{"id":127846,"date":"2025-10-30T14:36:41","date_gmt":"2025-10-30T13:36:41","guid":{"rendered":"https:\/\/www.iemj.org\/piyyout-et-chanson-contemporaine\/"},"modified":"2025-11-12T13:04:52","modified_gmt":"2025-11-12T12:04:52","slug":"piyyout-et-chanson-contemporaine","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/it\/piyyout-et-chanson-contemporaine\/","title":{"rendered":"Il piyyut e la canzone contemporanea israeliana"},"content":{"rendered":"\n<!--more-->\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Piyyut \u2022 \u05e4\u05d9\u05d5\u05d8<\/strong><\/h2>\n\n\n\n<p><em>Nome comune maschile, derivato dal latino e, attraverso questo, dal greco, questo termine \u00e8 il primo in ebraico a designare la poesia propriamente detta. Inizialmente esclusivamente liturgico (dal V al IX secolo d.C.), si \u00e8 poi ampliato nella cultura ebraico-andalusa (tra il X e il XIV secolo d.C.) fino a comprendere anche la poesia ebraica profana.<\/em><\/p>\n\n\n\n<p><em>Oggi, il termine piyyut evoca principalmente il canto religioso (liturgico o paraliturgico) e collettivo, spesso intonato in comunit\u00e0 oppure in famiglia.<\/em><\/p>\n\n\n\n<p><em>Di seguito presenteremo una breve panoramica dell&#8217;influenza di questa poesia-canzone tradizionale sulla canzone israeliana contemporanea.<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Adattamento di piyyutim in musica<\/strong><\/h2>\n\n\n\n<p>La reinterpretazione dei piyyutim nella musica contemporanea israeliana assume forme diverse. Alcuni artisti mantengono le melodie tradizionali cos\u00ec come sono, come nel famoso <em>Im nin\u02bbalu<\/em> interpretato da Ofra Haza (1957-2000). Altri, invece, vi integrano composizioni originali. Ad esempio, Beri Sakharof (1957-) ha sviluppato un progetto intitolato <em>Adume ha-Sefatot<\/em> basato sulle poesie di Ibn Gabirol, mentre Etti Ankri (1963-) ha rivisitato gli scritti di Yehuda ha-Levi. Anche Meir Banai (1960-2017) ha svolto un ruolo cruciale nell&#8217;evoluzione di questa corrente musicale.<\/p>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Ofra Haza - Im Nin&#039;Alu (1988)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/9RL8h046EBQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>Im nin\u2019alu<\/em> di Ofra Haza<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"\u05d9\u05d3\u05d9\u05d3\u05d9 \u05d4\u05e9\u05db\u05d7\u05ea\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/8fh7J9X2-Tc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>Yedidi hashakha\u1e25ta<\/em> (testo di Yehuda ha-Levi) su una melodia di Etti Ankri<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p>Nel corso degli anni, la creazione di eventi dedicati alla canzone tradizionale ebraica, come il Festival della canzone chassidica, ha dato un contributo significativo allo sviluppo di questo genere musicale.<\/p>\n\n\n\n<p>Questa tradizione sta attualmente vivendo un importante momento di crescita, incoraggiata da un aumento della religiosit\u00e0 nella societ\u00e0 israeliana, che ha portato in particolare a fruttuose collaborazioni tra artisti contemporanei e <em>paytanim <\/em>(interpreti di piyyoutim). Va notato che la maggior parte di questi progetti si basa su testi redatti nella tradizione della poesia ebraica andalusa. Quest&#8217;ultima, grazie alla sua metrica rigorosa e regolare, si presta particolarmente bene agli adattamenti musicali.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Testi ispirati ai piyyutim<\/strong><\/h2>\n\n\n\n<p>Oltre alle cover, alcuni cantautori israeliani, dotati di una vasta cultura letteraria classica, creano canzoni ispirate ai piyyutim. Queste opere a volte includono riferimenti alla poesia liturgica ebraica.<\/p>\n\n\n\n<p>L&#8217;esempio pi\u00f9 noto \u00e8 senza dubbio quello di <a href=\"https:\/\/www.iemj.org\/it\/shemer-naomi-1930-2004\/\" target=\"_blank\" rel=\"noreferrer noopener\">Naomi Shemer<\/a> nella canzone <a href=\"https:\/\/www.iemj.org\/it\/yeroushalayim-shel-zahav-jerusalem-dor\/\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Yerushalaim Shel Zahav<\/em><\/a>. Oltre al riferimento nelle prime parole del ritornello (vedi ad esempio Avot de-Rabbi Natan 6: 3), c&#8217;\u00e8 l&#8217;ultima frase del ritornello: <em>lekhol shirayikh ani kinnor (\u201cio sono, per tutte le tue melodie, un liuto\u201d)<\/em>, che \u00e8 un riferimento diretto alla poesia di Yehuda ha-Levi: <em>\u1e62iion halo&#8217; ti\u0161&#8217;ali (\u201cO Sion, non ti interrogherai dunque?\u201d)<\/em>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img fetchpriority=\"high\" decoding=\"async\" width=\"757\" height=\"135\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Capture-decran-du-refrain-de-la-chanson-Yerushalayim-shel-zahav_EN.jpg\" alt=\"\" class=\"wp-image-127876\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Capture-decran-du-refrain-de-la-chanson-Yerushalayim-shel-zahav_EN.jpg 757w, https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Capture-decran-du-refrain-de-la-chanson-Yerushalayim-shel-zahav_EN-300x54.jpg 300w, https:\/\/www.iemj.org\/wp-content\/uploads\/2025\/10\/Capture-decran-du-refrain-de-la-chanson-Yerushalayim-shel-zahav_EN-600x107.jpg 600w\" sizes=\"(max-width: 757px) 100vw, 757px\" \/><\/figure>\n<\/div>\n\n\n<div style=\"height:12px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Un altro esempio \u00e8 la canzone <em>Had Gadya<\/em> di Chava Alberstein (1947-), in cui l&#8217;autore-interprete trasmette un messaggio politico, stravolgendo il testo e il tema del piyyut per rinnovarne il significato.<\/p>\n\n\n\n<p>Negli ultimi anni questo fenomeno ha conosciuto una forte espansione, in particolare nell&#8217;opera del cantautore Ishay Ribo (1990-). \u00c8 interessante notare che talvolta egli trae ispirazione dai piyyutim della scuola del <em>piyyu\u1e6d &#8216;ere\u1e63 isr&#8217;aeli<\/em> (V-IX secolo d.C.), pur essendo questi pi\u00f9 arcaici ed oscuri.<\/p>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-center is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Had Gadya A little Goat \u05d7\u05d3 \u05d2\u05d3\u05d9\u05d0 Chava Alberstein Hebrew+English \u05db\u05ea\u05d5\u05d1\u05d9\u05d5\u05ea \u05d7\u05d5\u05d4 \u05d0\u05dc\u05d1\u05e8\u05e9\u05d8\u05d9\u05d9\u05df\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/Zd8d_wN0_v0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>Had Gadya<\/em> di Chava Alberstein<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"\u05d9\u05e9\u05d9 \u05e8\u05d9\u05d1\u05d5 - \u05e1\u05d3\u05e8 \u05d4\u05e2\u05d1\u05d5\u05d3\u05d4 | Ishay Ribo - Seder Ha&#039;Avoda\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/ECy3CMxShIQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>Seder Ha&#8217;Avoda<\/em> di Ishay Ribo<\/strong><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<p class=\"has-text-align-center\"><strong>*<\/strong><\/p>\n\n\n\n<p>Un esempio divertente di invenzione lessicale in un piyyut, che trova un&#8217;eco inaspettata in una canzone contemporanea, si trova nella poesia <em>Adon Olam<\/em>. Il testo di questa preghiera contiene un&#8217;emistichio particolare: <em>a\u1e25are kikhlot hakol<\/em> (letteralmente: Dopo che sar\u00e0 avvenuta la fine di ogni cosa), mentre la formulazione convenzionale dovrebbe essere <em>a\u1e25are kelot hakol<\/em> (Dopo la fine di ogni cosa). Questa espressione ebraica di origine liturgica \u00e8 entrata nel linguaggio corrente, in particolare nell&#8217;ebraico moderno.<\/p>\n\n\n\n<p>Adattando <em>La chanson des vieux amants<\/em> di Jacques Brel in ebraico, Naomi Shemer utilizza questa espressione nel verso seguente:<\/p>\n\n\n\n<p class=\"has-text-align-center\">. \u05d4\u05df \u05d0\u05d7\u05e8\u05d9 \u05db\u05db\u05dc\u05d5\u05ea \u05d4\u05db\u05dc, \u05d4\u05d9\u05d4 \u05dc\u05d9 \u05db\u05d9\u05e9\u05e8\u05d5\u05df \u05d2\u05d3\u05d5\u05dc \u05dc\u05d4\u05d6\u05d3\u05e7\u05df \u05d0\u05d9\u05ea\u05da \u05d1\u05d9\u05d7\u05d3<\/p>\n\n\n\n<p class=\"has-text-align-center\">Hen a\u1e25are kikhlot hakol, haya li kisharon gadol, lehizdaken itakh beya\u1e25ad <\/p>\n\n\n\n<p class=\"has-text-align-center\">Tutto sommato, ho avuto davvero talento, per essere vecchio al tuo fianco.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"\u05d7\u05d5\u05d4 \u05d0\u05dc\u05d1\u05e8\u05e9\u05d8\u05d9\u05d9\u05df - \u05d0\u05d4\u05d1\u05d4 \u05d1\u05ea \u05e2\u05e9\u05e8\u05d9\u05dd\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/0mcp9JqqJ1k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\"><strong><em>La chanson des vieux amants<\/em> tradotta da Naomi Shemer ed eseguita da Chava Alberstein<\/strong><\/figcaption><\/figure>\n\n\n\n<p class=\"has-text-align-center\"><strong>*<\/strong><\/p>\n\n\n\n<p>Con i suoi temi, le sue idee e le sue parole, il piyyut, che da secoli accompagna la storia spirituale ed artistica di Israele, continua ad ispirare i parolieri contemporanei. Le sue parole millenarie vengono talvolta adottate, talvolta modificate, per entrare in dialogo con la realt\u00e0 odierna.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":127829,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1407],"tags":[],"technique":[],"squelettes":[],"sujet":[2121],"formation":[],"genre":[1674],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-127846","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articoli-di-fondo-it","sujet-poesia-religiosa-piyyutim-it","genre-canzone-israeliena-it"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Il piyyut e la canzone contemporanea israeliana - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.iemj.org\/it\/piyyout-et-chanson-contemporaine\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Il piyyut e la canzone contemporanea israeliana - Institut Europ\u00e9en des Musiques Juives\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.iemj.org\/it\/piyyout-et-chanson-contemporaine\/\" \/>\n<meta property=\"og:site_name\" content=\"Institut Europ\u00e9en des Musiques Juives\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/MusiquesJuives\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-10-30T13:36:41+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-11-12T12:04:52+00:00\" 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