Archive for the Main Collection Category

“Shtey ikh mir in ayn vinkele” Performed by Itka Factorovich Sol

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 29, 2017 by yiddishsong

 

 

Commentary by Itzik Gottesman.

This week’s Yiddish Song of the Week is a beautiful submission from Steve Balkin – a 1958 recording he made in Detroit on a Webcor reel to reel tape recorder of his grandmother, a wonderful singer, Itka Factorovich Sol.

IMG_2089

Itka Factorovich Sol (left), pictured with her younger sister Channa-Leya “Lizzie” Factorovich in the City of Chernigov, Ukraine, ca. 1910. Courtesy of Steve Balkin.

Balkin writes the following about her:

My bubbe Itka Factorovich Sol (shortened from Zolotnitsky) was from Chernigov, Ukraine (Ukrainian – Chernihiv, Yiddish – Tshernigov) but it might have been Russia then. She spoke Russian and Yiddish, and a little English. She and my zeyde Nathan Sol (Nauach Zolotnitsky), living in Neshin, migrated to Chicago in 1912 and owned and ran a fish store. Up above the fish store lived Menasha Skolnick’s sister. Later in 1955 she moved with us to Detroit. Since my mother worked, she spent a lot of time raising me. She kept a kosher house, sang a lot of lullabies, and was a great baker and cook.  I still have the taste of her taiglach (small, knotted pastries boiled in honey) on my tongue. 

IMG_2092

Itka Factorovich Sol (center) with her sisters at a party in New York City, 1948. Courtesy of Steve Balkin.

This is yet another Yiddish song about a drunk who has a conversation with the moon and beats his wife. (See: “Ekh zits mir in shenkl” [“I sit in the tavern”] sung by Michael Alpert on the CD The Upward Flight: The Musical World of S. An-sky and the commentary there.) In fact the number of Yiddish songs about drunks is large enough to form its own section – “Shikurim-lider” – in Folklor-lider vol. 2, Moscow, 1936.

In this song the singer refers to the “monopol”. The liquor store in Russia under the Czar was referred to as the “monopol”, since the Czarist regime had full control over it.

I found two textual variants of this song, and screen shots of them are included at the end of the post. “Epes tut mir mayn harts zogn” is found in Skuditski/Viner Folklor-lider Moscow, 1933, page 141, #12. “Monopol, monopol” is in Skuditski/Viner Folklor-lider, vol. 2 , Moscow 1936, page 263-264, #5.

The last line in Sol’s version “…un lozt mir gornit oys” – “…and does not leave me out” – doesn’t quite fit if I understand it right. In these two other versions there are alternate lines which fit better. “Zi lozt mir afile eyn tropn. In gantsn gist zi dos oys” – “She doesn’t leave me a drop. She pours the whole thing out” (in “Monopol, monopol”).  “Oy gevald ikh halt dos nit oys” – “Oy, help, I can’t stand it” (in “Epes tut mir mayn harts zogn”)

Thanks to David Braun for assistance with the Yiddish text.

 

Shtey ikh mir in ayn [=a] vinkele
eyner aleyn.
In mayne oygn iz mir finster;
ze nit vuhin tsu geyn.

Shiker iz di gantse velt.
S’zet zikh (?) dokh aleyn
un di veg iz mir farshtelt.
Ikh ze nit vuhin ikh gey.

Ot ersht, ot ersht hot di levone geshaynt.
Zi hot azey likhtik geshaynt.
Mit a mol hot zi ir ponim farshtelt
Azey vi unter [=hinter] a vant.

Di levone vil a bisele bronfn,
A make hot zi gelt.
Hot zi zikh far mir farshemt
un hot ir ponim farshtelt.

Levone, levone, kum aher,
ikh vel dir epes zogn.
Di velt lozt zikh nokh nit oys;
Ikh ken dir an eytse gebn.

Ikh hob far dir ayn [=a] gutn plan.
Du zolst mikh nor oyshern.
Kum mit mir in monopol,
Farzetsn a por shtern.

Epes tut mir haynt mayn harts zogn
gor a naye zakh.
Ikh vil haynt mayn vayb shlogn.
Es vet zayn zeyer glaykh.

Di letste fleshl fun tsu kopnl
nemt zi bay mir aroys
un trinkt oyset biz ayn [=a] tropn
un lozt mir gor nit oys.

Just standing in a corner
all alone.
My eyes see darkness,
I don’t see where to go.

The whole world is drunk.
That everyone can see.
And the road is hidden.
I cannot see where to go.

Just now, just now the moon was shining,
She shone so brightly.
Suddenly she covered her face,
as if behind a wall.

The moon wants a little whiskey.
But money she has none.
So she was shamed before me,
and covered up her face.

“Moon, moon come over here
I want to tell you something.
The world is not coming to an end;
So let me give you some advice.

I have for you a good plan
Please hear me out.
Come with me to the “monopol”  [=liquor store]
We’ll pawn a few stars.”

Something told my heart today
something brand new.
I want to beat my wife;
that will be well deserved.

The last bottle that’s by my head
She takes away from me.
She drinks it down to the last drop
and does not leave me out.

itka1itka2itka3

“Epes tut mir mayn harts zogn” is found in Skuditski/Viner Folklor-lider Moscow, 1933, page 141 #12:

epes1epes2

“Monopol, monopol” is in Skuditski/Viner Folklor-lider, vol. 2 , Moscow 1936, page 263-264, #5:

monopol1monopol2

“Mentshn getraye: a matse-podriad lid” Performed by Jacob Gorelik

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , on April 22, 2017 by yiddishsong

Commentary by Itzik Gottesman

This year’s Passover is now complete, so please save this song for next year’s festival!

Mentshn getraye: a matse-podriad lid is the second matse-baking song we have posted on Yiddish Song of the Week. The first was “Mir nemen veytslekh”, sung by Dora Libson.  Mentshn getraye was recorded from Jacob Gorelik by Michael Alpert and me in New York City in 1984, and Alpert later recorded his own performance of the song on the Lori Cahan-Simon Ensemble’s CD Songs My Bubbe Should Have Taught Me: Volume One: Passover.

MatseBaking

Pre-war matse baking [from the Yad-Vasham Photo Archives]

In this posting we present original field recording of that song. The tradition of Matse-podriad continues in religious Jewish circles today and one can see samples of it on the internet. The spirit has remained jovial, often musical, over the years. Here is a current example with the Mishkoltz Rebbe:

Jacob Gorelik introduces the song with these words:  “…the second song I heard in my town. My mother and other mothers sang it. It was called the “Matse-podriad-lid”.  In town there was a custom, that once a year when Passover came, money was collected especially for poor people who could not buy matse, could not buy wine. Help! No way to celebrate Passover. It [custom] was called moes-khitin. That was one thing.

The second thing was – the matse was the primary thing. So the whole town got together and there was complete unity – the orthodox, the “modern” ones, the Zionists,  Bundists, socialists. They used to rent a house with an oven, and buy wood, buy flour and hire people to bake the matse. And this was called a community “matea bakery” by the entire Jewish community.

And as someone once asked – when you sing, or you do something good – do you do it for youself or for the other person? It was a combination. One had it mind that you were doing it for the poor. You were baking matse for them. But at the same time, at that time it was a joy in town becasue it was  a boring life.  It was also an opportunity for girls and boys to get together. And we used to sing and this is one of those songs that were sung. Who composed the song…This song is light verse. It’s not ‘pure’ poetry; but it’s humorously colored. According to what Mendel Elkin once told me the writer was Tunkel – or “The Tunkeler” [The dark one] his pseudonym.

The melody, I learned later when I was living in America, comes from a Ukrainian song “Nutshe Khloptse”. And now the song:

Mentshn getraye, farnumene un fraye,
Bay vemen es iz nor tsayt faran.
Git aher ayer pratse, un helft bakn matse,
dem noyt-baderftikn man.

Hentelekh ir kleyne, eydele un sheyne,
bikhelekh nor trogn ir kent.
Pruvt nor visn, eyn mol in Nisan
dem tam fun mazolyes af di hent.

Ir gvirishe meydlekh, helft kneytn teyglekh
mit ayere vaysinke hent.
Teygelekh geknotn vi Got hot gebotn,
Kosher un erlekh un fayn.

Spoken: A freylekhn Peysekh! Flegt men zogn  alemen.

TRANSLATION

Dear people, those who are busy, and those who are free.
Whoever has some time to spare.
Donate your labor to help bake matse
for the man in need.

Little hands, delicate and beautiful,
who only could carry books.
Get to know at least once during the month of Nisan,
the taste of calluses on your hands.

You well-off girls, help knead the dough
with your white hands.
Flour all kneaded, as God has commanded,
Kosher, and honest and fine

Spoken: “Happy Passover!” Is what we wished everyone.

MatsaBakingYID-page-001MatsaBakingYID-page-002

CROP 3 MatsaBakingYID-page-003

Though Gorelick was from Byelorussia, the song text is also found in the writings of Galician writer Soma Morgenstern, who quotes it in his book “The Third Pillar” (1955), page 59, translated from the German [see below]. I have yet to find this poem in Der Tunkeler’s writings.

Morgenstern Cropped

“In toyznt naynhindert ferter yor” Performed by Feigl Yudin

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , on April 7, 2017 by yiddishsong

Commentary by Itzik Gottesman.

In toyznt naynhindert ferter yor (In the Year One Thousand Nine Hundred and Four), performed here by singer Feigl Yudin for a 1980 (circa) concert produced by the Balkan Arts Center (now the Center for Traditional Music and Dance) is one of a number of Yiddish songs about the Russo-Japanese war; a conflict that was fought between the Russian Empire and the Empire of Japan from 1904 – 1905.

The build-up to the war began in the late 1890s as one can see from the variants of this song which all begin with a different year – 1899 – “In toyznt akht hundert nayn un nayntsiktn yor”. See: Beregovski/Slobin Old Jewish Folk Music page 231, with music, and also see the endnotes there for other variants. A version is also found in Yiddish Folksongs from the Ruth Rubin Archives (ed. Slobin/Mlotek, 2007) with music.

At the bottom of this post we have attached an interview with Yudin from an issue of the magazine Sing Out!, Volume 25, #5, 1977.

Another Yiddish song from the Russo-Japanese war – “Di rusishe medine” – sung by Majer Bogdanski can be heard on his CD “Yidishe Lider”  (Jewish Music Heritage Recordings, CD 017.)

I received help with the text of Yudin’s song from Paula Teitelbaum, Jason Roberts, Sasha Lurje and Zisl Slepovitch. Though, I am still not sure, in the first verse, what is meant by the expression di godnikes por/ gor (?) Your comments on this are welcome. Also note she does not sing the obvious dialectical rhyme in the third verse “miter” with “biter”.

1) Toyznt naynhindert ferter yor,
Iz geven in Rusland a shlekhter nabor
Men hot opgegebn di gotnikes po/.gor (?)
Far mir iz geblibn di ergste fir yor.

2) Zay zhe mir gezunt mayn tayerer foter,
A gantse fir yor verstu nebekh fin mir poter.
Oy, zay zhe mir gezunt un bet far mir Got,
Men zol mir nit naznatshen in dalniy vostok.

3) Zay zhe mir gezunt mayn tayere muter.
Dir iz dokh shlekht un mir iz dokh biter.
Oy, zay zhe mir gezunt un bet far mir Got,
Men zol mir nit naznatshen in dalniy vostok

4) Zay mir gezunt mayn tayere kale.
Nokh dir vel ikh benken, oy, mer vi nokh ale.
Oy, zay zhe mir gezunt un bet far mir Got,
Men zol mir nit naznatshen keyn dalniy vastok.

5) Dalniy vostok volt geven on a sakone
Es zol nor nit zayn vi a panske milkhome.
Oy, zayt zhe ale gezunt un bet far mir Got.
Men zol mir nit naznatshen oy, in dalniy vastok.

1) The year one thousand nine hundred and four,
there was a terrible recruitment/draft.
A few recruits were sent into service –
These were my worst four years.

2) Fare well my dear father,
Alas, four long years will you be rid of me
O, fare well and pray to God,
They should not assign me to the Far East.

3) Fare well my dear mother,
You feel so bad and I feel miserable.
O, fare well and pray to God,
They should not assign me to the Far East.

4) Fare well my dear bride.
I will long for you, o, more than the rest.
O, fare well and pray to God,
They should not assign me to the Far East.

5) The Far East would be without danger
if there were no lordly war [war created by the Lords].
O, fare well and pray to God,
They should not assign me to the Far East.

1904a1904b1904c

SOvol25#51977-p1bd4ts7c7qcim261c0i1hcp1kq1Yudin2-p1bd4ttk761lg51o7810fc42vjhjYudin3-p1bd4tvit71g751v261cv0hm415f5Yudin4-p1bd4u08aq174gptkan5vjj1bbo

“Beymer hakt men fun veldl aroys” Performed by Zelig Schnadover

Posted in Main Collection with tags , , , , , , , , , , on March 22, 2017 by yiddishsong

Commentary by Itzik Gottesman.

While in Mexico City in 1988, Zelig Schnadover sang Beymer hakt men fun veldl aroys (Trees are Chopped Down in the Woods) for me, a song he remembered learning in Poland.

slavuta rynek

Pre-revolutionary view of Zelig Schnadover’s hometown, Slavuta, Ukraine
(picture from www.jewua.org)

I cannot find other variants but would not be surprised if the melody turns out to be from a popular Polish song of the 1920s. Though he was raised in the Ukraine and Poland, Shnadover sings in a “standard Yiddish” with hardly any dialectical features.

Transliteration

Boymer [beymer] hakt men fun veldl aroys.
Shtern faln un leshn zikh oys.
Un shver iz der veyg durkh dem zamd.
Ober vi gut iz undz beyde baynand.

Fun der vaytns hert zikh a lid,
Un mir geyen un vern nisht mid.
Un vi shver iz der veg durkh dem zamd.
Un vi gut iz indz beyde baynand.

Translation:

Trees are chopped down in the woods.
Stars fall and are extinguished.
And hard is the path through the sand;
But how good we feel when we’re together.

In the distance we hear a song.
and we walk and do not tire.
And hard is the path through the sand,
And how good we feel when we’re together.

beymer

“Mir af a shifl, dir af a lotke” Performed by Zelig Schnadover

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , on March 7, 2017 by yiddishsong

 

Commentary by Itzik Gottesman.

Arie

This  one-verse song ‘Mir af a shifl, dir af a lotke’ (“A Boat for Me, a Canoe for You”) was performed by Zelig Schnadover, and recorded by Itzik Gottesman in Mexico City, 1988. Curiously, the first line from this ditty appears under the boat in the above 1960s painting of the Israeli artist Arie Aroch (1908-1974), who spent his childhood in Kharkov (Kharkiv), Ukraine.

Zelig Schnadover was born in 1907 in Slavuta [Yiddish – Slavite סלאַוויטע ] Ukraine. In 1920 they “escaped the Bolsheviks” and the family went to Poland. He had his bar-mitsve in Brody, [Yiddish – Brod], Poland. He lived in Poland until 1926 and learned the song there. Schnadover emigrated to Mexico City in 1926/27.

ZeligFoto

Zelig Schnadover

To make money in the early years in Mexico City Schnadover was part of a group of singers who provided the soundtrack to silent movies, many of them Russian, so they sang Russian songs. They didn’t have much time to prepare – usually they had not seen the movie earlier so amusing things happened. An example he gave was for Abel Gance’s film  Napoleon. The group was still singing a waltz as the projector was already showing a battle scene. When I knew him he had been the longtime owner of a stationary store, a papeleria, near the center of the city, the Zocolo.

Mir af a shifl,
Dir af a lotke.
Mir a sheyn meydl
Dir a tshekhotke

Me on a boat,
you on a canoe.
Me – a pretty girl
You – one with tuberculosis. 

After the initial posting, musicologist Dmitri “Zisl” Slepovitch pointed out a connection to a song he had recorded from Sterna Gorodetskaya in Mahilyow (Mogilev), Belarus, which was posted earlier to the Yiddish Song of the Week.

Also, a variant of the song from Brest-Litovsk (Yiddish – Brisk, now in Belarus) appears in I. L. Cahan’s 1912 collection with no music but with a second verse and presents it as a dialogue. The first verse sung by “He”, the second one by “She”.

Er:
Ikh af a shifele
Du af a lodke,
Ikh a soldat,
Du a soldadtke.

Zi:
Ikh af a shifele
Du af a lotke;
Ikh a sheyn meydele,
Du a sukhotke.

He:
I on a boat
You on a canoe.
I – a [male] soldier
You – a [female] soldier. 

She:
I on a boat,
You on a canoe
I – a pretty girl
You – a girl with tuberculosis.

Here is how it appears in Cahan’s 1912 collection:

CahanYID1912

Special thanks for help with this week’s posting goes to Tamara Gleason Freidberg, Paul Glasser and Rachel Greene. 

 

“Shlof mayn feygele” (“Sleep My Little Bird”) Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , on February 17, 2017 by yiddishsong

Commentary by Itzik Gottesman

All of the previous recordings in this blog of the Bukovina singer Lifshe Schaechter-Widman [LSW] are from the 1954 recordings done by Leybl Kahn. But her daughter Beyle Schaechter-Gottesman recorded a few songs from her in the 1960s and early 1970s. This lullaby was recorded a few months before LSW died in 1973.

luzerlsw

Lifshe Schaechter-Widman with her brother Luzer Gottesman. NYC ca. 1912

As usual, the transcription in English letters more accurately reflects her dialect than does the Yiddish transcription in the Yiddish alphabet in which we use standard Yiddish.

Spoken introduction by LSW: “Ikh fleyg dus zingen ven ikh bin nokh geveyn a kind mistame, finef, finef un zekhtsik yur tsurik. In dernokh hob eykh dus gezingen mane kinder. Kh’ob es gezingen Beyltsyen; Kh’ob es gezingen Mordkhen. Un hant vilt zikh es zingen…efsher veln mane eyniklekh es amul veln kenen.”

Shluf mayn feygele makh tsi dayn eygele.
Hay-da-lyu-lyu-lyu
Shluf mayn kroyndele, di bist a parshoyndele,
Shluf zhe, shluf lyu-lyu

Az di vest oyfshteyn fin deym zisn shluf
Hay-da-lyu-lyu-lyu
veln mir beyde geyn pasn di shuf.
Shluf zhe, shluf lyu-lyu

Oyf der khasene af daner, veln  file mener
tantsn zinenyu.
Mir veln geyn oyf di beler, tantsn in di zele*
Shluf zhe, shluf lyu-lyu.

*(German: säle)  the usual Yiddish plural of “zal”  – a large room, ballroom would be “zaln”.  LSW uses the more Germanic form, perhaps the local Yiddish Bukovina form, to rhyme. 

TRANSLATION

LSW spoken introduction:

“I used to sing this when I was still a child, probably about 65 years ago. Then I sang it for my children. I sang it for Beyltsye. I sang it for Mordkhe. And today I feel like singing it…perhaps my grandchildren will want to know it.”

Sleep my little bird, close your eye.
Hay-da-lyu-lyu-lyu
Sleep my little crown, you are someone special.
So sleep, sleep lyu-lyu

When you wake up from your sweet sleep
Hay-da-lyu-lyu-lyu
We will both go to tend to the sheep
So sleep, sleep lyu-lyu

At your wedding many men will
dance, my dear son.
We will to the balls and dance in the halls
So sleep, sleep -lyu-lyu
shlofmaynfeygele1

shlofmaynfeygele2

“Az got hot bashafn mentshn af der velt” Performed by Ita Taub

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on October 20, 2016 by yiddishsong

Commentary by Itzik Gottesman

Since we start reading the book of Breyshis (Genesis) this week of Sukes, I thought it would be appropriate to post this recording of Ita (Eda) Taub singing a song about Adam and Eve and the snake. I recorded it from her in 1984 at the Circle Lodge Workmen’s Circle camp in Hopewell Junction, NY.

The words and music appear in Yiddish Folksongs from the Ruth Rubin Archive edited by Chana Mlotek and Mark Slobin. Wayne State University Press, 2007. Rubin recorded this song [tape 26] in 1962, and I recorded it again 20 years later at Circle Lodge, a camp for adults in upstate New York.The two versions are the same except for one or two words.

In the Rubin book she translates “Hot Got tsigenimen di reyd fun zayn layb” as “God perceived the needs of Adam’s body”. Literally, one should translate this line as “So God took away the speech from his body.” But I would think that the line once was “Hot Got tsigenimen di rip fun zayn layb” (God took out the rib from his body). This is supported by the version in Yiddisher folklor, ed. Y. L. Cahan (YIVO, Vilna, 1938), song #199 that is attached at the end (we’ve also included #200, for a similar melody).

The song, I believe, is very old and includes midrashim (interpretations or extensions) of the Biblical telling of Adam and Eve and the snake. Similar motifs can be found in the so-called “Women’s Bible”(the Tsene Rene) and the classic midrashic collections. The line “Eve, Eve what have you done? An entire world you did destroy” reflects the midrash that Eve had all the animals take a bit of the apple (except the immortal Phoenix bird) and therefore mortality was introduced into the world (see also Louis Ginzburg’s Legends of the Jews, Volume One).

adam-eve-serpent

Given the simplicity of the melody, almost a recitative, and the subject matter, my feeling is that the song evolved from a Yiddish woman’s prayer, a tkhine.

After the song Taub talks about the impression this song and her other song, Oy vey mame (also on the Yiddish Song of the Week Blog) left on her friend, the historian Raphael Mahler (who also recorded songs and nigunim for Ruth Rubin). She then tells us where she learned the songs.

The footnote in the printed Rubin version adds that the last verse refers to biting the umbilical cord, but this is not clear to the listener I believe.

Additionally, Michael Alpert and Julian Kytasty have recorded the song on their wonderful album Night Songs From a Neighboring Village (Oriente, 2014). You can hear it at the beginning of this video:

LYRICS TO TAUB’S VERSION:

1) Az got hot bashofn mentshn af der velt
oy, mentshn af der velt.
Oy, udem harishen tsum ershtn geshtelt.

2) Udem harishen iz shpatsirn gegangen in vayngurtn aran.
Oy iz im a vab in zin aran.

3) Hot Got tsigenimen di reyd fin zan lab,
Un hot im gegegeybn Khoven far a vab.

4) Oy Khove mit Udem zenen shpatsirn gegangen in vangurtn aran.
Iz Khoven an epl in der rekhter hont aran.

5) Iz tsigekimen di beyze shlong “Khove, Khove,
gib a bis dem epl, vesti zen vi zis er iz.”

6) Oy hot zi genimen un gegebn a bis deym epl.
Oy hot zi gezen vi zindik zi iz.

7) Hot zi genemen a blot kegn der levone,
un hot zikh tsigedekt dos zindike punim.

8) Hot zi genimen a blot kegn mist,
un hot zikh tsigedekt di zindike brist.

9) Khove, Khove vus hosti getrakht?
A velt mit mentshn imgebrakht.

10) “Nisht ekh hob es getun, nisht ekh hob es getun
di beyze shlong hot es tsigetrakht.”

11) “Zibn yur zolsti trugn, shver un biter zolsti hubn.
Af di skoles zolst dikh rasn, un ven di vest es hubn, zolst es tsebasn.”

Dialogue After the Song:

Dus iz take epes zeyer, zeyer originel. Vu’ zhe iz – hot er [Raphael Mahler] gevolt nemen di tsvey lider, un nokh tsvey lider, ikh gedenk shoyn nisht vus. Ober di zenen geveyn di ershte. Az er vil nemen un mekh arimfirn iber di kibutzim. Zol er zey vazn vus se meynt originele ekhtkayt. Un az zey farshteyn nisht di shkutsim, vel ikh zey shoyn derklern. Ikh vel shoyn derklern vus dus iz. Zey veln dus zeyer shtark upshatsn, zugt er. ___kibutz.]

Gottesman: Fin vanen kent ir dus lid?

Taub: Fin vanen dus lid? Dus lid gedenk ikh fin der heym ___ Dortn vi me hot geneyt. Es fleygn zan a pur meydlekh un zey fleygn zingen. Dus ershte lid [Oy mame ikh shpil a libe] hot gezingen man miters a shvester. Zi iz geveyn farlibt, hot zi demlt gezingen dus lid.

Gottesman: Vi hot ir dus gezingen?

Taub: In Skedinits, mayn shteytl.

Gottesman: Ven hot ir dus gehert, ven zi hot gearbet?

Taub: Zi hot gemakht di breyte kleydlekh vus di poyertes trugn. Fleyg zi neyen far zey.  Iz zi gezesn bay a mashin un hot geneyt un ikh hob es zikh oysgelernt.

Gottesman: Tsi hot zi gezingen andere lider?

Taub: Ir veyst vifl yurn di ale zikhroynes…dus iz tsulib aykh vus ikh grub aroys ikh zol zikh dermanen. Ober ikh ken nisht gedenken.

TRANSLATION:

When God created people in this world
O, people in this world,
O, Adam was the first one he made.

Adam went walking into the vineyard,
O, then a wife came into his head.

So God took out his speech from his body,
and gave him Eve for a wife.

O, Adam and Eve went walking in the vineyard
And a red apple came into Eve’s hand.

Then the evil snake came over – “Eve, Eve, Eve
Take a bite out of the apple,
So you will see how sweet it is.”

O, then she took a bite out of the apple,
and realized how sinful she is.

Then she took a leaf against the moon,
and covered up her sinful face.

Then she took a leaf against her waste,[?]
and covered up her sinful breast.

Eve, Eve what were you thinking?
A whole world full of people you’ve condemned to death.

“It was not I who did it, it was not I who did it –
the evil snake thought it up.

” Seven years you should be pregnant,
hard and bitter should your birth be, on the cliffs may you climb,
and when you give bith, you should bite it to death”.

Dialogue after the song:

Gottesman: Where do you know this song from ?

Taub: Where do I know this song from? This song I remember from home. ____ The place where we sewed. There used to be a few girls who used to sing.

The first song [Oy mame ikh shpil a libe] was sung by my mother’s sister. She was in love so she sang that song.

Gottesman: Where did you sing it?

Taub: In Skedinits (Stidenitse, Ukraine), my shtetl.

Gottesman: When did you hear it, when she worked?

Taub: She made the broad dresses that the peasant women used to wear.. She used to sew for them.  So she sat at the [sewing] machine and sang.

Gottesman: Did she sing other songs?

Taub: Do you know how old these memories are?…For your sake I am digging them out and remembering them. But I can’t remember them.

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As published in Yiddish Folksongs from the Ruth Rubin Archive edited by Chana Mlotek and Mark Slobin (Wayne State University Press, 2007):

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As published in Yidisher folklor, ed. Y. L. Cahan (YIVO, Vilna, 1938):

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