By Ephraïm Kahn
Piyyut • פיוט
Derived from Latin and, through it, from Greek, this term is the first in Hebrew to refer to poetry proper. Initially used exclusively in a liturgical context (from the 5th to the 9th century CE), its meaning broadened in Judeo-Andalusian culture (between the 10th and 14th centuries CE) to also include secular Hebrew poetry.
Today, the word piyyut mainly refers to religious (liturgical or paraliturgical) and collective singing, often performed in a community or family setting.
In the following, we will present an outline of the influence of this traditional song-poetry on contemporary Israeli song.
Adaptation of piyyutim to music
The reinterpretation of piyyutim in contemporary Israeli music takes various forms. Some artists preserve the traditional melodies as they are, as in the famous Im ninʻalu performed by Ofra Haza (1957–2000). Others, however, incorporate original compositions. For example, Beri Sakharof (1957-) developed a project entitled Adume ha-Sefatot based on Ibn Gabirol’s poems, while Etti Ankri (1963-) revisited the writings of Yehuda ha-Levi. Meir Banai (1960-2017) also played a crucial role in the evolution of this musical trend.
Over the years, the creation of events dedicated to traditional Jewish song—such as the Hasidic Song Festival—has made a significant contribution to the development of this music.
This tradition is currently experiencing a significant resurgence, encouraged by a rise in religiosity in Israeli society, which has led to fruitful collaborations between contemporary artists and paytanim (performers of piyyutim). It should be noted that most of these projects are based on texts written in the tradition of Andalusian Hebrew poetry. Thanks to its rigorous and regular meter, this tradition is particularly well suited to musical adaptations.
Texts inspired by piyyutim
Beyond covers, some Israeli songwriters, who have a broad knowledge of classical literature, create songs inspired by piyyutim. These works sometimes include references to Hebrew liturgical poetry.
Perhaps the best-known example is Naomi Shemer‘s song Yerushalaim Shel Zahav. In addition to the nod in the first words of the chorus (see, for example, Avot de-Rabbi Natan 6:3), there is the last sentence of the chorus: lekhol shirayikh ani kinnor (“I am, to all your melodies, a lute“), which is a direct reference to Yehuda ha-Levi’s poem: Ṣiion halo’ tiš’ali (“O Zion, will you not ask?”).
Another example is the song Had Gadya by Chava Alberstein (1947-), in which the singer-songwriter delivers a political message by diverting the lyrics and theme of the piyyut to renew its meaning.
In recent years, this phenomenon has been growing, particularly in the work of singer-songwriter Ishay Ribo (1990-). Noteworthy is the fact that he sometimes draws inspiration from piyyutim from the piyyuṭ ‘ereṣ isr’aeli school (5th–9th centuries CE), which are more archaic and obscure.
*
An amusing example of lexical invention in a piyyut, which finds an unexpected echo in a contemporary song, can be found in the poem Adon Olam. The text of this prayer contains a peculiar hemistich: aḥare kikhlot hakol (literally: After then comes the end of all things), whereas the conventional formulation should be aḥare kelot hakol (After the end of all things). This Hebrew expression of liturgical origin has eventually entered everyday language, particularly in modern Hebrew.
In adapting Jacques Brel’s La chanson des vieux amants into Hebrew, Naomi Shemer uses this expression in the following verse:
. הן אחרי ככלות הכל, היה לי כישרון גדול להזדקן איתך ביחד
Hen aḥare kikhlot hakol, haya li kisharon gadol, lehizdaken itakh beyaḥad
All things considered, I was very fortunate to grow old by your side.
*
Through its themes, ideas, and words, piyyut, which has accompanied Israel’s spiritual and artistic history for centuries, continues to inspire contemporary songwriters. Its ancient words are sometimes adopted, sometimes modified, to engage with today’s reality.
