeenth century.
This songs collection was started in the eleventh century and has centered Jewish life ever since.
Women’s songs in contrast are sung in every day Yemenite Arabic. Never taught to read or to write, women bared their souls in songs – their single outlet for passion in a rigid, conservative society.
They used flowery, Arabs verse for their hopeless flight into fantasy.
Yemenite girls were commonly forced to start married life as the second or third wife.
The women’s songs are aching and sensual and often witty, angry and bitingly sarcastic
