{"id":71602,"date":"2020-04-02T11:11:36","date_gmt":"2020-04-02T09:11:36","guid":{"rendered":"https:\/\/www.iemj.org\/trois-chansons-de-pessah-adir-hou-ehad-mi-yodea-et-had-gadya\/"},"modified":"2024-04-17T16:22:14","modified_gmt":"2024-04-17T14:22:14","slug":"trois-chansons-de-pessah-adir-hou-ehad-mi-yodea-et-had-gadya","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/it\/trois-chansons-de-pessah-adir-hou-ehad-mi-yodea-et-had-gadya\/","title":{"rendered":"Tre canzoni di Pessach : Adir hou, E\u2019had mi yod\u00e9a et \u2018Had gadya"},"content":{"rendered":"<p>Dal XV secolo, almeno, \u00e8 consuetudine terminare il Seder, il pasto della sera di <a href=\"https:\/\/www.iemj.org\/it\/pessah-1ere-partie\/\" target=\"_blank\" rel=\"noopener\">Pessach<\/a>, con tre canti eseguiti sia in ebraico (o aramaico) sia nella lingua giudaica specifica di ciascun paese (yiddish, giudeo-arabo, giudeo-spagnolo\u2026).<\/p>\n<p>Questi canti, di carattere popolare ed in forma enumerativa o cumulativa, celebrano la sovranit\u00e0 e la bont\u00e0 di Dio.<\/p>\n<p><!--more--><\/p>\n<p>Come sottolineano Freddy Rapha\u00ebl e Robert Weyl, nel loro articolo <em>Regards nouvelles sur les Juifs d&#8217;Alsace<\/em> <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_1');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_1');\" ><sup id=\"footnote_plugin_tooltip_71602_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_1\" class=\"footnote_tooltip\">Freddy Raphael et Robert Weyl, <em>Regards nouveaux sur les Juifs d\u2019Alsace<\/em>, Ed. des derni\u00e8res nouvelles d\u2019Alsace, Strasbourg, 1980, 311 p.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, sembra \u00ab inutile cercare le fonti precise di questi canti, che fanno necessariamente parte del movimento culturale di popolazioni tra le quali le comunit\u00e0 ebraiche si sono stabilite. Si \u00e8 giustamente raffrontato <em>l&#8217;Had Gadja<\/em>, il canto del capretto, ai canti enumerativi tedeschi e francesi del XII e XIII secolo.\u00a0\u00bb<\/p>\n<p>Secondo L\u00e9opold Zunz <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_2');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_2');\" ><sup id=\"footnote_plugin_tooltip_71602_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_2\" class=\"footnote_tooltip\">Leopold Zunz, Die gottesdienstlichen Vortr\u00e4ge der Juden, Berlin, 1832, p. 126.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, citato nell&#8217;articolo di Freddy Raphael e Robert Weyl, i tre canti di Pessach, <em>Adir hou, E&#8217;had mi yod\u00e9a e &#8216;Had gadya<\/em>, sarebbero stati introdotti nel racconto ashkenazita della Pasqua ebraica a partire dal XVI secolo, prima di diffondersi nell\u2019insieme delle comunit\u00e0 ebraiche.<\/p>\n<p><strong>ADIR HOU<\/strong><br \/>Secondo Freddy Rapha\u00ebl e Robert Weyl <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_3');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_3');\" ><sup id=\"footnote_plugin_tooltip_71602_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_3\" class=\"footnote_tooltip\">Freddy Raphael et Robert Weyl, op. cit.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>: \u00ab <em>Adir Hou<\/em> \u00e8 un inno ebraico composto in modo tale che le lettere dell&#8217;alfabeto appaiano in forma acrostica. Lo incontriamo gi\u00e0, nella sua versione giudeo-tedesca, in un manoscritto del XV secolo <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_4');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_4');\" ><sup id=\"footnote_plugin_tooltip_71602_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_4\" class=\"footnote_tooltip\">Yosef \u2018Hayim Yerushalmi, Haggadah and History, Planche 37, Philadelphia, 1975<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Questa canzone \u00e8 stampata per la prima volta alla fine della Haggadah a Praga nel 1526, poi in quella di Mantova, ed \u00e8 ripresa nell&#8217;edizione giudeo-italiana della Haggadah pubblicata a Venezia nel 1609. Gli ebrei di Avignone cantano questo inno ad ogni festa importante, senza stabilire un legame privilegiato con la Pasqua. (&#8230;) \u00bb.<\/p>\n<ol>\n<li><em> Dio onnipotente, ricostruisci presto il Tuo Tempio, presto e rapidamente, ancora ai giorni nostri, s\u00ec, molto presto; Ricostruisci, ricostruisci, ricostruisci velocemente il Tuo Tempio.<\/em><\/li>\n<li><em> Dio misericordioso, Dio grande, Dio umile, ricostruisci presto il Tuo Tempio, presto e velocemente&#8230;<\/em><\/li>\n<li><em> Dio delle altezze, Dio degno di rispetto, Dio pieno di mansuetudine e di grazia, Ricostruisci&#8230;<\/em><\/li>\n<li><em> Dio dalle innumerevoli virt\u00f9, Dio ebreo, Ricostruisci&#8230;<\/em><\/li>\n<li><em> Dio pieno di forza e di vita, Dio onnipotente, Dio rinomato, Dio di bont\u00e0, Dio eterno, Ricostruisci&#8230;<\/em><\/li>\n<li><em> Dio terribile, Dio d&#8217;amore, Dio maestoso, Dio fortunato, Ricostruisci&#8230;<\/em><\/li>\n<li><em> Dio bello, Dio vicino, Ricostruisci&#8230;<\/em><\/li>\n<li><em> Tu solo sei il nostro Dio, come nessun altro, Ricostruisci presto il Tuo Tempio, presto e rapidamente, ancora ai giorni nostri, s\u00ec, molto presto; Ricostruisci, ricostruisci, ricostruisci velocemente il Tuo Tempio.<\/em><\/li>\n<\/ol>\n<p><strong>E\u2019HAD MI YODEA &#8211; Canto dei numeri<\/strong><br \/>Sempre secondo Freddy Rapha\u00ebl e Robert Weyl <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_5');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_5');\" ><sup id=\"footnote_plugin_tooltip_71602_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_5\" class=\"footnote_tooltip\">Freddy Raphael et Robert Weyl, op. cit.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>: \u201cIl poema <em>E&#8217;had mi yod\u00e9a<\/em> \u00e8 scritto in ebraico e contiene alcune parole aramaiche. Un manoscritto del 1406 riporta che \u00e8 stato trovato iscritto su di una pergamena nella sinagoga del rabbino Eleazar ben Kalonymos di Worms. Quest&#8217;ultimo nacque a Magonza intorno al 1176 e mor\u00ec a Worms nel 1238; fu un importante talmudista e cabalista. Una delle sue opere pi\u00f9 importanti, chiamata <em>Ha-Roqea&#8217;h<\/em>, \u00e8 sia un\u2019opera <em>halahica<\/em> (che prende decisioni) che un\u2019opera etica. &#8220;<\/p>\n<p><em>1. Uno, so cos&#8217;\u00e8 uno. Unico \u00e8 il nostro Dio, Colui che vive e Colui che aleggia sulla terra e nei cieli.<br \/>2. Due, ecco chi \u00e8 pi\u00f9; Io so cosa \u00e8 due: due sono le Tavole della Legge. Unico \u00e8 il nostro Dio&#8230;<br \/><\/em><\/p>\n<p>E cos\u00ec via fino a:<\/p>\n<p><em>13. <\/em><em>Tredici, ecco chi \u00e8 pi\u00f9; io so cio\u2019 che \u00e8 tredici. <\/em><em>Tredici sono gli attributi (divini); dodici, le trib\u00f9 d&#8217;Israele; undici i sogni (di Giuseppe); dieci, i Comandamenti; nove, i mesi della gravidanza; otto, la circoncisione; sette, la celebrazione dello Shabbat; sei, gli ordini della Mishnah; cinque, i Libri della Torah; quattro, le Madri; tre, i Patriarchi; due, le Tavole della Legge. Unico \u00e8 il nostro Dio, Colui che vive e Colui che aleggia sulla terra e nei cieli<\/em><\/p>\n<p><a href=\"https:\/\/www.iemj.org\/it\/ehad-mi-yodea-une-chanson-de-pessah\/\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" class=\" alignleft  wp-image-9088\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2016\/01\/playlist.jpg\" alt=\"playlist.jpg\" width=\"70\" height=\"51\" align=\"left\" \/><\/a><a href=\"https:\/\/www.iemj.org\/it\/ehad-mi-yodea-une-chanson-de-pessah\/\" target=\"_blank\" rel=\"noopener\">Ascoltare la playlist <em>E\u2019had mi yod\u00e9a<\/em> cantata nella diverse tradizioni ebraiche<\/a><\/p>\n<p><strong>&#8216;HAD GADYA \u2013 la canzone del capretto<\/strong><br \/>Secondo\u00a0Freddy Raphael e Robert Weyl <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_6');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_6');\" ><sup id=\"footnote_plugin_tooltip_71602_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_6\" class=\"footnote_tooltip\">Ibid., idem.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, l&#8217;ultima delle tre canzoni del Seder di <em>Pessach<\/em>: \u201c<em>l&#8217;Had Gadya<\/em>, la canzone del capretto, \u00e8 stata integrata nell\u2019edizione stampata della Haggadah di Praga soltanto nel 1590 poich\u00e8 non compare nell&#8217;edizione precedente del 1526.<\/p>\n<p><em>Un capretto, un capretto,<br \/>Che mio padre aveva comprato;<br \/>Per due soldi un capretto, un capretto. (Ritornello)<\/em><\/p>\n<p><em>E venne il gatto,<\/em><br \/><em>Che mangi\u00f2 il capretto,<\/em><br \/><em>Che mio padre aveva comprato;<\/em><br \/><em>Per due soldi un capretto, un capretto.<\/em><\/p>\n<p><em>E venne il cane,<br \/>Che morsic\u00f2 il gatto,<br \/>Che mangi\u00f2 il capretto,<br \/>Che mio padre aveva comprato&#8230;<br \/><\/em><\/p>\n<p>La nona strofa, che \u00e8 l&#8217;ultima, riepiloga l\u2019insieme delle strofe :<\/p>\n<p><em>E venne il Buon Dio, che uccise l&#8217;angelo della morte, che aveva ucciso il \u201csacerdote\u201d che aveva ucciso il bue, che aveva bevuto l&#8217;acqua, che aveva spento il fuoco, che aveva bruciato il bastone, che aveva colpito il cane , che aveva morso il gatto, che aveva mangiato il capretto, che mio padre aveva comprato; per due soldi un capretto, un capretto.<\/em><\/p>\n<p>Come per <em>E&#8217;had mi yodea<\/em>, il suddetto manoscritto del 1406 afferma che questo testo adornava la sinagoga del rabbino Eleazar ben Jehuda ben Kalonymos di Worms. Lo studio di una haggada ashkenazita della collezione Sereni, che risale al XV secolo e che comprende sia la versione aramaica sia la versione giudeo-tedesca dell&#8221;Had gadja, permette a Ch. Szmeruk <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_7');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_7');\" ><sup id=\"footnote_plugin_tooltip_71602_1_7\" class=\"footnote_plugin_tooltip_text\">[7]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_7\" class=\"footnote_tooltip\">In W. Weinrich, The Field of Yddisch, New York, 1954, pp. 214-218.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_7').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_7', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> di affermare che alla fine di questo secolo, il canto del capretto era integrato nel racconto pasquale. ED Goldschmidt cita la presa di posizione di Gaon &#8216;Hida (Haym Joseph David Azoulay), cabalista e halakhista (decisore) di Gerusalemme, che gli ebrei dell&#8217;Impero Ottomano e dell&#8217;Italia consideravano nel XVIII secolo come lo studioso pi\u00f9 erudito e pi\u00f9 eminente dell&#8217;epoca. Egli rimprovera uno dei suoi discepoli che deride gli ebrei ashkenaziti che recitano <em>l&#8217;Had gadja<\/em>; sostiene l&#8217;insegnamento di Ari (Rabbi Isaac Luria di Safed) per celebrare la profonda saggezza di questi poemi; ricorda che i \u201cgiganti\u201d della Torah, durante ogni generazione, ne fanno la base di innumerevoli commentari.<\/p>\n<p>Sebbene il tema dell&#8217;<em>Had Gadja<\/em> sia ripreso in molte leggende del folklore occidentale ed orientale, dalla Cabilia fino al Siam ed all&#8217;India, sembra che esso abbia avuto per origine una canzone popolare tedesca, <em>Der Bauer schickt den Jockel aus<\/em>: il maestro manda il suo domestico a tagliare l\u2019avena, ma lui preferisce restare a casa; il padrone invia allora il cane a mordere il domestico, il bastone per picchiare il cane, il fuoco per bruciare il bastone, l&#8217;acqua per spegnere il fuoco, il bue per bere l&#8217;acqua, il macellaio per uccidere il bue ,\u2026 Interverranno ancora un rapace, una strega, un boia e un medico\u2026<\/p>\n<p>In Svizzera, la canzone corrispondente racconta la storia del babbeo mandato a raccogliere le pere: <em>Joggeli sott go Birreli sch\u00fcttle<\/em>. K. Kohler <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_8');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_8');\" ><sup id=\"footnote_plugin_tooltip_71602_1_8\" class=\"footnote_plugin_tooltip_text\">[8]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_8\" class=\"footnote_tooltip\">K. Kohler, Sage und Sang im Spiel J\u00fcdischen Lebens, in Zeitschrift f\u00fcr die Geschichte der Juden in Deutschland, T.3, Braunschweig, 1889, pp. 234-241.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_8').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_8', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> cita un canto alsaziano costruito su di un modello analogo: <em>S&#8217;schemol e Frau g&#8217;sinn. Die hat e Schnirrchele g&#8217;hat<\/em>: c&#8217;era una volta una donna che aveva un maialino che divenne vittima del cane; questo, a sua volta, lo divenne del bastone, il bastone del fuoco, il fuoco dell&#8217;acqua, l&#8217;acqua della mucca, la mucca del macellaio e quest&#8217;ultimo del carnefice.<\/p>\n<p>Dalla valle del Reno, il canto del capretto si \u00e8 diffuso nella sua versione aramaica infiorata di parole ebraiche, a Venezia e ad Amsterdam; nel sud della Francia ; \u00e8 tradotto in provenzale, in linguadoca ed in \u00a0guascone <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_9');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_9');\" ><sup id=\"footnote_plugin_tooltip_71602_1_9\" class=\"footnote_plugin_tooltip_text\">[9]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_9\" class=\"footnote_tooltip\">G. Paris, in Romania, t. 1 n\u00b0 4, ottobre 1872, p. 223.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_9').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_9', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>; nel Nord Africa, mentre le famiglie spagnole lo cantano in ladino, gli ebrei nei villaggi e nelle oasi pre-sahariani lo recitano in arabo.<\/p>\n<p><em>La versione giudaico-spagnola: Un kavretiko, Ke me Io merk\u00f3 mi padre, por dos aspros <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_10');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_10');\" ><sup id=\"footnote_plugin_tooltip_71602_1_10\" class=\"footnote_plugin_tooltip_text\">[10]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_10\" class=\"footnote_tooltip\">\u00ab aspron \u00bb significa un \u201csoldo\u201d in greco (da \u00ab aspros \u00bb, bianco).<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_10').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_10', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, <\/em><em>por dos levanim<\/em> <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_11');\" onkeypress=\"footnote_moveToReference_71602_1('footnote_plugin_reference_71602_1_11');\" ><sup id=\"footnote_plugin_tooltip_71602_1_11\" class=\"footnote_plugin_tooltip_text\">[11]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_71602_1_11\" class=\"footnote_tooltip\">\u00ab laban, lebanim \u00bb significa in ebraico : bianco, delle monete d\u2019argento.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_71602_1_11').tooltip({ tip: '#footnote_plugin_tooltip_text_71602_1_11', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>\u2026 \u00e8 cantata sia ad Istanbul e Salonicco come tra gli ebrei sefarditi di Los Angeles. &#8220;<\/p>\n<p><a href=\"https:\/\/www.iemj.org\/it\/had-gadya-une-chanson-de-pessah\/\"><img decoding=\"async\" class=\" alignleft  wp-image-9088\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2016\/01\/playlist.jpg\" alt=\"playlist.jpg\" width=\"70\" height=\"50\" align=\"left\" \/><\/a><a href=\"https:\/\/www.iemj.org\/it\/had-gadya-une-chanson-de-pessah\/\" target=\"_blank\" rel=\"noopener\">Ascoltare la playlist <em>Had gadya<\/em> cantata nelle diverse tradizioni ebraiche<\/a><\/p>\n<p><a href=\"http:\/\/judaisme.sdv.fr\/traditio\/pessah\/3chants\/3chants.htm\" target=\"_blank\" rel=\"noopener\">Consultare l\u2019articolo online <em>Trois chants du S\u00e9der des Juifs d\u2019Alsace de Freddy Rapha\u00ebl et Robert Weyl<\/em><\/a><\/p>\n<p>\u202fGuardare le due video di Had Gadya qui di seguito, una in yiddish, la seconda in ladino.<\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/gN9og7hRuek\" width=\"350\" height=\"285\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe> <iframe src=\"https:\/\/www.youtube.com\/embed\/fluCEV4EUcc\" width=\"350\" height=\"285\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\"><\/div><\/div>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_71602_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_71602_1();\">[<a id=\"footnote_reference_container_collapse_button_71602_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_71602_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_1');\"><a id=\"footnote_plugin_reference_71602_1_1\" class=\"footnote_backlink\">1<\/a><\/th> <td class=\"footnote_plugin_text\">Freddy Raphael et Robert Weyl, <em>Regards nouveaux sur les Juifs d\u2019Alsace<\/em>, Ed. des derni\u00e8res nouvelles d\u2019Alsace, Strasbourg, 1980, 311 p.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_2');\"><a id=\"footnote_plugin_reference_71602_1_2\" class=\"footnote_backlink\">2<\/a><\/th> <td class=\"footnote_plugin_text\">Leopold Zunz, Die gottesdienstlichen Vortr\u00e4ge der Juden, Berlin, 1832, p. 126.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi\" ><a id=\"footnote_plugin_reference_71602_1_3\" class=\"footnote_backlink\" onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_3');\">3<\/a> <a id=\"footnote_plugin_reference_71602_1_5\" class=\"footnote_backlink\" onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_5');\">5<\/a><\/th> <td class=\"footnote_plugin_text\">Freddy Raphael et Robert Weyl, op. cit.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_4');\"><a id=\"footnote_plugin_reference_71602_1_4\" class=\"footnote_backlink\">4<\/a><\/th> <td class=\"footnote_plugin_text\">Yosef \u2018Hayim Yerushalmi, Haggadah and History, Planche 37, Philadelphia, 1975<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_6');\"><a id=\"footnote_plugin_reference_71602_1_6\" class=\"footnote_backlink\">6<\/a><\/th> <td class=\"footnote_plugin_text\">Ibid., idem.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_7');\"><a id=\"footnote_plugin_reference_71602_1_7\" class=\"footnote_backlink\">7<\/a><\/th> <td class=\"footnote_plugin_text\">In W. Weinrich, The Field of Yddisch, New York, 1954, pp. 214-218.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_8');\"><a id=\"footnote_plugin_reference_71602_1_8\" class=\"footnote_backlink\">8<\/a><\/th> <td class=\"footnote_plugin_text\">K. Kohler, Sage und Sang im Spiel J\u00fcdischen Lebens, in Zeitschrift f\u00fcr die Geschichte der Juden in Deutschland, T.3, Braunschweig, 1889, pp. 234-241.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_9');\"><a id=\"footnote_plugin_reference_71602_1_9\" class=\"footnote_backlink\">9<\/a><\/th> <td class=\"footnote_plugin_text\">G. Paris, in Romania, t. 1 n\u00b0 4, ottobre 1872, p. 223.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_10');\"><a id=\"footnote_plugin_reference_71602_1_10\" class=\"footnote_backlink\">10<\/a><\/th> <td class=\"footnote_plugin_text\">\u00ab aspron \u00bb significa un \u201csoldo\u201d in greco (da \u00ab aspros \u00bb, bianco).<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_71602_1('footnote_plugin_tooltip_71602_1_11');\"><a id=\"footnote_plugin_reference_71602_1_11\" class=\"footnote_backlink\">11<\/a><\/th> <td class=\"footnote_plugin_text\">\u00ab laban, lebanim \u00bb significa in ebraico : bianco, delle monete d\u2019argento.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> 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