Nigunim, Vol. VII: Songs of Ascent - Joey Weisenberg & the Hadar Ensemble

גַּ֤ם כִּֽי־אֵלֵ֨ךְ בְּגֵ֪יא צַלְמָ֡וֶת

לֹא־אִ֘ירָ֤א רָ֗ע כִּי־אַתָּ֥ה עִמָּדִ֑י

שִׁבְטְךָ֥ וּ֝מִשְׁעַנְתֶּ֗ךָ הֵ֣מָּה יְנַֽחֲמֻֽנִי

תַּעֲרֹ֬ךְ לְפָנַ֨י ׀ שֻׁלְחָ֗ן נֶ֥גֶד צֹרְרָ֑י

דִּשַּׁ֖נְתָּ בַשֶּׁ֥מֶן רֹ֝אשִׁ֗י כּוֹסִ֥י רְוָיָֽה

אַ֤ךְ ׀ ט֤וֹב וָחֶ֣סֶד יִ֭רְדְּפוּנִי כָּל־יְמֵ֣י חַיָּ֑י

וְשַׁבְתִּ֥י בְּבֵית־ה' לְאֹ֣רֶךְ יָמִֽים

Even in the darkest valley,

I fear no harm, for You are with me;

Your rod and Your staff—they comfort me.

You spread a table for me in full view of my enemies;

You anoint my head with oil; my drink is abundant

Only goodness and steadfast love shall pursue me all the days of my life,

and I shall dwell in the house of the LORD for many long years.

Gam ki eilekh be-gei tzalmavet
Lo ira ra, ki atah imadi
Shivtekha u’mishantekha hema yenachamuni

Ta’arokh le-fanai shulchan neged tzorerai
Dishanta va-shemen roshi kosi revaya

Akh tov va-chesed yirdefuni kol yemei chayai
Ve-shavti be-veit Adonai le-orekh yamim

אָמַר רַבִּי יִצְחָק מַאי דִּכְתִיב גַּם כִּי אֵלֵךְ בְּגֵיא צַלְמָוֶת לֹא אִירָא רָע כִּי אַתָּה עִמָּדִי זֶה הַיָּשֵׁן בְּצֵל דֶּקֶל יְחִידִי וּבְצֵל לְבָנָה

Rav Yitzḥak said: What is the meaning of that which is written: “Though I walk through the valley of the shadow of death, I will fear no evil, for You are with me”? This is a person who sleeps in the shadow of a single palm tree, and in the shadow of the moon. Despite his dangerous position, he trusts God and is not afraid.

יַעֲלֶה תַחֲנוּנֵֽנוּ מֵעֶֽרֶב

וְיָבֹא שַׁוְעָתֵֽנוּ מִבֹּֽקֶר

וְיֵרָאֶה רִנּוּנֵֽנוּ עַד עָֽרֶב

יַעֲלֶה קוֹלֵֽנוּ מֵעֶֽרֶב

יַעֲלֶה, יַעֲלֶה, יַעֲלֶה, יַעֲלֶה קוֹלֵֽנוּ

Let our supplication rise from evening,

and may our cry come from the morning, and may our song appear till evening.

Let our voices rise from evening!

Rise, rise, rise, let our voices rise...

Ya’aleh tachanuneinu mei’erev.
Ve-yavo shavateinu mi’boker.
Ve-yeira’eh rinuneinu ad arev.

Ya’aleh koleinu mei’erev.
Ya’aleh Ya’aleh Ya’aleh Ya’aleh Koleinu
Ya’aleh Ya’aleh Ya’aleh Ya’aleh Koleinu

The Hadar Ensemble's "Ya'aleh Koleinu" is adapted from a longer piyyut found in the liturgy of Yom Kippur. The authorship of this prayer is unknown. The three verbs, repeated throughout the prayer, יַעֲלֶה—וְיָבֹא—וְיֵרָאֶה are taken from the prayer “יַעֲלֶה וְיָבֹא” which is recited on Rosh Chodesh, and on all the Festivals. The full piyyut is here, and commentary is included if you click through to the original source.

יַעֲלֶה תַחֲנוּנֵֽנוּ מֵעֶֽרֶב.

וְיָבֹא שַׁוְעָתֵֽנוּ מִבֹּֽקֶר.

וְיֵרָאֶה רִנּוּנֵֽנוּ עַד עָֽרֶב:

יַעֲלֶה קוֹלֵֽנוּ מֵעֶֽרֶב.

וְיָבֹא צִדְקָתֵֽנוּ מִבֹּֽקֶר.

וְיֵרָאֶה פִדְיוֹנֵֽנוּ עַד עָֽרֶב:

יַעֲלֶה עִנּוּיֵֽנוּ מֵעֶֽרֶב.

וְיָבֹא סְלִיחָתֵֽנוּ מִבֹּֽקֶר.

וְיֵרָאֶה נַאֲקָתֵֽנוּ עַד עָֽרֶב:

יַעֲלֶה מְנוּסֵֽנוּ מֵעֶֽרֶב.

וְיָבֹא לְמַעֲנוֹ מִבֹּֽקֶר.

וְיֵרָאֶה כִפּוּרֵֽנוּ עַד עָֽרֶב:

יַעֲלֶה יִשְׁעֵֽנוּ מֵעֶֽרֶב.

וְיָבֹא טָהֳרֵֽנוּ מִבֹּֽקֶר.

וְיֵרָאֶה חִנּוּנֵֽנוּ עַד עָֽרֶב:

יַעֲלֶה זִכְרוֹנֵֽנוּ מֵעֶֽרֶב.

וְיָבֹא וִעוּדֵֽנוּ מִבֹּֽקֶר.

וְיֵרָאֶה הַדְרָתֵֽנוּ עַד עָֽרֶב:

יַעֲלֶה דָפְקֵֽנוּ מֵעֶֽרֶב.

וְיָבֹא גִילֵֽנוּ מִבֹּֽקֶר.

וְיֵרָאֶה בַקָּשָׁתֵֽנוּ עַד עָֽרֶב:

יַעֲלֶה אֶנְקָתֵֽנוּ מֵעֶֽרֶב.

וְיָבֹא אֵלֶֽיךָ מִבֹּֽקֶר.

וְיֵרָאֶה אֵלֵֽינוּ עַד עָֽרֶב:

May our supplication ascend from evening,

and may our cry comefrom morning,

and may our song appear till evening.

May our voice ascend from evening,

and may our righteousness come from morning,

and may our redemption appear till evening.

May our affliction ascend from evening,

and may our pardon come from morning,

and may our groaning appear till evening.

May our refuge ascend from evening,

and may it come for His sake from morning,

and may our atonement appear till evening.

May our deliverance ascend from evening,

and may our purification come from morning,

and may our supplication appear till evening.

May our remembrance ascend from evening,

and may our gathering come from morning,

and may our splendor appear till evening.

May our knocking ascend from evening,

and may our exultation come from morning,

and may our petition appear till evening.

May our sighing ascend from the evening,

and may it come before You from morning,

and may its effect appear to us till evening.

עוֹד יִשָׁמַע בְּעַרֵי יְהוּדָה
וּבְחוּצוֹת יְרוּשָלַיִם
קוֹל שָשוֹן וְקוֹל שִמְחָה
קוֹל חָתָן וְקוֹל כָּלָה
קוֹל אָהוּב וְקוֹל רֵעָה

Yet again there shall be heard in the cities of Judah,
and in the streets of Jerusalem.
The voice of joy and the voice of gladness,
the voice of the bridegroom and the voice of the bride,
the voice of the lover and the voice of the friend.

Od yishama b'arei Yehudah
uv'chutzot Yerushalayim

Kol sason v'kol simcha
Kol hatan v'kol kalah
Kol Ahuv v'kol re'ah

Nigun

שִׂימֵ֨נִי כַֽחוֹתָ֜ם עַל־לִבֶּ֗ךָ
כַּֽחוֹתָם֙ עַל־זְרוֹעֶ֔ךָ
כִּֽי־עַזָּ֤ה כַמָּ֙וֶת֙ אַהֲבָ֔ה
קָשָׁ֥ה כִשְׁא֖וֹל קִנְאָ֑ה
רְשָׁפֶ֕יהָ רִשְׁפֵּ֕י אֵ֖שׁ שַׁלְהֶ֥בֶתְיָֽה

שִׂימֵ֨נִי כַֽחוֹתָ֜ם עַל־לִבֶּ֗ךָ
כַּֽחוֹתָם֙ עַל־זְרוֹעֶ֔ךָ

מַ֣יִם רַבִּ֗ים לֹ֤א יֽוּכְלוּ֙ לְכַבּ֣וֹת אֶת־הָֽאַהֲבָ֔ה
אִם־יִתֵּ֨ן אִ֜ישׁ אֶת־כָּל־ה֤וֹן בֵּיתוֹ֙ בָּאַהֲבָ֔ה
בּ֖וֹז יָב֥וּזוּ

שִׂימֵ֨נִי כַֽחוֹתָ֜ם עַל־לִבֶּ֗ךָ
כַּֽחוֹתָם֙ עַל־זְרוֹעֶ֔ךָ

כִּֽי־עַזָּ֤ה כַמָּ֙וֶת֙ אַהֲבָ֔ה

Let me be a seal upon your heart

Like the seal upon your hand

For love is fierce as death

Passion is mighty as Sheol

Its darts are darts of fire, A blazing flame

Let me be a seal upon your heart

Like the seal upon your hand

Vast floods cannot quench love

If a man offered all his wealth for love

He would be laughed to scorn

Let me be a seal upon your heart

Like the seal upon your hand

For love is fierce as death

Simeini khachotam al-libekha
Kachotam al ze-roekha
Ki azzah khamavet ahavah
Kasha khishol kinah

Reshafeha rishpei esh shalhevet’yah
Simeini khachotam al-libekha
Kachotam al ze-roekha

Mayim rabim lo yukhlu lekhabot et ha-ahavah
Im yiten ish et kol hon beito ba’ahavah

Boz ya’vuzu
Simeini khachotam al-libekha
Kachotam al ze-roekha

(ו) שִׂימֵ֨נִי כַֽחוֹתָ֜ם עַל־לִבֶּ֗ךָ כַּֽחוֹתָם֙ עַל־זְרוֹעֶ֔ךָ כִּֽי־עַזָּ֤ה כַמָּ֙וֶת֙ אַהֲבָ֔ה קָשָׁ֥ה כִשְׁא֖וֹל קִנְאָ֑ה רְשָׁפֶ֕יהָ רִשְׁפֵּ֕י אֵ֖שׁ שַׁלְהֶ֥בֶתְיָֽה׃

(ז) מַ֣יִם רַבִּ֗ים לֹ֤א יֽוּכְלוּ֙ לְכַבּ֣וֹת אֶת־הָֽאַהֲבָ֔ה וּנְהָר֖וֹת לֹ֣א יִשְׁטְפ֑וּהָ אִם־יִתֵּ֨ן אִ֜ישׁ אֶת־כָּל־ה֤וֹן בֵּיתוֹ֙ בָּאַהֲבָ֔ה בּ֖וֹז יָב֥וּזוּ לֽוֹ׃

(6) Let me be a seal upon your heart, Like the seal upon your hand. For love is fierce as death, Passion is mighty as Sheol; Its darts are darts of fire, A blazing flame.

(7) Vast floods cannot quench love, Nor rivers drown it. If a man offered all his wealth for love, He would be laughed to scorn.

מודֶה אֲנִי לְפָנֶיךָ

מֶלֶךְ חַי וְקַיָּם
שֶׁהֶחֱזַרְתָּ בִּי נִשְׁמָתִי
בְּחֶמְלָה
רַבָּה אֱמוּנָתֶךָ

I am grateful before You

living and everlasting King

for You have restored my soul

with mercy

Great is Your faithfulness

Modeh ani le-fanekha

melekh chai ve-kayam
Shehechezarta bi nishmati

be-chemlah
rabah emunatekha

Said immediately upon waking (or soon thereafter), Modeh Ani is a powerful affirmation that frames the mundane activities of everyday life as a Divine gift. How does this stance of gratitude square with the continuation of the Modeh Ani prayer, which focuses more on the fear/awe of the Infinite?

רֵאשִׁית חָכְמָה יִרְאַת יְהֹוָה, שֵֽׂכֶל טוֹב לְכָל־עֹשֵׂיהֶם, תְּהִלָּתוֹ עוֹמֶֽדֶת לָעַד: בָּרוּךְ שֵׁם כְּבוֹד מַלְכוּתוֹ לְעוֹלָם וָעֶד:
The beginning of wisdom is fear of Adonoy, good understanding to all who perform [His commandments], His praise endures forever. Blessed [is His] Name, Whose glorious kingdom is forever and ever.

שׁוּבָ֣ה ה' אֶת־שְׁבִיתֵ֑נוּ

כַּאֲפִיקִ֥ים בַּנֶּֽגֶב
הַזֹּרְעִ֥ים בְּדִמְעָ֗ה

בְּרִנָּ֥ה יִקְצֹֽרוּ

שִׁ֗יר הַֽמַּ֫עֲל֥וֹת

בְּשׁ֣וּב ה'
אֶת־שִׁיבַ֣ת צִיּ֑וֹן הָ֝יִ֗ינוּ כְּחֹלְמִֽים
אָ֤ז יִמָּלֵ֪א שְׂח֡וֹק פִּינוּ֮

וּלְשׁוֹנֵ֪נוּ רִ֫נָּ֥ה

הָ֘ל֤וֹךְ יֵלֵ֨ךְ ׀ וּבָכֹה֮

נֹשֵׂ֪א מֶֽשֶׁךְ־הַ֫זָּ֥רַע
בֹּֽ֬א־יָב֥וֹא בְרִנָּ֑ה

נֹ֝שֵׂ֗א אֲלֻמֹּתָֽיו

שִׁ֗יר הַֽמַּ֫עֲל֥וֹת

בְּשׁ֣וּב ה'
אֶת־שִׁיבַ֣ת צִיּ֑וֹן הָ֝יִ֗ינוּ כְּחֹלְמִֽים
אָ֤ז יִמָּלֵ֪א שְׂח֡וֹק פִּינוּ֮

וּלְשׁוֹנֵ֪נוּ רִ֫נָּ֥ה

Restore our fortunes, O Lord

like watercourses in the Negev
They who sow in tears

shall reap with songs of joy

A song of ascents

When the Lord restores

the fortunes of Zion we see it as in a dream
our mouths shall be filled with laughter, our tongues, with songs of joy

Though he goes along weeping

carrying the seed-bag
he shall come back with songs of joy carrying his sheaves


A song of ascents

When the Lord restores

the fortunes of Zion we see it as in a dream
our mouths shall be filled with laughter, our tongues, with songs of joy

Shuva Adonai et shiviteinu ka’afikim banegev
Hazor’im be-dimah be-rinah yiktzoru

Shir hama’alot be-shuv Adonai
et shivat tziyon hayinu kecholmim
Az yemale se-chok pinu ul-shoneinu rinah

Halokh yelekh uvakho, noseh meshekh hazarah
bo yavo ve-rinah nosei alumotav

Shir hama’alot be-shuv Adonai
et shivat tziyon hayinu kecholmim
Az yemale se-chok pinu ul-shoneinu rinah

This song contains most of Psalms 126 but one and a half verses are missing:

אָ֭ז יֹאמְר֣וּ בַגּוֹיִ֑ם

הִגְדִּ֥יל יְ֝הוָ֗ה לַעֲשׂ֥וֹת עִם־אֵֽלֶּה

הִגְדִּ֣יל יְ֭הוָה לַעֲשׂ֥וֹת עִמָּ֗נוּ הָיִ֥ינוּ שְׂמֵחִֽים

Then shall they say among the nations,

“The LORD has done great things for them!”

The LORD will do great things for us and we shall rejoice.

Why do you think these lines are absent? Is the instrumental music between verses in the song a fitting replacement?

Cf. Joey's song "Eit Le'ehov" which draws on the following verse from the Book of Kohelet...

עֵ֤ת לִבְכּוֹת֙ וְעֵ֣ת לִשְׂח֔וֹק

עֵ֥ת סְפ֖וֹד וְעֵ֥ת רְקֽוֹד

A time for weeping and a time for laughing

A time for wailing and a time for dancing

מִמַּעֲמַקִּ֖ים קְרָאתִ֣יךָ ה'

אדוני שִׁמְעָ֪ה בְק֫וֹלִ֥י

From the depths I cry out to you

O Lord, listen to my voice

Mi’ma’amakim ke’ratikha Hashem

Adonai shimah v’koli

וְאָמַר רַבִּי יוֹסֵי בְּרַבִּי חֲנִינָא מִשּׁוּם רַבִּי אֱלִיעֶזֶר בֶּן יַעֲקֹב: אַל יַעֲמוֹד אָדָם בְּמָקוֹם גָּבוֹהַּ וְיִתְפַּלֵּל, אֶלָּא בְּמָקוֹם נָמוּךְ וְיִתְפַּלֵּל. שֶׁנֶּאֱמַר: ״מִמַּעֲמַקִּים קְרָאתִיךָ ה׳״.
With regard to the halakhot of prayer, Rabbi Yosei, son of Rabbi Ḥanina, said in the name of Rabbi Eliezer ben Ya’akov: A person should not stand in a high place and pray; rather, he should stand in a low place and pray, as it is stated: “I called to You, Lord, from the depths” (Psalms 130:1).

An early demo of this song included the rest of the second verse from Psalms 130...

(א) שִׁ֥יר הַֽמַּעֲל֑וֹת מִמַּעֲמַקִּ֖ים קְרָאתִ֣יךָ ה'׃ (ב) אדוני שִׁמְעָ֪ה בְק֫וֹלִ֥י תִּהְיֶ֣ינָה אָ֭זְנֶיךָ קַשֻּׁב֑וֹת לְ֝ק֗וֹל תַּחֲנוּנָֽי׃

(1) A song of ascents. Out of the depths I call You, O LORD.

(2) O Lord, listen to my cry; let Your ears be attentive to my plea for mercy.

The plain meaning of the text is that this supplication is audible and that the Divine should choose to hear it. Three times a day in the Amidah prayer we say that G!d is שמע תפילה, the One Who hears prayers. Do you think one must literally cry out loud for the Divine to hear? Rebbe Nachman, who often talks about the incredible power of whispered prayers and silent screams, says the lowdown shout from Psalms 130 is somehow even more quiet and hidden than that...

וְעֵצוֹת הֵם בְּחִינַת עֹמֶק הַלֵּב, הַיְנוּ כְּשֶׁנִּתְקַלְקֵל וְנוֹפֵל הָאֱמוּנָה, עַד שֶׁאֵין מוֹעִיל אֲפִלּוּ קוֹל צְעָקָה, שֶׁהוּא קוֹל בְּלֹא דִּבּוּר כַּנַּ"ל, אֲזַי צְרִיכִין לִצְעֹק מִן הַלֵּב לְבַד, בִּבְחִינַת (איכה ב׳:י״ח): צָעַק לִבָּם אֶל ה', שֶׁהוּא צַעֲקַת הַלֵּב לְבַד, בְּלִי קוֹל, בִּבְחִינַת (תהילים ק״ל:א׳): מִמַּעֲמַקִּים קְרָאתִיךָ ה' – מֵעֻמְקָא דְּלִבָּא. וְעֹמֶק הַלֵּב זֶה בְּחִינַת עֵצוֹת, בִּבְחִינַת (משלי כ׳:ה׳): מַיִם עֲמֻקִּים עֵצָה בְּלֵב אִישׁ.
[These] counsels are the depths of the heart. When faith is so blemished and fallen that even the cries, the wordless screams, are of no avail, one has to cry out from the heart alone, as in “Let their heart cry out to God” (Lamentations 2:18). This is the heart alone crying out, without the voice, as in “Out of the depths I call out to You, O God!” (Psalms 130:1)—from the heart’s depths. And the depths of the heart are counsels, as in “The counsels in man’s heart are deep waters” (Proverbs 20:5).

יְדִיד נֶפֶשׁ, אָב הָרַחְמָן
מְשךְ עַבְדָךְ אֶל רְצונָךְ
יָרוּץ עַבְדָךְ כְמו אַיָל
יִשְתַחֲוֶה מוּל הֲדָרָךְ
כִּי יֶעְרַב לוֹ יְדִידוּתָךְ
מִנּפֶת צוּף וְכָל טָעַם

Beloved of my soul, merciful father,

Draw your surrendered to your will rendered

Your surrendered will run like a gazelle,

He will bow before your splendor.

For to him, your love is sweeter,

Than the dripping honeycomb, and any taste at all.

Yedid nefesh, Av harachaman,
meshokh avdakh el retzonakh
Yarutz avdakh kemo ayal,
yishtachaveh mul hadarakh
Ki ye’erav lo yedidutakh,
minofet tsuf vekhol ta’am

Shabbat Piyyut attributed to R' Elazar Azikri

"Kumi" is part of Joey Weisenberg and the Hadar Ensemble's album, Nigunim, Vol. VII: Songs of Ascent, from Rising Song Records (2019). Lyrics and sheet music are included below, followed by the original source texts. Listen to Songs of Ascent on Bandcamp: https://bit.ly/songs-of-ascent

קוּמִי צְאִי מִתּוךְ הַהֲפֵכָה
רַב לָךְ שבֶת בְּעֵמֶק הַבָּכָא
וְהוּא יַחֲמול עָלַיִךְ חֶמְלָה

קוּמִי רֹנִּי בַלַּיְלָה

לְרֹאשׁ אַשְׁמֻרוֹת
שִׁפְכִי כַמַּיִם לִבֵּךְ

נֹכַח פְּנֵי אדוני

קוּמִי לְכִי רַעְיָתִי

יָפָתִי וּלְכִי־לָךְ
כִּי־הִנֵּה הַסְּתָיו עָבָר
הַנִּצָּנִים נִרְאוּ בָאָרֶץ
עֵת הַזָּמִיר הִגִּיעַ
וְקוֹל הַתּוֹר

נִשְׁמַע בְּאַרְצֵנוּ

Arise! Escape from the midst of the chaos

Long have you sat in the valley of tears

And He will grant mercy, mercy upon you

Arise, cry out in the night

At the beginning of the watches

Pour out your heart like water

In the presence of the Lord

Arise, my darling

My fair one, come away

For now the winter is past

The blossoms have appeared in the land The time of pruning has come

The song of the turtledove

Is heard in our land

Kumi tz’i mitoch ha-hafekha rav lakh shevet be-emek ha-bakha (x2)
Ve-hu yachamol alayikh chemlah (x4)

Kumi roni va-laila le-rosh ashmurot (x2)
Shifekhi kha-mayim libekh nokhach penei Hashem (x2)

Kumi lekhi rayati yafati u’lekhi lakh (x2)
Ki hinei ha-stav avar
Ha-nitzanim niru va-aretz
Eit ha-zamir higia
V’kol ha-tor nishma be-artzeinu

The lyrics for "Kumi" are adapted from several texts: Lecha Dodi from the Shabbat evening liturgy, Lamentations and the Song of Songs. Explore the original sources below and consider how the juxtaposition of these different texts influences the song's meaning. Notice which parts of the original verses were omitted or adapted.

מִקְדַּשׁ מֶלֶךְ עִיר מְלוּכָה

קוּמִי צְאִי מִתּוֹךְ הַהֲפֵכָה

רַב לָךְ שֶׁבֶת בְּעֵמֶק הַבָּכָא

וְהוּא יַחֲמוֹל עָלַיִךְ חֶמְלָּה

O Holy Place of the King, city of sovereignty

Arise, escape from the midst of the chaos

Long have you sat in the valley of tears

And He will grant mercy, mercy upon you

ק֣וּמִי ׀ רֹ֣נִּי בליל [בַלַּ֗יְלָה]

לְרֹאשׁ֙ אַשְׁמֻר֔וֹת

שִׁפְכִ֤י כַמַּ֙יִם֙ לִבֵּ֔ךְ

נֹ֖כַח פְּנֵ֣י אדושם

שְׂאִ֧י אֵלָ֣יו כַּפַּ֗יִךְ

עַל־נֶ֙פֶשׁ֙ עֽוֹלָלַ֔יִךְ

הָעֲטוּפִ֥ים בְּרָעָ֖ב

בְּרֹ֥אשׁ כָּל־חוּצֽוֹת

Arise, cry out in the night

At the beginning of the watches

Pour out your heart like water

In the presence of the Lord!

Lift up your hands to Him

For the life of your infants,

Who faint for hunger

At every street corner.

(י) עָנָ֥ה דוֹדִ֖י וְאָ֣מַר לִ֑י ק֥וּמִי לָ֛ךְ רַעְיָתִ֥י יָפָתִ֖י וּלְכִי־לָֽךְ׃ (יא) כִּֽי־הִנֵּ֥ה הסתו [הַסְּתָ֖יו] עָבָ֑ר הַגֶּ֕שֶׁם חָלַ֖ף הָלַ֥ךְ לֽוֹ׃ (יב) הַנִּצָּנִים֙ נִרְא֣וּ בָאָ֔רֶץ עֵ֥ת הַזָּמִ֖יר הִגִּ֑יעַ וְק֥וֹל הַתּ֖וֹר נִשְׁמַ֥ע בְּאַרְצֵֽנוּ׃

(10) My beloved spoke thus to me, “Arise, my darling; My fair one, come away! (11) For now the winter is past, The rains are over and gone. (12) The blossoms have appeared in the land, The time of pruning has come; The song of the turtledove Is heard in our land.

An early demo of "Kumi" adapted and included additional verses from Lecha Dodi as a coda before bringing it back to the first line of the song:

ק֥וּמִי א֖וֹרִי כִּ֣י בָ֣א אוֹרֵ֑ךְ
עוּרִי עוּרִי שיר דַּבֵּרִי

Get up, my light! For your light has come!

Wake up! Wake up! A song, speak out!

קוּמִי צְאִי מִתּוךְ הַהֲפֵכָה

Arise! Escape from the midst of the chaos

Does this addition/omission change the impact of the song? How?