איך וואָלט מיך גערן ערקונדיקט / Ekh volt mekh gern erkindikt / I would like to find out A lament of a childless woman sung by Lifshe Schaechter-Widman [LSW]
photo: LSW with her son Mordkhe Schaechter, Chernovitz, 1930s.
To be a childless Jewish woman – an עקרה (akore) – in the shtetl was a tragedy. In this moving song we hear her lament, comparing herself to a tree that cannot bear fruit and therefore withers away. Very few Yiddish akore songs have been collected. LSW was recorded by Leybl Kahn in 1954, NY. This recording first appeared on the cassette “Az di furst avek: A Yiddish Folksinger from the Bukovina”, Global Village Music, 1986.
Ekh volt mekh gern erkindikt Vus ikh ho azoyne groyse zind. Vus ikh hob mekh azoy farzindikt. Ekh bin farsholtn fin a kind.
I would like to know what great sins have I? How have I so sinned, to be cursed with no children?
Der numen “mame” iz a groys vinder, Voyl iz der mame ven zi azoyns hert. Ekh bin farsholtn fin kinder. “Mame” tsi hern bin ikh gur nisht vert.
The name “mother” is a great wonder. Blessed is the other who hears this word, I am cursed with no children. I am not worthy to hear “mother”.
Vus far a vert hot der boym un peyres in un tsvagn. Er ligt ba dr’erd d in vert getsert Im iz nebekh tsi baklugn.
What good is a tree with no fruit and with no branches? It lays on the ground and withers away. It is only to be pitied.
איך וואָלט מיך גערן ערקינדיקט איך וואָלט מיך גערן ערקינדיקט .וואָס איך האָב אַזוינע גרויסע זינד .וואָס איך האָב מיך אַזוי פֿאַרזינדיקט .איך בין פֿאַרשאָלטן פֿון אַ קינד
.דער נאָמען „מאַמע” איז אַ גרויס וווּנדער .ווויל איז דער מאַמע, וואָס זי אַזוינס הערט .איך בין פֿאַרשאָלטן פֿון קינדער .מאַמע” צו הערן בין איך גאָר נישט ווערט¨
Vi zent ir geveyn? / Where were you? / ?וווּ ביסטו געווען A Holocaust adaptation of a popular Yiddish song. Sung by Rose (Roza/Reyzl) Jaffe. Recorded by Itzik Gottesman at the Worker’s Circle’s “Circle Lodge”, Sylvan Lake, Hopewell Junction, NY, approx. 1987.
Rose Jaffe
Commentary by Itzik Gottesman:
I met Rose Jaffe on the way to the dining hall in the Worker’s Circle retreat at Circle Lodge, approximately in 1986. She was from the town of Khotyn in Bessarabia, today Ukraine.
This song is a Holocaust adaptation of the popular ironic Zionist Yiddish folksong “Avu bistu geven?” which referred humorously to the building of the state of Israel and more specifically to life on the kibbutz. The text and music can be found in Yiddish Folksongs from the Ruth Rubin Archive, p. 235. You can hear Rubin’s field recording of singer Bess Kleinman at this link.
The text of another version can be found in the journal מאסף. M’asef, 3-4, August 1972 from the collection of Menashe Gefen, pages 88 – 89.
In the song Jaffe refers to Fred Sharaga, a representative of the Joint Jewish Distribution Committee who took Jewish orphan children of Romania to safety.
Rose Jaffe has a significant presence on social media. For the Yiddish Forward newspaper she demonstrates how to make kashe varnishkes and has a ten-part autobiography on YouTube. Here is a short interview with her:
Spoken by Jaffe:
“Ikh ken zikh nisht dermonen funem onheyb.” I can’t remember the beginning
Vi zent ir geveyn? Vi zent ir geveyn? Tokhterl mayn getraye. Tokhter mayn getrayer Geveyzn in Kapay Gearbet vi far dray Mame s’iz geveyzn a mekhaye.
Vi zent ir geshlufn ? Vi zent ir geshlufn? Kinderlekh mayne getraye. Kinderlekh mayne getraye. Geshlufn af der brik. Gevorn shir dershtikt. Mame s’iz geveyzn a mekhaye
Vus hot ir gegesn Vus hot ir gegesn? Kinderlekh mayne getraye Kinderlekh mayne getraye. Gegesn kartofle־yukh [yoykh], gegrimt hot es indz in bukh [boykh]. Mame, s’iz geveyzn a mekhaye.
Vus’et [vet] zayn der sof? Vus ‘et zayn der sof? Kinderlekh mayne getraye. Kinderlekh mayne getraye. Sharaga vet kimen Un vet indz farnemen Un in Romanye vet zayn a mekhaye
Jaffee speaks: Sharaga iz geveyn a yid vos er hot aroysgenimen ole kinder vus zenen geblibn nukh der milkhume, un eltern, di yesoymem. Men iz gekimen un m’hot indz genemen, ole genemen keyn Rumeynye in Sharaga iz geveyn eyner fin deym. Sharaga was a Jew who took all the children that were left after the war, without parents, orphans. The came and took all of us to Romania, and Sharaga was one of them.
(spoken) Itzik Gottesman: Ven hot ir dus lid gehert? When did you hear this?
Jaffee: Dus iz geveyn…dus iz a lid fin, arim, dray un fertsik, fir un fertsik. This was around 1943, 1944.
Gottesman: Ir zent geveyn in lager ven ir hot dus gehert? You were in the camp when you heard it?
Jaffee: Ikh bin geveyn in Transnistria. I was in Transnistria
Gottesman: Which ones? Where?
Jaffe: Ikh bin geveyn in Popovits, Shargarod, Kapaygorod; in a sakh pletser. Ober dakht zikh in Popovits hot men indz genemen keyn Berlat. I was in Popovits, Shargarod, Kapaygorod; in many places. But I think in Popovits they took us to Berlat.
Gottesman: Ir zent geveyn a kind? You were a child?
Translation
Where were you? Where were you? My faithful daughter. My faithful daughter. We were in Kapay and labored for three. Mother, it was a pleasure.
Where did you sleep? Where did you sleep? My faithful children. We slept on the floor, we were almost smothered. Mother is was a pleasure.
What did you eat? What did you eat? My faithful children. We ate potato broth It gave us stomach cramps Mother it was a pleasure.
How will this all end? How will this all end? My faithful children. Sharaga will come and take us all away, and in Romania it will be a pleasure.
:דזשאַפֿע איך בין געווען אין פּאָפּאָוויץ, קראָפּאָוויץ, שאַרגעראָד, קאַפּײַגאָראָדץ. אין אַ סך פּלעצער. אַבער דאַכט זיך אין פּאָפּאָוויץ .האָט מען אונדז גענעמען קיין בערלאַט
Ekh in mayn lyubitshke/I and My Darling Sung by Lifshe Schaechter-Widman [LSW], Recorded by Leybl Kahn, NYC 1954
Painting by Yosl Bergner (1920-2017) “The Wedding”
Commentary by Itzik Gottesman
This song has the same melody as the folksong “Hot zikh mir di zip tsezipt” recorded by Ruth Rubin and can be heard as a field recording sung by her in the Ruth Rubin Archive at YIVO.
The melody and text of “Hot zikh mir di zip tsezipt” is printed on p. 94, in the collection Yiddish Folksongs from the Ruth Rubin Archive. Scans of those pages are attached.
The melody also begins the “Rumshinsky Bulgar” recorded by a number of klezmer groups including Marilyn Lerner on her recording “Romanian Fantasy”
LSW’s daughter Beyle Schaechter-Gottesman who heard the song from LSW many times, typed out the words in the 1970s and moved the first fragmented verse of LSW to the last verse. I suggest any singer of this song follow this change which makes sense logically: the couple are married at the end
Thanks to Ruth Rubin Archive at YIVO, Christina Crowder, Josh Horowitz, Joel Rubin, Martin Schwartz and many others who pointed out similar variants.
Ekh in mayn lyubitshke/My Darling and I [Ikh vel zayn dayn ]…tabele. [This should be the last verse not the first] Gliklekh veln mir beyde zan. Az ekh vel zayn dayn vabele un di vest zayn mayn tayerer man
[I will be your dear] dove. How happy we will be, When I am you dear wife And you will be my dear husband.
Ikh un mayn lyubitshke; mayn mame in der mit. Ikh vil mayn lyubitstshke. Mayn mame vil zi nit.
I and my sweetheart; my mother in the middle. I want my sweetheart My mother does not.
Her ikh nisht oys mayn mames reyd Un nem mir mayn lyubitshke Vi’zoy zi shteyt un geyt.
I do not heed what my mother says. And I take my sweetheart Just as she is.
Vayl gelt iz dokh kaylekhik Un gelt geyt avek. Nem ikh mir mayn lyubitshke Un kh’fur mit ir avek.
Because money is round And money rolls away. So I take my sweetheart And go away with her.
Ekh fur mit ir avek biz keyn odes. Shtel mit ir a khipe s’gedoyert a mis-les
I go away with her All the way to Odessa. I stand under the khupe [wedding canopy] with her in less than a day.
My classmate from high school Eric Finkelman sent me this link to a video recording of Fay Webern from the Yiddish Book Center’s Wexler Oral History Project saying, he had heard this song as a kid as well. Let this be the blog’s small contribution to the anti-Putin sentiment we all feel.
Tsar Nikolai, yob tvayu mat.* Zey nor mit veymen di host khasene gehat. A kurve, a blate, an oysgetrente shmate, Tsar Nikolai, yob tvayu mat!
Tsar Nikolai, go f__ your mother. Just see with whom you married. A thieving whore, a used up [sexually] rag Tsar Nikolai, go f__ your mother.
* In Cyrillic it’s ‘ëб твою мать’ (or the way she’s singing it – ‘ëб ваю мат’).
Gur in eyn fintsterer nakht / In a dark night Sung by Goldie Rosenbaum-Miller, Recorded by Michael Kroopkin, Chicago 1965.
photo: “Goldie (left) and sister Hyala Rosenbaum
COMMENTARY BY ITZIK GOTTESMAN
For biographical information on the singer Goldie Rosenbaum-Miller, see the previous post at this link.
Most Yiddish love songs are three, four, maybe five verses long, but here we have a ten verse lyrical love song. Some of the Yiddish lines do not make sense to me (“God, show us your nap”?) We welcome suggestions for other interpretations. Eliezer Niborski helped clarify some lines and suggested corrections in brackets.
Though some of the verses are confusing, Rosenbaum-Miller sings with much self-assuredness in an old, slow Yiddish folksong style.
The two word spoken conclusion “Ende libe”, (“the end of the romance”) implies a ballad-like plot was at play during the performance of this song, but many verses can be found in other Yiddish lyrical love songs.
Thanks again to Rosenbaum-Miller’s great granddaughter Debbie Kroopkin for bringing the home recordings of Goldie Rosenbaum-Miller to the attention of Binyumin Schaechter, longtime conductor of the NYC based Yiddish Philharmonic Chorus.
Gur in eyn fintsterer nakht Sung by Goldie Rosenbaum-Miller
1) Gur in eyn fintsterer nakht. Badekt iz gevorn der himl. In ikh shtey mir in ayn vinkele fartrakht. Got, oy, bavayz shoyn dayn driml.
In a dark night, the sky became covered, and I stand in a corner and think – Oh God, reveal your nap/rest. [?]
2) Lyubtshenyu, dushunyu, leybn, efn mir oyf di tir. Ikh shtey eyne aleyn; hob shoyn rakhmones oyf mir.
My darling, dear one, my love, Open the door for me. I am standing alone – Have pity on me.
3) Ikh hob mir nisht mit veymenen tsu baheftn. Mit keynemen kayn vort tsu reydn. Es geyt mir oys mayne koykhes un kreftn. Dem toyt iz mir optsubeygn [?] [Or – “dem toyt oyf zikh betn”]
I don’t have anyone to connect with. With no one do I have a single word to say. My strength and power are fading. Death is for me to bend [?] [Or perhaps – I wish death upon me.]
Don’t think that because you are the one, you can know what is in my heart. Don’t think that because you are the one, you can know my pain.
5) Mayne eltern tien mir freygn: “Tokhternyu, vus geyst azoy fartribt?” “Muter, kh’en dir nisht fartseyln. Kh’ob mir in eynem ayngelibt.”
My parents ask me: “Daughter, why do you go around so sad?” “Mother, I can’t tell you. I have fallen in love with someone.”
6) Farlibt hob ikh mir in eynem. Vayter, oy, lib ikh nisht keynem Fartseyln ken ikh nisht far keynem, Minhastame, [min-hastam] dekh, i’ mir azoy bashert.
I have fallen in love with someone; none other do I love. I can speak of this to no one. Probably it was so fated.
7) Ikh trink mir un in eyn taykh. Ale mentshn zeyen mit di oygn. Vus toyg mir mayn gelt in mayn raykh? Mayn lyubtshe iz fin mir farfloygn.
I drink much [am drowning?] in a river. All the people watch me with their eyes. What need do I have of my money and my wealth? My darling has flown away. .
8) Er iz fin mir farfloygn durkh eyn ayn vaytn land. Ikh sheym mir oystsuzugn. S’iz mir ayn groyser shand.
He flew away from me, to a distant land. I am ashamed to talk about it. I am so humiliated.
9) Kh’ob nisht gekikt af kayn blote un af kayn reygn. Ikh bin shtendik tsu dir gekimen. Hayntike vokh [Haynt iz gevorn] hobn farvaksn indzere veygn, fin indzern troyerdikn shpatsir.
Neither mud, nor rain prevented me. I still always came to you. This week [today our paths grew together?] our two paths crossed during our sad walk.
10) Kh’o shoyn dir, oy, lang gevolt oyszugn. Farblayb shoyn, oy, mayner af gevis. Haynt ti ikh veynen in klugn. Mayn hofening iz geveyn imzist. [imer zis]
I have wanted to tell you for a long time. Stay mine for sure. Today I cry and moan. My hope was for naught. [was always sweet]
(Spoken) Ende libe…The end of the romance
גאָר אין אַ פֿינצטערער נאַכט געזונגען פֿון גאָלדי ראָזענבאַום־מילער
גאָר אין אײַן [=אַ] פֿינצטערער נאַכט .באַדעקט איז געוואָרן דער הימל .און איך שטיי מיר אין אײַן [=אַ] ווינקעלע פֿאַרטראַכט .גאָט, אוי, באַווײַז שוין דײַן דרימל
In Daytshland aleyn / In Germany Itself A 19th century pogrom song adapted for the Holocaust sung by Goldie Rosenbaum-Miller. Recorded by Michael Kroopkin, circa 1965.
Goldie Rosenbaum-Miller
In daytshland aleyn, hob ikh dort gezeyn zitsn ayn meydl, ayn sheyne, zitsn ayn meydl, ayn sheyne. Ze, zi itstert veynt far yedern farbay geyn, zi beyt a neduve, ayn kleyne,
In Germany I saw there a girl was sitting, a beauty, a girl was sitting, a beauty. See how she cries now, for every passerby. She asks for alms, just a few.
Meydl, di sheyne, di binst azoy eydl. Vus makhsti aza troyerdike mine? Vus makhsti aza troyerdike mine? Dayn sheyne fagur [figur], dayn eydele natur, past dir tsu zayn a grafine.
Girl, you pretty one, you are so gentle. Why do you make such a sad face? Why do you make such a sad face? Your fine figure, your gentle nature – It suits you more to be a countess.
S’iz mir ayn shand, oystsushtrekn man hant tsu beytn ba laytn gelt. Got di tayerer, Got oy mayner Nem mikh shoyn tsi fin ver velt.
I am ashamed to stretch out my hand and beg for money from people. Oh God, you dear one, Oh my God, Take me away from this world.
Hitler mit di katsapn mit zayne vilde lapn. Er hot, dokh, oy, ales fardorbn. Er hot, dokh, oy, ales fardorbn Dos hoyz hot er tsibrokhn Man fater geshtokhn Fin ales [ ?] far toytshrek geshtorbn. Dos hoyz hot er tsibrokhn. Man fater geshtokhn Mayn muter far toytshrek geshtorrbn.
Hitler with his bandits [“Katsapn”: derogatory word for “Russians”] and his wild paws, He ruined everything. He ruined everything. My house was destroyed. My father was stabbed, From it all, they died of terror. My house was destroyed. My father was stabbed, my mother died of terror.
Ven men iz aroys, fun yeydern hoyz s’i geveyn shreklekh tsitsikikn. Hitler mit di bande er hot gefirt di komande. Er hot dokh, oy, ales fardorbn. Hitler mit di bande, Er hot gefirt di komande. Er hot dokh oy ales fardorbn.
When everyone came out of their houses It was a horrible site to see. Hitler and his band, he lead his gang Oh, he ruined everything. Hitler and his band, he lead his gang Oh, he destroyed everything.
Commentary on the Singer Provided by Debbie Kroopkin, Her Great-Grandaughter:
Goldie Miller was born Goldie Rozenbaum in Sokolow Podlaski, Poland on March 4, 1888. She married Nathan Kroopkin in 1909 in Warsaw, emigrating to the U.S. in 1913. In Chicago, she later married Isaac S. Miller. She loved to sing and would often perform at landsmanshaften picnics. According to a family story she was asked to sing professionally in Poland “but chose to raise a family instead”. She died on April 23, 1973 in Chicago.
But this version, “In Daytshland aleyn” sung by Goldie Rosenbaum-Miller, has converted it into a Holocaust song accusing Hitler of the destruction. “Katsapes”, a derogatory term for “Russians” that made more sense in the earlier pogrom versions, is kept in this Holocaust adaptation though historically it doesn’t fit it in.
Thanks to Goldie Miller’s great-grandaughter, Debbie Kroopkin, who brought this family recording to the attention of Binyumen Schaechter, conductor of the Yiddish Philharmonic Chorus in NYC.
אין דײַטשלאַנד אַליין געזונגען פֿון גאָלדי ראָזענבאַום-מילער ,אין דײַטשלאַנד אַליין, האָב איך דאָרט געזען
Za górami, za lasami / Inter di berglekh A Macaronic Polish Yiddish dance song sung by Sara Rosen. Recorded by Itzik Gottesman, 1989. NYC photo.
Dancing a Polka
Spelled in Polish
English translation
Za górami, za lasami, Tańcowała Małgorzatka z Góralami. Tańcowała Małgorzatka z Góralami. Przyszedł ojciec, przyszła matka, Chodź do domu, chodź do domu, Małgorzatka! Chodź do domu, chodź do domu, Małgorzatka! Ja nie pójdę. Idźcie sami! Ja tu będę tańcowała z Góralami. Ja tu będę tańcowała z Góralami. I nie poszła. I została.Tańcowała z Góralami. Aż do rana. Tańcowała z Góralami Aż do rana.
Over, beyond mountains and forests, Margaret danced with the Highlanders (click here info on Polish Highlanders). Father came, and mother came. Come home, Margaret! I won’t go. Go by yourselves! I’ll dance here with the Highlanders. And she didn’t go. Instead she stayed. She danced until dawn with the Highlanders.
Yiddish words: (H)Inter di berglekh, (H) inter di felde hot getantsn Malke-Zlata mit di zelners.
[talks]
Behind the hills, behind the fields, danced Malke-Zlata with the soldiers
Gekimen di mame, gekimen der tate “Kim ahaym, kim ahaym Malke-Zlate”
Her mother came, her father came, “Come home, come home, Malke-Zlate”
“Ikh vil nisht gayn, gayts aleyn. Ikh vil du tantsn, ikh vil du hotsken mit Dragayn.”
“I don’t want to go, go by yourselves. I want to dance, i want to with the Dragoons.”
Iz zi nisht geganen, iz es geblibn. Z’hot getantsn, z’hot gehotsket biz a zeyer zibn.
So she didn’t go and it stayed the same. She danced and shook till seven o’clock.
הינטער די בערגלעך, הינטער די פֿעלדער .האָט געטאַנצן מלכּה־זלאַטע מיט די זעלנערס ,געקומען די מאַמע, געקומען דער טאַטע „.קום אַהיים, קום אַהיים מלכּה־זלאַטע” „איך וויל נישט גיין, גייט אַליין” “.איך וויל דאָ טאַנצן, איך וויל דאָ האָצקען מיט דראַגײַן” .איז זי נישט געגאַנגען, איז עס געבליבן .ז’האָט געטאַנצן, ז’האָט געהאָצקעט ביז אַ זייגער זיבן
Commentary by Itzik Gottesman
The old Polish folksong “Małgorzatka” also known as ” Za górami” is well known. Less known is this macaronic version with Polish and Yiddish. Sara Rosen, born in Krakow, sings it in a polka rhythm. According to Polish music websites, the song in Polish has roots going back to the 16th century and might have started out as a beggar’s song. A Polish website with many versions in Polish can be found here, and additional information on the song is at this Polish website.
Gila Flam, director of the Music Department of the Jewish National and University Library, recorded a Lodz ghetto adaptation written in Polish by Miriam Harel. She discusses the song in her work Singing for Survival: Songs of the Lodz Ghetto 1940-1945, pages 121-22. Here is the recording:
Thanks to: Polish singer and researcher Mariza Nawrocka for information and the links to the Polish song; to Gila Flam for her recording; to Paula Teitelbaum who printed the words in Polish and the translation from the Polish. Also thanks to Karolina Koprowska.
Der yold iz mir mekane / The fool envies me A song from the Jewish underworld sung by Yetta Seidman Recorded by Gertrude Nitzberg, Baltimore 1979, collection of Jewish Museum of Maryland
TRANSCRIPTION AND TRANSLATION (Yiddish transcription at the end of this post)
Der yold iz mir mekane. Der yold iz mir mekane. Der yold iz mir mekane far mayn urem shtikele broyt. Er vil fin gurnit visn, vi ikh ver oysgerisn Es kimt mir un biter vi der toyt.
The sucker/fool/patsy envies me. The fool envies me. The fool envies me because of my dismal piece of bread. He doesn’t want to know how I suffer. It is as hard for me as death.
Mayn mame in mayn tate, zey zenen geveyzn blate. Fin kayn tsuris hob ikh bay zey keyn mol nit gevist. Ven ikh bin gevorn elter, zenen zey gevorn kelter in ganvenen hot zikh mir farglist.
My mother and my father; they were in the underworld. I did not know of any troubles with them. When I got older, they became colder, And I got the desire to steal.
Ikh gey aroys in market, in khap zikh tsi a pocket. A mise-matn [mase-matn] hob ikh zikh dortn ungemakht. Es kimt tsi geyn a yenta, in brengt mit zikh a mente in in “Steyshun-hoyz” hot men mir gebrakht.
I go out into the market, and pick a pocket, I committed a theft [literally – transaction] over there. A trouble-making woman comes over and brings with her a cop and to the Station House I was brought.
In droysn geyt a reygn, in droysn geyt a reygn. Se iz zikh shoyn ongefaln a kleyn bisele shney. Ale mayne yurn in “prizin” upgezesn, Az yeder eyver tit zikh mir shoyn vey.
Outside it’s raining; outside it’s raining. A small bit of snow has already fallen All of my years I spent in prison So every part of me hurts.
COMMENTARY BY ITZIK GOTTESMAN
Probably the most popular of the Jewish underworld songs, there is an East European version and an American version. Seidman sings the American version which includes the English language words “market” “pocket” “station house” and “prison”.
Those words are not found in the East European version. But on both sides of the Atlantic the Yiddish underworld slang words are kept – “mente” (policeman), “blate” (criminal) “mase-matn” (a theft, a criminal act but literally “transaction”).
Image: M. Leizerowicz in the play “Motke Ganef” by Sholem Asch from the Yizkor (Memorial) Book of Piotrkow Trybunalski
The song often begins with the verse “In droysn geyt a regn mit a kleyn bisele shney” and for those grammarians out there – the first line is usually sung “Der yold iz mikh mekane”.
Another version of the song, with a slightly different melody can be heard in the YIVO Ruth Rubin archive. On this 78 rpm record Morris Goldstein sings the original (?) American version (1922):
The song is featured in the film “Image Before My Eyes” (1980) sung by Lillian (Leyele) Klempner. According to Lehman in his collection Ganovim-lider (1928), the song was written during the German occupation of WW1. Scans of Lehman’s version from Poland, words and music, are attached. Also see Jane Peppler’s comments on the song:
Shabes nukh dem kigel /Sabbath, after the kugel [potato pudding] Sung by Malka/Molly Lubelski, recorded by Abraham Lubelski, Bronx 1967
Malka Lubelski with son Abraham in Post-WWII Germany
COMMENTARY BY ITZIK GOTTESMAN A love song from the 19th century apparently in the repertoire of the Broder zingers, itinerant singers and actors who often performed in taverns and wine cellars. A different version of this song can be found in the collection Broder zinger (1960) by Shlomo Pryzament (scan attached), with text and music. The singer Masha Benya recorded this Pryzament version which is sung from the man’s point of view. Here is the link to Benya’s recording from her LP record Jewish Song Treasury, Volume 2.
Molly Lubelski’s version differs significantly textually and is sung from the girl’s point of view. Her referring to her “Madam” implies that the singer works for her in some capacity or the Madam is her landlady, or perhaps it’s an ironic way to refer to her mother. There is another song from the Yiddish theater entitled “Shabes nokhn kugl” , which is a completely different song and has been recorded several times. The words and music to that theater song can be found in Jane Peppler’s Yiddish Songs from Warsaw 1929-193: The Itzik Zhelonek Collection.
For biographical information on Malka Lubelski see the previous post “Vi iz dus gesele”.
Shabes nukh dem kigl sung by Molly Lubelski
Shabes nukh dem kigl geyt mayn madam tsu gest. Es kumt tsu mir mayn khusn un drikt un kisht mikh fest.
Sabbath after the kugel, my madam goes out to visit. So my future husband then comes to me and squeezes and kisses me strongly.
Tsvay upgeglantste shtivl, dus hitl in a zayt er iz an oysgedinter, fardint un iz a layt.
With two shiny boots and his cap worn to the side, he has served in the military, and earns a reasonable living.
Bald nokh dem esn geyen mir paze taykh. Es zenen undz mekane say urem un say raykh.
Right after eating, we walk along the river. Everyone envies us, the poor and the rich.
Ikh trug a nay klaydl, tsvay oysgekemte tsep. Ikh bin a shayn maydl un ikh fardray di kep.
I’m wearing a new dress, and have combed my braids. I am a pretty girl and heads turn when I pass.
Nor im lib ikh un er hot dus der vert. Er iz der shenster bukher der shenster oyf der erd.
But he is the one I love, and he is worth it. He is the handsomest man, the best looking in the world
Er zugt er vet mikh nemen un shteln a khupe oykh. O, klezmer veln shpiln, oy, az s’vet geyn a roykh.
He says he will take me and marry me. O, klezmers will play so well oy, that smoke will rise.
Un mayn madam vet shenken tsvey kishn un a klayd. Oy, vet zayn a simkhe, oy, vet zayn a frayd.
And my madam will give as gifts – two pillows and a dress. Oy, there will be a celebration oy, there will be joy.
un mashke vet men trinken vifl s’vet arayn, un shabes nukh deym kigl kumt mayn madam tsu geyn.
We’ll drink whiskey as much as we can. Sabbath after the kugel my madam goes out to visit.
שבת נאָך דעם קוגל געזונגען פֿון מלכּה (מאַלע) לובעלסקי
שבת נאָך דעם קוגל .גייט מײַן מאַדאַם צו געסט עס קומט צו מיר מײַן חתן .און דריקט און קושט מיך פֿעסט
Vi iz dus gesele? / Where is the street? A Holocaust adaptation written and sung by Malka and Josef Lubelsksi recorded by Abraham Lubelski, Bronx 1967
On the Lubelski family by Abraham Lubelski
Malka (Male, Molly, Minska) Lubelski (1920 – 1996) was born in Lodz, Poland. She and her husband, Laibish Holcman, left Lodz in 1939, as the Nazis were invading, and headed East to the Soviet Union. With them was Malka’s sister, Chana, and her brother, Yasha. They were attempting to find Malka’s uncle in Ukraine.
They were diverted by Soviet authorities to Siberia, ending up in the town of Magnitogorsk. Here their son, Abram [Abraham], was born. They were finally given permission in 1941 to travel to their uncle’s home in Ukraine, arriving in Kharkov just as the Nazis invaded. They never reached their uncle and he was never heard from again. Laibish Holcman disappeared in 1941, soon after joining to fight with the defending Soviet Army.
They left behind their mother, a younger sister Ruth (Rivka) and three younger brothers, Motel, Laibel and Avrom. Malka, Chana, Yasha and Rivka survived the Holocaust. Their mother, Nacha, was taken from the Lodz ghetto and never heard from again. The three younger brothers also did not survive; one died in the ghetto and the other two died after being transported to Auschwitz. The four surviving siblings were reunited in 1946 in the Displaced Persons camp. All emigrated with their new families to the US in ’49-’50.
From Siberia, Malka and her son traveled on to Tashkent, Uzbekistan, where Malka met Josef Lubelski (1906 – 1972) originally from Kalisz, Poland. Malka’s siblings, Chana and Yasha, also were able to travel to Tashkent. From there they returned west at the war’s end, searching for surviving family, Malka, Josef and Abram eventually making their way to the DP camp in Berlin. They transferred and were reunited with Rivka in the Leipheim, Germany DP camp. In the camp, Josef established a troupe and directed an ensemble of friends and actors. Josef and Malka sang duets and performed Yiddish monologues and Shakespeare. They were legally married in the DP camp in 1948.
As their son (Abram) I remember sitting in the front row of the theater watching their vaudeville performances and dramas with awe. Josef did classic “retsitatsyes” [recitations] often dressed like Charlie Chaplin or as a Jewish peddler making the audience laugh as he magically pulled things out from his long black overcoat and tried to sell a chicken here, pots and pans there or a “valgerholts” [rolling pin] with which to beat husbands. They traveled to DP camps performing on week-ends and I cried if they left me behind so eventually they had me come along as the child actor in one or two Yiddish plays.
In 1950 they emigrated to the US. and performed their songs occassionaly at Workmen’s Circle gatherings. In 1967 I recorded Josef’s monologues and Molly and Josef singing duets. I remembered my mom sitting alone on the stage dressed in black mourning singing “Vu iz dos gesele,” “Tsen brider” and “Akhtszik er un zibetsik zi”, …. Never forgetting the warming spirit trying to revive the people around them.
More on the Lubelski family can be read in the two memoirs The Cage (1980) and To Life (2000) by Ruth Minsky Sender.
Commentary by Itzik Gottesman
Today’s post is the first of three songs performed by Molly and Josef Lubelski that we will post. We thought it particularly appropriate to post “Vi iz dus gesele” to mark Kristallnacht on Nov. 9th. Though these songs were recorded in 1967, two decades after the war, they still convey the emotional performance of the artists.
The Lubelskis sing a Holocaust themed adaptation of a popular song “Vu iz dos gesele”. Their son Abraham believes they created the text. I have not found it in collections of Holocaust Yiddish songs. The words and music to the original song can be found in the Mlotek collection Songs of Generations. There are also Ukrainian, Russian and Hebrew versions of the older song.
Here is a link to an orchestrated version of the original song “Vu iz dos gesele” sung by Jan Peerce:
TRANSLITERATION, TRANSLATION & TRANSCRIPTION Folksong with new words by Malka and Josef Lubelski
Vi iz dus gesele? Vi iz di shtib? Vi iz mayn mishpokhe, vus ikh hob azoy lib? Nishtu shoyn dus gesl, tsebrokhn di shtib farbrent mayn mishpokhe vus ikh hob azoy lib. Nishtu shoyn dus gesl, tsebrokhn di shtib, farbrent mayn mishpokhe vus ikh hob azoy lib.
Where is my street? Where is my house? Where is my family that I onced loved? The street is no more.The house is broken. Burned up is the family that I loved so much.
Vi zenen di zingendike, tantsndike kinder? Vi zenen zey ale atsinder? Tserisn, tseshtokn, tsetsoygn. Der mamen, der mamen, der mamen in di oygn. Tserisn, tseshtokn, tsetsoygn. Der mamen, der mamen, der mamen in di oygn.
Where are the singing, dancing children? Where are they now? Torn, stabbed and pulled apart in their mothers’, their mother’s eyes.
Vi iz di shil? mitn gildenem orn-koydesh? Der shabes, der yontif? rosh-khoydesh? Farbrent iz di shil, farbrent oykh di sforim; fun gantsn shtetl, geblibn iz bloyz kvorim. farbrent iz di shil, farbrent oykh di sforim, fun gantsn shtetl, geblibn iz bloyz kvorim.
Where is the synagogue with the golden Holy Ark? The sabbath? The holiday? The beginning of each month? The synagogue is burned down, as well as the holy books. Of the whole town, only graves remain.
Gekumen iz der tug far nekume far dem blut far yedern gesl, far yederer shtub. Ot iz der tug – azoy zet er oys. Ober der khezbn, der khesbn iz tsu groys. Ot iz der tug – azoy zet er oys. ober der khezhbn, der khesbn iz tsu groys.
The day for revenge has come for this blood, for every street, for every house. The day has come – this is how it looks. But the reckoning, the reckoning is too great.
געזונגען און באַאַרבעט פֿון מלכּה און יוסף לובעלסקי
רעקאָרדירט פֿון אַבֿרהם לובעלסקי, בראָנקס 1967
?וווּ איז דאָס געסעלע? וווּ איז די שטוב ?וווּ איז מײַן משפּחה, וואָס איך האָב אַזוי ליב ,נישטאָ שוין דאָס געסל, צעבראָכן די שטוב .פֿאַרברענט מײַן משפּחה וואָס איך האָב אַזוי ליב ,נישטאָ שוין דאָס געסל, צעבראָכן די שטוב .פֿאַרברענט מײַן משפּחה וואָס איך האָב אַזוי ליב
?וווּ זענען די זינגענדיקע, טאַנצנדיקע קינדער ?וווּ זענען זיי אַצינדער ,צעריסן, צעשטאָכן און צעצויגן .דער מאַמען, דער מאַמען, דער מאַמען אין די אויגן ,צעריסן, צעשטאָכן און צעצויגן .דער מאַמען, דער מאַמען, דער מאַמען אין די אויגן
?וווּ איז די שיל מיטן גילדענעם אָרון־קודש ?דער שבת? דער יום־טובֿ? ראש־חודש .פֿאַרברענט איז די שיל, פֿאַרברענט אויך די ספֿרים .פֿון גאַנצן שטעטל געבליבן בלויז קבֿרים
Yiddish Song of the Week 