Purim Sameach

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jewishmusician.com production, Purim Sameach” gathers together Purim tunes from around the world, from Chassidic nigunim to traditional Israeli songs, and from Klezmer melodies to contemporary Jewish folk rock.

The tracks feature The Binyomin Ginzberg Trio in both woodwind and guitar trio formats, as well as one track with a guest fiddle player, and one track featuring a collaboration between members of the guitar and woodwind trios.



Mishenichnas Medley – Mishenichnas/Shoshanas Yaakov/Layehudim

These three traditional tunes may well be the most well known Purim songs out there. Mishenichnas (which is also often sung to the pasuk V’nahafoch from Megilas Esther 9:1) has been reharmonized for some added harmonic “bite.” The lyric for Mishenichnas is from the Gemara Ta’anis 29a. The text for Shoshanas Yaakov comes from the Purim liturgy. The third tune, Layehudim, has been attributed to the Skulener Chassidic dynasty; the words are from Megilas Esther 8:16.

Mordechai Medley – Ish Yehudi/Sason Viykar/Kain Tihye Lanu

A guest fiddle player joins the Trio for this selection of tunes with a more contemporary folk/rock influence. Ish Yehudi was composed by Avraham Rosenblum (the words are from Megilas Esther 2:5) and was originally recorded by the Diaspora Yeshiva Band. Sason Viykar was composed by Nurit Hirsch and has become a Purim standard in Israel. The text for Sason Viykar comes from Megilas Esther 8:15-16. Kain Tihye Lanu was composed by Yehuda Katz and Adam Wexler and was originally recorded by their Israeli-based group, Reva L’Sheva. The text comes from Havdala, which quotes Megilas Esther 8:16 and adds the affirmation “Kain Tihye Lanu.”

Debka/Hora Set – Shoshanas Yaakov/Shoshanas Yaakov

This hora set is a medley of two versions of Shoshanas Yaakov, the text of which comes from the Purim liturgy. The first melody was composed by Yedidya Admon; the second is a Yussie Lieber composition, recorded by the ’70’s group Ruach on their eponymous debut album.

Layehudim Medley – Layehudim/Revach/Chayav Inish

This medley of Chassidic songs begins with a Yerushalmi melody for Layehudim (Megilas Esther 8:16), followed by Revach, a nigun sung by the Bostoner Chassidim which was composed by Rabbi M. Horowitz and quotes Megilas Esther 4:14. The final song is Chayav Inish, which sets the text of the Talmud in Megilla 7b (a discussion of the obligations of Purim) to a popular adaptation of the Hungarian folk melody “Czép Aszonynak Kurezálok.” The medley ends with the band musically blurring the boundaries “ad d’lo yada” with some odd-meter improvisation.


This setting of Layehudim, which was composed byJerusalem-based singer/songwriter Chaim David Sarachik, has some interesting odd-meter phrases in the third section, played here as a debka. Here too, the text used is taken from Havdala, and expresses the hope that we should be similarly blessed.

Al Hanisim Medley – Al Hanisim/Utzu Etza/Vayehi Bimei

This well known melody for Al Hanisim was composed by Dov Frimer. The text used is the Nusach Ashkenaz version of Al Hanisim, which is added to the Amidah and Bircas Hamazon on Purim and Chanukah. Utzu Etza is attributed to Rabbi Meir Shapiro of Lublin. The text can be found in a short prayer that many recite after Alenu and is originally from Yeshaya 8:10. According to Midrash Rabbah 7:16, after Haman’s decree was publicized, Mordechai stopped a Jewish child to ask what he’d learned in school. This was the child’s response. Vayehi Bimei is a melody of the Lubavitch Chassidim. The text is the first pasuk of Megilas Esther.

Klezmer Medley – Purim Nigun/Nifty’s Freilach

The first song is a Purim nigun which is sung by the R’ Arele Chassidim of Jerusalem. The second, Nifty’s Freilach, a Naftule Brandwein composition, has become a Klezmer standard. It is sometimes sung in Israel with the words from the Purim piyut, Otz Kotzetz.

Mishenichnas Adar

This well-known Mishenichas Adar is set to the melody of a traditional cotton-picking song whose Southern origins inspired the Trio’s bluesy rendition of the popular tune.


This gentle parody of a song originally performed by MBD in a heavy rock arrangement recasts the tune as a Bossa Nova. The text consists of the final pesukim of Ki Seitzei (25:17-19), in which Israel is commanded to remember what Amalek has done and to destroy him. Never forget!


Led by Binyomin Ginzberg on keyboard and vocals, the Trio has been performing since 1998. The group’s unique and imaginative mélange of Klezmer, Chassidic, Jazz, and contemporary influences make for a sophisticated blend of spirited and soulful music that is perfect for dancing and listening.

The Binyomin Ginzberg Trio is available for performances in various configurations, most often featuring keyboard, drums, and either woodwinds or guitar. The Trio is also available as the core of an expanded ensemble for occasions when a larger band is desired. Additional options include guest vocalists, featured soloists, violinists or a string quartet.

The Trio is available for concerts and public performances featuring the group’s unique musical arrangements of traditional and contemporary Jewish music from around the world (from cdbaby.com)

Available on iTunes

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