The hymn En Kelohenu (p. 120) may be sung to a wide selection of different melodies. On regular weekdays it is simply read through in the general Psalmody chant, but on Sabbaths and other festive occasions it is sung fully:

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This is the basic Sabbath chant for this hymn – the same as the basic tune for Yigdal and Adon ‘Olam, although with a different ending. If there is any special or festive occasion, we generally use a different tune.

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This melody is quintessentially S&P, and may be used for several different prayers. It first appears in 18th century Amsterdam manuscripts, where it is referred to as “Italian Hallel”.

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Another ubiquitous S&P melody, sung to several different prayers. It is known as the “Great Kaddish”, after its use in the Kaddish Yehe Shelama on Festival evenings.

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A setting by Charles Salaman, organist of the West London Synagogue in the mid-nineteenth century.

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A composition by Samuel de Sola, son of the famous David Aaron de Sola, and Hazan of Bevis Marks in his own right in the latter part of the 19th century

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A setting by Samuel Naumbourg, a prolific French Hazan and composer of the mid-nineteenth century. Originally set to the Ashkenazi version of the text, it was adapted for Sephardi use by C. G. Verrinder, organist at the West London Synagogue.

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Adapted from the chorus “See the Conq’ring Hero Comes” by G. F. Handel, best known from his oratorio Judas Maccabaeus, although it was re-used there from his earlier work Joshua. This melody is sung in synagogue on the Sabbath which falls during the festival of Hanukah.

This recording is from the CD “A Sephardi Celebration”, 2004.

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Another traditional S&P melody, which is used for several parts of the service on the last days of each of the three Pilgrimage Festivals – the eighth day of Passover, the second day of Shabu’ot, and Simhat Torah. The name means “Farewell”.