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This is a Hungarian translation of the tractate Chagigah from the Babylonian Talmud. The Talmud emerged from the Mishnah. Our translation is based on Koren Talmud Bavli, The Noé Edition, Moed Katan, Hagiga (commentary by Rabbi Adin Even-Israel Steinsaltz), a Hebrew/ English Edition published by Koren Publisher, in Jerusalem (2014). In contrast to its name, this tractate’s central theme is the sacrifices brought for the festival days. One of those sacrifices is the peace offering of joy. The Jewish believer is endorsed to be joyful before his God when he appears before Him in his sanctuary.

For centuries, our hymnbooks bring to the fore not only the issue of musical literacy but also tradition. The Reformed church singing in Transylvania and the Partium was determined by traditions rather than by the sheet music itself. From the beginning of the 19th century the Transylvanian hymnbooks were created under the influence of the spirit of the time. A typical example of this is the hymnbook edited under the influence of theological rationalism in 1837. The hymnbook, edited by Seprődi János in 1908, only partially corrected the melody deterioration while the edition of 1923 further preserved the sorting of cut and leveled melodies, which lacked psalms and old Hungarian songs. If we compare the 1837 hymnbook with the one published in 1921 in Debrecen, which also provides balanced melodies, we can see that melodies enriched with melisma remain in practice in Transylvania and this tradition is still preserved in many places to this day.

The congregations of the Reformed Church District of Királyhágómellék and Transylvania replaced the older hymnbooks twenty years ago. The replacement of 1921 hymnbook, previously used in the Partium region, and of the 1923 hymnbook used in Transylvania, opened a new chapter in the church singing practice. When comparing the origin and style layer of the songs in the two hymnbooks, the difference is striking, especially with respect to the 19th century melodies and the amount of 18–19th century ad notam songs in the 1921 hymnbook. From a structural point of view, the Hungarian Reformed Hymnbook focuses mostly on the hymns of the Reformation era and the German choral melodies, quantitatively closely followed by the Anglo-Saxon and Romantic hymns. The other valuable medieval, baroque and 20th century hymns are present in a merely symbolic proportion. During a hymnbook revision, it is not enough to drop rarely used or undervalued hymns. Rather, hymns with weakened influence need to be replaced. This is how we should approach our new hymnbook published nearly a quarter of a century ago. Its substantially new material should be regarded as a “profit” that needs to be discovered repeatedly and adopted in our worship services.