Arukh HaShulchan, Orach Chaim 242:35-41

Hook

Imagine a sun-drenched courtyard in Fez, a bustling market street in Aleppo, or a tranquil synagogue in Salonica, as the golden light of Friday afternoon mellows. The aroma of simmering dafina or hamin drifts from kitchens, children's laughter echoes, and then, a hush begins to fall. As the first star appears, a deep, resonant voice rises from within the synagogue – not yet the solemn Ma'ariv, but a joyous, almost defiant, call to praise: "לְכוּ נְרַנְּנָה לַה' – Come, let us sing to the Lord!" This is the sound of Sephardi and Mizrahi communities embracing Shabbat, not just as a day of rest, but as a vibrant, living prophecy, a taste of the world to come, sung into being with ancient melodies and an unwavering spirit.

Context

Place

The Sephardi and Mizrahi heritage spans a vast and diverse tapestry of lands, each thread interwoven with centuries of history, culture, and profound Jewish life. From the Iberian Peninsula (Sepharad) where a Golden Age blossomed, through the migrations forced by the 1492 expulsion, communities flourished across North Africa – Morocco, Algeria, Tunisia, Libya, Egypt. Eastward, the Mizrahi (Eastern) communities thrived in the Middle East – Iraq, Syria, Yemen, Persia (Iran), Afghanistan, Bukhara – and throughout the Ottoman Empire, including Greece, Turkey, the Balkans, and the Land of Israel itself. Each locale contributed unique customs, culinary traditions, linguistic nuances (Ladino, Judeo-Arabic, Judeo-Persian), and distinct musical nusachot (liturgical modes), all while remaining fiercely loyal to the foundational principles of Torah and halakha. While our source text, the Arukh HaShulchan, hails from 19th-century Eastern Europe, its exhaustive engagement with the entirety of Jewish law, drawing from the Talmud, Rishonim like Rambam (Maimonides), and the Shulchan Arukh, makes its theological insights universally resonant. It provides a shared intellectual foundation upon which the diverse expressions of Sephardi and Mizrahi minhag beautifully elaborate, particularly concerning the profound significance of Shabbat.

Era

Our journey through Sephardi and Mizrahi tradition is anchored in millennia of continuity, yet also shaped by pivotal historical epochs. The foundational era of the Geonim (6th-11th centuries CE) in Babylonia established much of the halakhic framework. This was followed by the flourishing of the Rishonim (11th-15th centuries) in Spain and North Africa, giving rise to intellectual giants like Rabbi Isaac Alfasi (the Rif), Rambam, and Nahmanides (the Ramban), whose works became cornerstones for all Jewish legal systems, but particularly for Sephardic Jewry. The trauma of the 1492 expulsion from Spain and Portugal scattered these vibrant communities across the globe, leading to a profound period of adaptation and resilience. They established new centers of learning and culture in places like Salonica, Safed, Amsterdam, and Cairo, integrating local flavors while preserving their distinct heritage. The era of the Acharonim (16th century to the present), which includes the Arukh HaShulchan (early 20th century), continued this trajectory of halakhic development and communal preservation, grappling with modernity while reaffirming timeless traditions. For Sephardim and Mizrahim, this long arc of history is not merely a chronicle of events, but a living narrative that informs their identity, their prayers, their piyutim, and their unique ways of observing mitzvot like Shabbat.

Community

The term "Sephardi and Mizrahi" encompasses a constellation of communities, each with its own proud identity, yet bound by a shared halakhic lineage and a profound reverence for tradition. These are not monolithic groups; a Moroccan Jew from Casablanca has distinct customs and melodies from a Syrian Jew from Aleppo, who in turn differs from a Yemenite Jew from Sana'a or an Iraqi Jew from Baghdad. What unites them is often a shared deference to the halakha as codified by the Rambam and the Shulchan Arukh of Rabbi Yosef Karo (himself a Sephardi of Spanish descent, flourishing in Safed), a rich tradition of piyutim (liturgical poems) that often employ intricate Arabic or Ladino poetic forms, and a deep appreciation for the spiritual and mystical dimensions of Judaism, particularly as expressed in Kabbalah. They share a communal warmth, a vibrant celebratory spirit, and a deep connection to the Land of Israel. This mosaic of communities, despite their geographical spread and diverse local influences, maintains a collective memory and a spiritual kinship that profoundly shapes their approach to every aspect of Jewish life, especially the sanctity and joyous anticipation of Shabbat. It is this rich, textured, and diverse heritage that we celebrate as we delve into the profound teachings of the Arukh HaShulchan regarding Shabbat.

Text Snapshot

The Arukh HaShulchan illuminates the profound essence of Shabbat, stating: "The Holy Sabbath is the great sign between the Holy Blessed One and God's people, Israel... even though Shabbat is a commemoration of creation... nonetheless, the Holy Blessed One did not give the sanctity of Shabbat to anyone other than Israel... For Shabbat and Israel are the two end purposes of creation... And Shabbat is the essential point of faith in the Holy Blessed One who created the world in six days and rested on the seventh day."

Minhag/Melody

The Ancient Echo of Redemption

The Arukh HaShulchan's concluding passage regarding Kabbalat Shabbat offers a profound insight into a widespread Sephardi and Mizrahi minhag: "We gather in shul and we say five chapters of psalms from Lechu Neranena (Ch. 95) until Hashem malach yirgezu amim (Ch. 99) because they are about the future redemptive days. Therefore (like Radak says), a person says to his friend 'Let us sing to Hashem,' and then [the next chapter we sing] 'Hashem reigns,' that is to say that we’ll fulfill that which is written (Zecharia 14:9) 'On that day Hashem will be One and His Name will be One.' For Shabbat is a hint to this time, to 'The Day that is Entirely Shabbat,' and then we’ll sing a new song (Ch. 96) to Hashem."

This passage beautifully articulates the Sephardi/Mizrahi spiritual approach to welcoming Shabbat. Unlike the widespread Ashkenazi practice which often begins Kabbalat Shabbat with six Psalms (95-99, 29, 92, 93) symbolizing the six days of creation before Lekha Dodi, many Sephardi and Mizrahi traditions dive directly into the five Psalms (95-99). This is not merely a difference in number or sequence; it reflects a distinct theological emphasis. For these communities, Shabbat is less about commemorating the completion of creation in the past, and more about embodying a foretaste of the future redemption. It is me'ein Olam Haba, a miniature world to come, a glimpse into the Messianic era which will itself be "a day that is entirely Shabbat."

The Arukh HaShulchan, drawing on the Radak, underscores that these Psalms are chosen precisely because they speak of God's universal sovereignty, the ingathering of exiles, and the ultimate recognition of God's unity in the Messianic age. By reciting them, communities are not just performing a ritual; they are actively participating in a prophetic vision, ushering in the redemptive energies of Shabbat. The opening words, "לְכוּ נְרַנְּנָה לַה' נָרִיעָה לְצוּר יִשְׁעֵנוּ" ("Come, let us sing to the Lord; let us shout for joy to the Rock of our salvation") are a communal invitation, a call to shed the week's burdens and enter a sacred dimension of joy and anticipation. This direct approach to these redemptive Psalms before Lekha Dodi is a hallmark of many Sephardi and Mizrahi communities, from Moroccan and Algerian traditions to Syrian, Iraqi, and Yemenite nusachot.

Melodies of Anticipation

The spiritual depth of these five Psalms is amplified by the rich and diverse melodies ( nusachot) unique to Sephardi and Mizrahi communities. The transition from the workday week to Shabbat is often marked by a distinct shift in musical mode and tempo. In many Middle Eastern traditions, influenced by the maqam system, Friday afternoon prayers might conclude in a specific maqam (e.g., Maqam Hijaz or Sikah) that carries a certain emotional weight, perhaps a longing or a sense of awe. However, as Kabbalat Shabbat begins with Lechu Neranena, the melody often shifts to a more joyous, uplifting maqam or mode, such as Maqam Ajami (akin to a major scale) or a celebratory Maqam Nahawand.

Consider, for instance, the spirited rendition of these Psalms in Moroccan Sephardic synagogues. The Chazzan (cantor) might begin Lechu Neranena with a powerful, almost declamatory solo, then the congregation joins in with robust, often harmonized, responses. The melodies are typically vibrant, with a distinct rhythmic drive that builds anticipation for the holiness of Shabbat. In Syrian Jewish communities, particularly those following the Aleppo tradition, the Psalms are often sung with intricate, melismatic passages, where the Chazzan adds embellishments and vocal flourishes that draw out the spiritual meaning of the words. The congregation's responses are also rich and full, creating a deeply immersive sonic experience that prepares the soul for Shabbat.

Yemenite Jews, with their unique ancient traditions, have their own distinct melodies for these Psalms, often characterized by a more ancient, almost chant-like quality, yet still infused with a profound sense of devotion and joy. The melodies are often passed down orally through generations, preserving a direct link to their ancestors. Across all these traditions, the communal singing is paramount. It’s not a performance but a collective act of spiritual elevation. The melodies are designed to be accessible, inviting everyone to participate, transforming the synagogue into a chorus of unified praise and anticipation. This collective musical embrace of the Psalms transforms the transition into Shabbat from a mere liturgical sequence into a vibrant, communal spiritual journey towards the promised redemptive era. The music itself becomes a "new song" for the future, just as the Arukh HaShulchan describes.

A Tapestry of Meaning

The thematic journey through Psalms 95-99, as understood in Sephardi/Mizrahi tradition, is a profound preparation for Shabbat, viewed as a foretaste of the Messianic age.

• Psalm 95: Lechu Neranena ("Come, let us sing to the Lord") This Psalm serves as the grand invitation. It's a call to communal praise and recognition of God as our Creator and Shepherd. It also contains a warning against hardening one's heart, reminding us to enter Shabbat with an open and receptive spirit, ready to learn from the past and embrace the future. For Sephardim, this is the clarion call that initiates the sacred shift from the mundane to the holy.

• Psalm 96: Shiru Ladonai Shir Chadash ("Sing to the Lord a new song") This Psalm proclaims God's glory to all the nations, anticipating a time when all humanity will recognize God's sovereignty. The "new song" mentioned by the Arukh HaShulchan and Midrash is often understood as the song of redemption, a melody yet unheard, to be sung in the Messianic era. By singing it now, we actively invoke that future, aligning our present Shabbat experience with the ultimate redemption.

• Psalm 97: Hashem Malach Tagel Ha'aretz ("The Lord reigns, let the earth rejoice") This Psalm vividly describes God's universal reign, with nature itself rejoicing. It speaks of light, righteousness, and the defeat of idolatry. This resonates deeply with the Sephardi/Mizrahi understanding of Shabbat as the ultimate reign of God's holiness, dispelling the darkness of the mundane week and bringing joy to the world. It sets the stage for a world where God's presence is manifest and undisputed.

• Psalm 98: Mizmor Shiru Ladonai Shir Chadash ("A Psalm! Sing to the Lord a new song") This Psalm reiterates the call for a "new song," celebrating God's wondrous deeds, salvation, and justice revealed to all nations. It depicts a universal chorus of praise from the seas, rivers, and mountains. This reinforces the Messianic vision where God's redemption is complete and evident to all, and the entire creation joins in celebration. The repetition of the "new song" emphasizes the extraordinary nature of this future era.

• Psalm 99: Hashem Malach Yirgezu Amim ("The Lord reigns, let the peoples tremble") While some interpretations focus on trembling, the dominant theme here is God's just and holy reign from Zion, a God who is mighty and loves justice. It speaks of God's response to the prayers of Moshe, Aharon, and Shmuel. This Psalm brings the themes of universal sovereignty and redemption back to the specific covenant with Israel, affirming God's presence and holiness within the Jewish people, who are the guardians of Shabbat. It concludes with an exhortation to "exalt the Lord our God and bow down at His holy mountain, for the Lord our God is holy."

Together, these five Psalms form a powerful spiritual arc. They begin with an invitation to praise, move through a vision of universal recognition of God, celebrate God's just and holy reign, and culminate in a profound affirmation of God's holiness within Israel. This rich tapestry of meaning, sung with the unique nusachot of Sephardi and Mizrahi communities, transforms Kabbalat Shabbat into a vibrant, living prophecy, a profound anticipation of "The Day that is Entirely Shabbat," as the Arukh HaShulchan beautifully explains.

Contrast

Kabbalat Shabbat: Different Pathways to the Same Day

The profound spiritual insights of the Arukh HaShulchan regarding Shabbat's redemptive quality are universally cherished, yet the practical embodiment of these ideas in the Kabbalat Shabbat service often highlights beautiful differences between Jewish traditions. Focusing on the welcoming of Shabbat, we can respectfully contrast the widespread Sephardi and Mizrahi minhag with a common Ashkenazi practice.

As elaborated, many Sephardi and Mizrahi communities, following the spirit described in the Arukh HaShulchan, commence Kabbalat Shabbat directly with the five Psalms: 95 (Lechu Neranena), 96 (Shiru Ladonai Shir Chadash), 97 (Hashem Malach Tagel Ha'aretz), 98 (Mizmor Shiru Ladonai Shir Chadash), and 99 (Hashem Malach Yirgezu Amim). These are seen as the immediate and direct portal to the "future redemptive days" and "The Day that is Entirely Shabbat." This sequence is often followed directly by Lekha Dodi and then Psalm 29 (Mizmor L'David Havu LaShem), or in some communities, Lekha Dodi is sung after Psalm 99, and then Psalm 29 is recited. The emphasis is on an immediate leap into the Messianic anticipation that Shabbat represents. In Moroccan, Syrian, Iraqi, and many other Sephardic nusachot, the singing of these Psalms is robust, communal, and often highly melodic, setting an immediate tone of joyous welcome and spiritual elevation. The Chazzan and congregation together launch into these prophecies of God's universal reign and the "new song" of redemption.

In contrast, a prevalent Ashkenazi minhag for Kabbalat Shabbat often begins with Psalm 29 (Mizmor L'David Havu LaShem), followed by Lekha Dodi, and then six Psalms, typically 95-99 and Psalm 92 (Mizmor Shir L'Yom HaShabbat) and 93 (Hashem Malach Ge'ut Lavesh). Some traditions might recite the six Psalms (Ps. 95, 96, 97, 98, 99, 29) before Lekha Dodi, and then continue with Psalms 92 and 93. While variations exist even within Ashkenazi traditions, a common structure involves reciting six Psalms that symbolize the six days of creation, culminating in a seventh Psalm (often Psalm 92, explicitly "A Psalm, a Song for the Shabbat Day") that represents Shabbat itself. This is sometimes introduced by an opening piyut like Yedid Nefesh or Ana B'Koach. The symbolism here is often understood as a progression: moving through the six days of the week, acknowledging their completion, and then ascending to the sanctity of Shabbat. The Lekha Dodi then serves as the central welcoming of the "Shabbat bride," a distinct moment of transition.

The fundamental difference lies in the theological entry point:

• Sephardi/Mizrahi Perspective: Often emphasizes Shabbat as a direct gateway to the Messianic era, a foretaste of the world that is entirely Shabbat. The Psalms 95-99 are chosen for their overtly redemptive and universal themes, invoking the future immediately. The focus is less on a linear progression from creation days and more on an ecstatic embrace of the "Day that is Entirely Shabbat."
• Ashkenazi Perspective: Often emphasizes the journey from creation to Shabbat, viewing Shabbat as the culmination of the six days of labor. The six Psalms representing the six days of creation before Lekha Dodi underscore this journey, building up to the sacred rest and holiness.

Both approaches are deeply spiritual and achieve the same ultimate goal: ushering in the profound holiness and joy of Shabbat. Neither is "superior" to the other; rather, they are distinct, rich expressions of the same underlying Torah truth about Shabbat's sanctity. The Sephardi/Mizrahi tradition, by immediately immersing in the redemptive Psalms, creates an immediate, vibrant atmosphere of prophetic anticipation and universal praise, setting a tone of deep spiritual joy that resonates through the entire Shabbat experience, a living echo of the Arukh HaShulchan's powerful teachings.

Home Practice

Welcoming Shabbat with the Prophets' Voice

For anyone wishing to connect more deeply with the Sephardi and Mizrahi approach to Shabbat, particularly as articulated by the Arukh HaShulchan and embodied in the minhag of the five Psalms, a beautiful home practice can be easily adopted.

As Shabbat afternoon wanes and the sun begins its descent, take a moment for quiet reflection. Choose one of the five Psalms discussed: Psalm 95 (Lechu Neranena) or Psalm 96 (Shiru Ladonai Shir Chadash) are excellent starting points due to their inviting and celebratory nature.

1. Read with Intention: Find the Psalm in your siddur (prayer book) or online. Read it slowly, perhaps several times, focusing on the Hebrew words and their translation. Pay attention to the themes: the call to praise God, the recognition of God as Creator and King, the vision of a "new song" and universal recognition of God's sovereignty. Imagine yourself joining a vast chorus of voices, not just from your community, but from across time and space, participating in this ancient and future-oriented song.
2. Seek a Melody: If you are musically inclined, or simply enjoy listening, search online for recordings of Sephardi or Mizrahi nusachot for these Psalms. Websites like Pizmonim.com (for Syrian), or recordings from Moroccan, Yemenite, or Iraqi communities can offer a gateway. Listen to how the melody (the nusach) elevates the words, how it conveys joy, anticipation, and reverence. Even if you can't sing it perfectly, humming along or simply letting the melody wash over you can be a powerful act of hachana (preparation).
3. Reflect on Redemption: As you read or listen, internalize the Arukh HaShulchan's teaching: Shabbat is a "hint to this time, to 'The Day that is Entirely Shabbat.'" Think about what a truly redemptive world would look like – a world of peace, justice, universal recognition of God's presence. Allow this vision to fill you, not as a distant fantasy, but as a potential reality that Shabbat brings closer, even for a day.

This simple practice of engaging with just one or two of these Psalms, with intention and a touch of melody, can transform your Friday afternoon. It allows you to align your spirit with the deep historical and spiritual currents of Sephardi and Mizrahi communities, welcoming Shabbat not just as a day off, but as a vibrant, living prophecy and a personal taste of the world to come. It’s a small yet profound way to "sing a new song" as you prepare to greet the Shabbat queen.

Takeaway

The Sephardi and Mizrahi traditions offer us a profound and vibrant way to experience Shabbat, rooted deeply in the ancient wisdom of Torah and expressed through rich piyut and minhag. As the Arukh HaShulchan teaches, Shabbat is far more than a day of rest; it is the "great sign" between God and Israel, the "essential point of faith," and one of the "two end purposes of creation." For our communities, welcoming Shabbat, particularly through the communal singing of Psalms 95-99, is a joyous and prophetic act. It is an immediate embrace of the Messianic era, a living foretaste of "The Day that is Entirely Shabbat," sung into being with diverse, ancient melodies that echo across continents and generations. This textured approach reminds us that Shabbat is not just a commemoration of what was, but a powerful anticipation of what will be, binding us to a future of redemption and universal recognition of God's sovereignty. It is a heritage of resilience, profound spirituality, and an unwavering, celebratory faith.