1. Abinu malkenu 2'20
2. Yede rasim 9'07
3. Nostalgia y alabanza de Jerusalén 5'58
4. `Et sa'aré rasón 5' 12
5. Yirú `enenu 4'00
6. Los siete hijos de Hana 3'09
7. Hodú l'Adonay 5'29
8. Yasen al teradam 1'45
9. El mélej 3'31
l0. Noche de aljad 6'13
11. Ki esmerá sabat 6'34
12. La fragua del estudio 2' 15
13. Dodí yarad leganó 4'36
14. La ketubá de la ley  2'28

DURACION TOTAL: 62'30

Esta grabación, brillante testimonio de la tradición musical judeoespañola, reune cantos de la liturgia sefardí, poemas de contenido místico y cantos paralitúrgicos.

Cet enregistrement, brillant témoignage de la tradition musicale j udéo-espagnole, rassemble des chants de la liturgie séfarade, des poémes d'essence mystique, et des chants paraliturgiques.

This brilliant testimony of the Jewish-Spanish tradition combines songs of the Sephardic liturgy with poems of mystical spirit and paraliturgical songs.

1. Essa Enai   Psaume 121   Musique traditionnelle 

2. Kel adone Extrait de Ibffice du Shabbat Musique traditionnelle

3. Rahamekha   Poéme aves acrostiehe Frodj   Musique traditionnelle  

4. Karati (A capella)   Rabbi ltshak do Bareelone -   Musique Alain Chekroun 

5. Cam ki hámélekh   Extrait des poémes do fetes   Musique traditionnelle 

6. Ephtah p   En l'honnour do Rabbi Meir   Musiquetraditionnelle   

7. Kel ya)téhiv (a capella) Liturgio do circoneision Musiqup traditionnelle

8. Najwa` Musiqúe Taoufik Bestandji

9. [in dovaer Acrostiche Eliahou Musique traditionnelle

10.Yqdal   Rabbi Moshé Ben Maimon   Musique traditionnelle

Maghrebi Prayer -Jewish Liturgical Music from Northwest Africa
This music is the result of a unique collaboration: Muslim Arab musicians from Algeria accompany cantor Alain Chekroun as he performs Jewish liturgical music.
This CD is an exciting combination of classical Maghrebi Arab melodies (maalouf) and traditional kwish texts.
Some texts are based on those used on Jewish holidays and other festive occasions -such as the Sabbath or circumcision ceremonies - while others are taken directkj from the Bible.
Alain Chekroun, a cantor in the North African Jewish community, is the grandson of the Rabbi of the Great Synagogue of Constantine, Algeria. He is accompanied by top-rank Algerian musicians, in an ensemble led by Taoufik Bestandji who as grandson of one of Algeria's greatest musicians, is both heir to a long tradition of classical Arab music and representative of its new generation of performers.

COMPACT DISC 1

1. ROZO D' SHABBOS - P. Pinchik (8'14)
2. EILEH EZK' RON- P. Pinchik (4'27)
3. AV HORACHAMIN-P. Pinchik (3'12)
4. MIMKOMCHO - B. Chagy (2'54)
5. V'CHOL MAAMWIM- B. Chagy (2'46)
6. BURKAS KOHANIM- B. Chagy (3'34)
7. V'CHOL BORAI OLOM- B. Chagy (2'50)
8. V'HU RACHUM- B. Chagy (2'53)
9. KOL NIDRE- Z Kwartin (7'56)
10. HAN SHOMOH LOCH - Z Kwartin (4'01)
11. SHOMEA KOL BICHYOS- Z Kwartin (3'59)
12. OVINU MALKENU - Z Kwartin (4'50)
13. L' DOVID MIZMOR- Z Kwartin (3'48)
14. TIHER RABBI YISHMOEL - Z Kwartin (4'11)
15. WEAL YEDEI- Z Kwartin (3'56)

COMPACTDISC2

Where is the source?
The cradle of Western history, is that of the people of Israel also the cradle of all our music? The result of a long and painstaking ‘deciphering’ of the musical signs noted here and there in Biblical manuscripts, this recording attempts to answer this question and presents a number of certitudes: these chants ‘speak’ to us more directly than any archaeological documents.

1   Psaume 23 'L'Eternel est mon berger' (Anonymous)  2'08
2   Bénédiction sacerdotale (Nombres VI, 22)  1'56
3   Psaume 24 'A l'Eternel appartient la terre'  2'54
4   Cantique des Cantiques (I, 1)  1'36
5   Psaume 6  3'25
6   Lamentations (I, 1)  1'51
7   Psaume 133  1'35
8   'Ecoute, Israël' (Deutéronome VI, 4)  2'20
9   Psaume 150 'Alléluia !'  1'00
10   Elégie de David (II Samuel I, 19)  5'18
11   Psaume 122 'Je suis joyeux lorsqu'on me dit.'  1'44
12   Psaume 123 'Vers toi j'élève mes regards.'  2'08
13   Esther (V, 1)  2'22
14   Le buisson ardent (Exode III, 1)  6'59

1 - Rahamekha - mode Dhil ksantini 7'08
2 - Samaï al Bayati/Lekha dodi - mode Bayati 5'35
3 - Lakel Acher Shabbat - rnode dominant Bayati 5'43
4 - Ki Echmera Chabbat - mode Sahli 5'07
5- Taksim de violon - mode Hijaz 2'40
6 - Ysmah Hatani. - mode Nihoawand 2'40
7 - La Chira 3'26
8 - Yodoukha R'ayonaï (instru.) - mode :Nïhawand 3'36
9 - Achorer Chira 6' 10
10 - Taksim d'oud - modes Nihawand et Rast 3'19
11 - Lakhem 4'05
12 - Kadouk al mayas (instru.) 5'07

André TAÏEB : chant l voice
Kamal BERRADA : oud, ney
Mohamed ZEFTARI : violin
Pierre-Luc BEN SOUSSAN
riqq, derbouka, daf

Depuis la destruction du premier et du second temple de Jérusalem, musiques et chants n'ont cessé d'accompagner le peuple juif dans son exil. Les séfarades, héritiers de la tradition d'AI Andaluz, après leur expulsion d'Espagne en 1492 ont participé à l'es- sor culturel de tout le bassin méditerranéen. Chantre de la synagogue de Montpellier, André Taïeb a été initié à fart du matouf constantinois par le maître Cheikh Raymond, grande figure de la musique arabo-andalouse de l'Est algérien, II nous livre avec l'ensemble Naguila ces chants daps leur authenticité et leur force originelle.

Music and singing have constantly been integrated into the way of life of the Jewish people in their exile imposed ever since their first and second temples were destroyed in Jerusalem. The Sephardic Jews, heirs to the tradition of Al- Andalus (Moorish Spain), and expelled from Spain in 1492, were to play an eminent rote in the cultural expansion of tire whole Mediterranean basin. Taïeb, cantor of the synagogue in Montpellier, was initiated into the art of the maluf from Constantine by the great master Shaykh Raymond, a major figure in Arab-Andalusian music from Eastern Algeria. André Taïeb delivers these songs in all their authenticity and original force, accompanied by the Naguila Ensemble..

Notice nn français - english finer notes - Total time : 54"54

Describir la diversidad de las tradiciones musicales judías supone un auténtico reto. Este es, sin embargo, el objetivo del presente libro. En sus páginas se propone un recorrido a lo largo de la evolución musical del pueblo hebreo hasta llegar a la eclosión estilística de sus músicas litúrgicas actuales. En el transcurso de este viaje, el autor aborda el nacimiento de la poesía religiosa (piyyutim), así como la aparición de los grandes movimientos místicos y de las principales tradiciones del canto en las sinagogas de Europa oriental.

Unas breves escalas bien seleccionadas nos llevan a descubrir la vida musical de las antiguas comunidades marranas del sudoeste de Francia, la riqueza del patrimonio musical de los judíos de Djerba o la asombrosa liturgia de los judíos etíopes.

El libro propone, por último, una serie de instrumentos metodológicos aplicables al conjunto de las músicas judías.

El disco, que reúne documentos de archivo y grabaciones realizadas por el autor, ilustra este itinerario musical que va desde la cantilena bíblica hasta las interpretaciones de los grandes «cantores».

Hervé Roten es etnomusicólogo, profesor en la Universidad de Reims y responsable de un programa de investigación sobre el patrimonio musical de los judíos de Francia. Ha llevado a cabo diversos trabajos de recogida de materiales y es autor de una tesis sobre las tradiciones musicales de las comunidades judeo-portuguesas de Burdeos, Bayona y París.

Este libro contiene un disco compacto con ejemplos de la
música tratada.

 1. Yah shemá ebioneja 4 ' 11
 2. Eleja 7'52
 3. Yesav haEl 1 ' 15
 4. Uri shafón 2'37
 5. Yashen al teradam 5'41
 6. Shezufat shemesh
 Leshoni bonanta 3 ' 3 3
 7. Vaya `abor Adonay 1 '44
 8. Sir hashirim 3'28
 9 . Quéter 6 ' 15
10. Yede rashim mejelashim 6'08
1 1. Lejá dodí neshé 1 '24
12. Adón `Olam 3'20
13. Aí yashir Moshé 2'44
14 . Yonati bejagve 3 ' 3 6
15. E1 atán, el atado y el ara 5'20
16. Veshamerú  1 '48
17. `Anenu Elohé Abraham 3'03

Duración 65'56

Liturgia y mística en la música judeoespañola

Poemas de Yehudá Haleví y Salomón aben Gabirol, dos de los más grandes poetas hispanojudíos de la Edad Media, y versículos del "Cantar de los Cantares" del rey Salomón en un hermoso y sugerente testimonio de la liturgia y la mística en la tradición musical judeoespañola.

Liturgie et mystique dans la musique judéo-espagnole

Poèmes de Yehudá Haleví et de Salomon aben Gabirol, deux des plus grands poètes hispano-juifs du Moyen-Age, et versets du "Cantar de los Cantares" du roi Salomon, un témoignage merveilleux et suggestif de la liturgie et de la mystique dans la tradition musicale judéo-espagnole.

Liturgy and mystics in the judeo-spanish music

Poems from Yehudá Haleví and Salomón aben Gabirol, two of the greatest hispano-jewish poets of the Middle Ages, as well as verses of the "Cantar de los Cantares" of the King Salomon, a beautiful and suggestive testimony of the liturgy and the mystics in the Judeo-Spanish musical tradition.

Disc 1

1. Yitgadal Ve-Yitqadash
2. Zakhur le-Tov Ya' Ir Neri 
3. Uri Ayyumah Nirdama  
4. Ya'ala, Ya'ala Bo'i le-Ganni   
5. Akhzar Hehemar Li Mishkan Ehrivo  Listen Listen  Listen 
6. Barekhu et Adonay Ha-Mevorakh/Birkat Ma'ariv'aravim/Birkat Ahvah         
7. Ahvat 'Olam         
8. Ki Hem Hayyenu/Shema'yisrael/Birkat Ge'ulah         
9. Rau Vanim et Gevurato         
10. Ashkivenu         
11. Mizmor l'David         
12. Asheri Ish Lo Yshkahekha         
13. Hay Ram Gadol         
14. Petihah or Mawwal [Overture] in Moroccan Judeo-Arabic         
15. Undentified Song in Moroccan Judeo-Arabic         
16. Shemesh         
17. Yitgadal Ve-Yitqadash         
18. Aneh Shav'ati Yah U-Shema'         
19. Yaftiru Sefatay         
20. Lammah Yad Annasim Ramah         
21. Shahar Abaqeshkha         
22. Yad Bat Ahuvah         
23. Mishpat 'Avadim le-Qonaiv         
24. Yah Sokhi Hakem          

Disc 2

1. Ashir Be-Mesharim         
2. Lekha Essa 'Eyanai Be-Khol 'Et Ve-'Ona         
3. Shir le-Aelet Ahavim         
4. Paniti Be-Rov Oni         
5. Kokhav 'Uzzkha Hen 'Alah         
6. Yonah Tammah Sorerekh Aggan         
7. Sut Ga 'Avah Yah/Podeh Adonay Nefesh 'Avadav         
8. Shokhen Shamayyim         
9. Hohil la-El Be-Khol Yom         
10. Melekh Meromam         
11. Aannah 'Alay Tela 'Ot Gaveru         
12. Ra' Ayati Hinakh Yafah         
13. Ahallel Shem Ha-El Tzur 'Ote Ora         
14. Shofet Tzedeq el Ne "Eddari         
15. Av Shur le-Qol Tor         
16. Mar' Ot Binah         
17. Lammah 'Edah         
18. Annah Hemlat Qoni         
19. Quarev Aluf         
20. Ra' Ayati Hinakh Yafah         
21. Al Me Henasta         
22. Qol Besorat Kamah         
23. Qumi Yehidati Iehallel         
24. Ya 'Akov Yagel Yiisrael Yishmah         
25. Sheshet Yemei Ma'aseh         
26. Meshiah Ben David         
27. Eftah Pi Ve-Abbia'hiddot         
28. Na Amah Bein Ha-Shemashot         
29. Yah Ram Ve-Eliyon         
30. 'Edah Pezurah         
31. Baharu Mivhar         
32. Yah Gadel Nitradah         
33. Noten la-Ya 'Af         
34. Esh'alah Lig'ulah         
35. Dod Ve-Ahuv         
36. Shirah Patzu Sefatay         
37. Ba 'Et Ha-Zamir         
38. Matay Yebusar         
39. Annah 'Ozreni El         
40. Az Shar Moshe Ve-Yisrael         
41. Shoreru Shir la-El Ne'edar Ba-Qoddesh         
42. Yomar Na Yisrael         
43. Shomer Shabbat U-Mekhabdo 

From Rhythm Magazine
Rounder has begun to release the field recordings made by the late author/composer Paul Bowles during his many decades in Morocco. The cover photo of a group of men singing to oud and tambourine accompaniment implies the presence of instrumental music, but what one hears on this 2-CD set is strictly vocal-liturgical music and adaptations of popular songs. A Moroccan synagogue service is quite unlike the better-known European Jewish rites and makes for a fascinating comparison as to how prayers are approached and intoned. Nevertheless, this is ritual worship, not music as such, and it's of lesser appeal than the songs, which are performed informally and reflect the influence of popular Egyptian and Algerian styles.