Transcribed and commented by Elio Piattelli
Text in Jewish, Italian and English
JEWISH LITURGICAL MELODIES OF PIEDMONT
INDEX
1. BARUCH ATTA ... ELOHE AVRAHAM
2. VINU MALKENU
3. YITGADDAL VEYITKADDASH
4. ASHAMNU BAGADNU
5. YITGADDAL VEYITKADDASH
6. YIGDAL
7. NISHMATKOLCHAY
8. SHOFETKOLHAARETZ
9. VAYHI BESHALLACH
IO. VAYDABBER ADONAY
11. RONNI AKARA
12. BAET HAHI
13. VATTITPALLEL CHANNA
14. CHAZON YESHA YAHU
15. ASHRE HAISH
16. AL AV KAL
17. VERAU VANIM
18. VEHAYA IM SHAMOA
19. YITGADDAL VEYITKADDASH
20. LEDA VID BARUCH
21. VEHU RACHUM
22. BARUCH ...ASHER BACHAR
23. LECHA DODI
24. CHAZON YESHA Y AHU
25. BARUCH ...ASHER BACHAR
26. ZECHOR ADONAY
27. AZ BEYOM KIPPUR
28. KADOSH GILLA LEAMMO
29. AD LO MACHON
30. ELOHENU ...HEYE IM PIFIYOT
31. SHOFET KOL HAARETZ
32. YETZA V HAEL
33. UNTANNE TOKEF
34. VECHACH HAYA OMER
35. EDER BETOAR NACHON
36. ANNA CHON
37. ATZTI TZOM KIPPUR
38. ET SHAARE RATZON
39. SHEMA YISRAEL
40. VEHU RACHUM
41. AVINU MALKENU
42. YAH SHIMCHA
43. BETZET YISRAEL
44. HODU
45. LECHA DODI
46. LECHA DODI
47. TOV LEHODOT
48. TOV LEHODOT
49. HAEL HAOSE
50. VERAU VANIM
51. YIGDAL
52. BETZET YISRAEL
53. EFTACH NA
54. KETER
55. UNTANNE TOKEF
56. ET SHAARE RATZON
57. ELOHENU ...BARECHENU
INTRODUCTION
This volume containing a selection of lewish melodies used by the Communities of Piedmont is a continuation of the previous publication, «Canti Liturgici Ebraici di Rito Italiano di Roma» (lewish Liturgical Melodies of the Rome ltalian Rite» - Ediz. De Santis, Rome, 1967).
In Piedmont there are three different rites: the Apam rite (initials of the cities Asti, Fossano, and Moncalvo [p = fl, which is an ltalian - French rite, inasmuch as the lewish exiles expelted from France by Philip the Fair (1306) settled in the aforementioned cities. Melodies 1 and 2 belong to this rite.
The melodies of Casale Monferrato (Nos. 3-16) belong instead to the Ashkenazic (ltalian-German) rite, whereas those of Turin and Alessandria belong to the Italian rite (Turin, 17-44; Alessandria, 45-57).
Following the same principles underlying my above-mentioned publication, I have assembled in this coltection some melodies of varying worth and importance; it would have been impossible, at any rate, to arrange them in chronological order, since the lack of written records makes their dating a highly problematical task.
However, with all certainty some of these melodies belong to an age when the modal sense was still strongly felt, whereas some others betray familiarity with modem tonal idiom and many even exhibit the character of popular songs.
Elio Piattelli
Note on the transliteration of Hebrew: Hebrew is transliterated into Latin letters according to a very simple method, taking into account only the modem (Sephardic) Israeli pronunciation, no distinction being made between letters sounding the same; therefore, no distinction is made between àlef and àyin (both silent), between vet and vav (v), tet and tav (t), kaf and kuf (k), chet and chaf (ch), sàmech and sin (s); double letters are always indicated, excepting those letters for whose transliteration two characters are used: shin (sh) and tzàde (tz).
As regards vowels, theyare alt reduced to the five sounds a, e, i, o, u.
The shevà na is always indicated and, consequently, pronounced (e): this is the only departure from Israeli transliteration, which usually considers it silent; this is because in ltalian usage it is pronounced and, consequently, sung on one or more notes.
No stresses have been indicated, as they are easily derived from the music.
