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“Di zin fargeyt far nakht” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 4, 2021 by yiddishsong

די זון פֿאַרגייט פֿאַר נאַכט / Di zin fargeyt far nakht / The Sun Sets at Dusk
Sung by Lifshe Schaechter-Widman, recorded by Leybl Kahn, NYC 1954.

Lifshe Schaechter-Widman at a NY bungalow colony, 1950s

TRANSLITERATION

Di zin fargeyt far nakht. Dus meydele shteyt in drosn.
Di bekelekh vern ir nas.  Di koykhes geyen ir os.
Zi shteyt in vart af deym ort,vi zi fleygt im tumid zeyn.
Itst shteyt zi azoy lang in vart du aleyn. 

Du vi ikh shtey in mayne trern tien gisn.
O du, o du iz dus ertele vi mir fleygn mir beyde shmisn. 
Ot du o iz do iz dus ertele vi mir fleygn beyde shteyn.
Itstert bin ikh nebekh geblibn aleyn. 

Mamenyu getraye, vus eksti mir mayn leybn.
Di ‘ost bay mir tsigenimen mayn khayes, mayn gold.
Host bay mir tsigenemen mayn rekhte hant.
Host im farshikt in a fremd land.

Sheyn bisti lyube af deym tuvl tse muln.
Se nishtu aza keyser dayn sheynkeyt tsi batsuln.
Sheyn bisti lyube tsi sheyn iz dayn numen.
Dayne sheyne bekelekh vi di sheyne blumen.

Mamenyu, ikh beyt ‘ekh breng im tsirik.
Breyng mir mayn leybn breng mir mayn glik. 

TRANSLATION

The sun sets at dusk. The girl is standing outside.
Her cheeks are getting wet. Her strength is weakening.
She stands and waits at that place where she always saw him. 
Now she stands, alas, so long waiting alone.

Here where I stand and my tears gush.
Oh, here is the place where we always used to talk.
Here is the spot where we used to stand.
Now I , alas, am left alone.

Mother dear, why do  you shorten my years?
You took away my life, my gold.
You took away my right hand.
And sent him away to a strange land.

Beautiful, you are my love to paint on the tablet.
There is no emperor who can pay for your beauty.
Beautiful, you are my love, too beautiful is your name.
Your beautiful cheeks, like the beautiful flowers.


Mother, I beg you, bring him back.
Bring me my dearest, bring me my happiness.

די זין פֿאַרגייט פֿאַר נאַכט
געזונדען פֿון ליפֿשע שעכטער־ווידמאַן
רעקאָרדירט פֿון לייבל כּהן, 1954, ניו־יאָרק

.די זון פֿאַרגייט פֿאַר נאַכט, דאָס מיידעלע שטייט אין דרויסן
.די בעקעלעך ווערן איר נאַס, די כּוחות גייען איר אויס
.זי שטייט און וואַרט אויף דעם אָרט, וווּ זי פֿלעגט אים תּמיד זען
.איצט שטייט זי אַזוי לאַנג און וואַרט דאָ אַליין

.דאָ וווּ איך שטיי ־ און מײַנע טרערן טוען גיסן
.אָט דאָ אָ דאָ איז דאָס ערטעלע, וווּ מיר פֿלעגן מיר ביידע שמיסן
.אָט דאָ אָ דאָ איז דאָס ערטעלע, וווּ מיר פֿלעגן ביידע שטיין
.איצטערט בין איך, נעבעך, געבליבן אַליין

.מאַמעניו געטרײַע, וואָס עקסטו מיר מײַן לעבן
.דו האָסט בײַ מיר צוגענעמען מײַן חיות, מײַן גאָלד
.האָסט בײַ מיר צוגענעמען מײַן רעכטע האַנט
 .האָסט אים פֿאַרשיקט אין אַ פֿרעמד לאַנד

.שיין ביסטו ליובע, אויף דעם טאָוול צו מאָלן
.סע נישטאָ אַזאַ קייסער דײַן שיינקייט צו באַצאָלן
.שיין ביסטו ליובע, צו שיין איז דײַן נאָמען
.דײַנע שיינע בעקעלעך, ווי די שיינע בלומען

.מאַמעניו, איך בעט דיך, ברענג אים צוריק
.ברענג מיר מײַן לעבן. ברענג מיר מײַן גליק

Commentary by Itzik Gottesman

Di zin fargeyt far nakht is among Lifshe Schaechter Widman’s (LSW’s) most moving performances– and that ending!

I have found 3 other variants of the song which I am attaching: one from Zhitomir (Ukraine) in Skuditski’s Folklor-lider (1936) p.153;  one from the Kovensk region in Lithuania in the Ginzburg and Marek collection Yidishe folkslider in Rusland (1901) p. 168; and one in Nukhem (Natan) Shakhnovskiy’s Lider gezungen funem folk (1948) p. 20. Shakhnovsky was from Kremenchuk in the Ukraine and it seems most of the songs were heard there. In Shakhnovsky is there a printed melody similar to LSW’s. The texts of the two versions from the Ukraine are quite similar while the Lithuanian one has a refrain not found in the others. All of these variants are attached below.

The folk poetry of this song is quite striking and I believe it is quite old. I translated “tovl”, which usually means blackboard, as “tablet”, but “slate” or “board” are also possible translations. The emphasis on the place where they met and spent time together is beautiful in its simplicity. 

Skuditski’s Folklor-lider (1936) p.153:

Nukhem (Natan) Shakhnovskiy’s Lider gezungen funem folk (1948) p. 20:

Skuditski’s Folklor-lider (1936) p.153:

“Shikhelekh” Performed by Gertrude Singer and Manya Bender

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 22, 2021 by yiddishsong

“שיכעלעך/Shikhelekh/Shoes” – An early American Yiddish theater song that crossed the Atlantic and came back. First version sung by Gertrude Singer, recorded by Gertrude Nitzberg, Baltimore 1979 from the archive of the Jewish Museum of Maryland. Second version sung by Manya Bender, recorded by Ruth Rubin 1950, NYC, found at the Ruth Rubin Archive, YIVO.

Commentary by Itzik Gottesman

“Shikhelekh” a song about a boy in an immigrant family desperate to get a new pair of shoes, is interesting because there are two versions: one with a sad ending and one with a happy ending.

The older version, 5 verses long, with the sadder ending was first printed in the 1897 compilation Di yidishe bine, ed. J. KatzenelenbogenNY. (A scan is attached). In this version the boy complains he cannot go to school barefoot and asks his father to buy a pair of shoes in the store next to his school. The song concludes with the father, “powerless”, crying together with the boy. This version was reprinted with the title “Papa mit dem shikhele” no date, in American Yiddish Penny Songs edited by Jane Peppler, 2015. (scan attached). We have not yet found recordings of this older version.

The newer version ( approx. 1916) with a “happy ending” concludes with a verse that relates how that young barefoot boy is now a lawyer and the girl he is with, playing “fortepian”, is his bride. The final refrain is:

Nu, Papa do you remember how eight years ago,
when I cried and begged you to buy me a pair of shoes.
Now I am a lawyer, and will make you happy for all of your years.

The singer, Gertrude Singer (1900 – 1979), recounts how she sang it often on the ship coming to America from Warsaw. In the Ruth Rubin Archive at YIVO, Manye Bender who learned the song in Bessarabia  “on the way to America.” also sings the new version.  Click here for her performance, beginning with the line “In droysn iz fintster”. 

The transcription, translation and Yiddish of both versions follows below.

It is not clear who the composer is of the older “unhappy” version. The Mloteks point out in their Forverts newspaper column that in the collection “Di yidishe bine” it is placed right after Morris Rosenfeld poems but it does not appear in his collected works. In the column on June 20, 1976, the music as remembered by a reader is also printed.

The later-adapted revision with the happy ending was the work of the singer Josef/Joseph Feldman around 1916. On a song sheet for “Shichalach” as sung by Moishe Oisher (no date), the words are credited to singer Joseph (Josef) Feldman (scans attached). But on page two, it is written “Version by Jos Feldman”, acknowledging his text as a revision of an earlier song. On a 78 rpm record (1916) Josef Feldman recorded it and one can hear it at the Florida Atlantic University “Recorded Sound Archives”

In 1938, Joseph Feldman published the Joseph Feldman’s Yiddish Theaterical Magaizine. The verses and music are published here.

The happy vs. sad ending of “Shikhelekh”  brings up an interesting point: could the generation after the original 1890s version no longer accept such a sad ending, and thus inspire the happy, nostalgic song conclusion of 1916?

Thanks this week to Jane Peppler, Steven Lasky and his Museum of the Yiddish Theater, the YIVO Sound Archives and the Judaica Sound Archives at Florida Atlantic University. 

TRANSLITERATION, TRANSLATION and YIDDISH

Shikhelekh sung by Gertrude Singer, recorded in 1979.

1 ) In droysn is fintster, in droysn iz nas,
un du gey ikh borves, ikh ken nisht geyn in gas.
Papa, ikh beyt mir far dir azoy fil mul.
koyf mir a pur shikhelekh. Ikh ken nisht geyn in “skul.”
Oy papa, di zolst dir oysbeytn a git yur.
Koyf mir, papele, shikhelekh a pur.  
Oy, koyf mir, papele, shikhelekh a pur.

2) Der papa blaybt shteyn mit a troyern [troyerik] geveyn
biz zayne trern faln afn kind aleyn.
“Kind mayns, du veyst vi azey ikh hob dikh lib.
Tsulib dayne shikhelekh vel ikh farpanen a kishn fun shtib.
Oy kind mayns, mir zoln shoyn nisht hobn mer keyn noyt.
Tsulib dayne shikhelekh hob [iz nishto] ikh nishto keyn broyt.
Orem mayn kind iz nokh erger vi der toyt.”

3) In di tsayt flit avek un es iz shoyn akht yur
Kik on [?] dem boychik, er vert shoyn a “loyer.”
Dort zitst a meydele vos zi shpilt pian.
Me zugt az dos meydele vet dem loyer’s kale zayn.
Nu, papa, gedenkstu tsurik mit akht yur
ven ikh hob dikh gebeytn far shikhelekh a pur.
Yetst bin ikh loyer un ikh makh dikh glikekh 
af ale dayne yor.

1) Outside it’s dark; outside it’s wet,
and I am walking barefoot; I can’t go in the street.
Papa, I’ve asked you so many times
to buy me a pair of shoes. I can’t go to school.
Oy papa, may you succeed in praying for a good year.
Buy me, papa, a pair of shoes
Oy, buy me, dear papa, a pair of shoes

2) Papa remains standing with a sad weeping,
until his tears drop on his child.
“My child, you know how much I love you:
because of your shoes, there is no bread.
To be poor is worse than death.”

3)  Time flies and it’s eight years later.
Look at the boy [?] – he is soon to be a  lawyer.
There sits a girl who plays grand piano.
They say that she will be the lawyer’s bride.
So, papa, remember eight years ago
when I begged you for a pair of shoes?
Now I am a lawyer and I will make you happy
all of your years.

שיכעלעך 
געזונגען פֿון גערטרוד זינגער
רעקאָרדירט פֿון גערטרוד ניצבערג
.אין דרויסן איז פֿינצטער, אין דרויסן אין נאַס

.און דאָ גיי איך באָרוועס, איך קען נישט גיין אין גאַס
,פּאַפּאַ, איך בעט מיר פֿאַר דיר אַזוי פֿיל מאָל
.קויף מיר אַ פּאָר שיכעלעך. איך קען נישט קיין אין סקול
.אוי, פּאַפּאַ, דו זאָלסט דיר אויסבעטן אַ גוט יאָר
.קויף מיר, פּאַפּעלע, שיכעלעך אַ פּאָר
“.אוי, קויף מיר, פּאַפּעלע, שיכעלעך אַ פּאָר

דער פּאַפּאַ בלײַבט שטיין מיט אַ טרויעריק געוויין
.ביז זײַנע טרערן פֿאַלֹן אויפֿן קינד אַליין
.קינד מײַנס, דו ווייסט ווי אַזוי איך האָב דיך ליב”
.צוליב דײַנע שיכעלעך, וועל איך פֿאַרפּאַנען אַ קישן פֿון שטוב
.אוי, קינד מײַנס, מיר זאָלן שוין נישט האָבן מער קיין נויט
.צוליב דײַנע שיך איז נישטאָ קיין ברויט
“.אָרעם, מײַן קינד, איז נאָך ערגער ווי דער טויט
און די צײַט פֿליט אַוועק און עס איז שוין אַכט יאָר

.קוק אָן דעם בויטשיק; ער ווערט שוין אַ לויער
.דאָרטן זיצט אַ מיידעלע, וואָס זי שפּילט פּיאַן.
.מע זאָגט, אַז דאָס מיידעלע, וועט דעם לויערס כּלה זײַן
,נו, פּאַפּאַ, געדענקסטו צוריק מיט אַכט יאָר”
?ווען איך האָב דיך געבעטן פֿאַר שיכעלעך אַ פּאָר
יעצט בין איך איצט לויער און איך מאַך דיך גליקלעך 
.אויף אַלֹע דײַנע יאָר.

TRANSLITERATION, TRANSLATION AND YIDDISH

Shikhelekh by Manya Bender

1) In droysn iz fintster, in droysn iz nas.
“ikh hob nit kayn shikhelekh tsu geyn oyf der gas.
Papa, ikh bet dir, azoy fil mol.
Koyf zhe mir shoyn, koyf zhe mir shoyn shikhelekh a por.
Koyf zhe mir shoyn, koyf zhe mir shoyn shikhelekh a por.”

2) S’iz avek gegangen a lange tsayt,
Dos kind iz gevorn a groyser advokat.
Er zitst mit zayn meydl, zey shpiln beyde pian.
di meydl zogt, zi vil zayn kale zayn.
“Papa, gedenkstu mit azoy fil yor tsurik.
Ikh hob dir gebeytn shikhelekh a por?
Un itst makh ikh dir gilklekh af ale dayne yor.” 

TRANSLATION of BENDER

1) Outside it’s dark, outside it’s wet
“I don’t have a shoes to go out in the street.
Papa, I’ve asked you so many times  
Buy me, buy me a pair of shoes.”

2)  A long time had passed.
The child became a big-time lawyer.
He sits with his girlfriend; they both are playing piano.
The girl says she wants to be his bride.
Papa, do you remember many years ago?
I asked you to get me a pair of shoes.
And now I will make you happy the rest of your days.

שיכעלעך 
געזונגען פֿון מאַניע בענדער
פֿון רות רובין-אַרכיוו, ייִוואָ

.אין דרויסן איז פֿינצטער, אין דרויסן איז נאַס”
.איך האָב ניט קיין שיכעלעך צו גיין אויף דער גאַס
,פּאַפּאַ, איך בעט דיך, אַזוי פֿיל מאָל
קויף זשע מיר שוין, קויף זשע מיר שוין
.שיכעלעך אַ פּאָר
קויף זשע מיר שוין, קויף זשע מיר שוין
“.שיכעלעך אַ פּאָר

.ס’איז אַוועק געגאַנגען אַ לאַנגע צײַט
.דאָס קינד איז געוואָרן אַ גרויסער אַדוואָקאַט
.ער זיצט מיט זײַן מיידל, זיי שפּילן ביידע פּיִאַן
.די מיידל זאָגט זי וויל זײַן כּלה זײַן
פּאַפּאַ, געדענסטו מיט אַזוי פֿיל יאָר צוריק”
?איך האָב דיר געבעטן שיִכעלעך אַ פּאָר
“און איצט מאַך איך דיר גליקלעך אויף אַלע דײַנע יאָר

Di yidishe bine, ed. J. Katzenelenbogen, NY (1897):

American Yiddish Penny Songs edited by Jane Peppler, 2015:

“Bay indz azoy fil kodres grine”, a Doina Performed by Anna Esther Steinbaum

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 4, 2021 by yiddishsong

Bay indz azoy fil kodres grine (“Doina”)
A Romanian poem adapted into a Yiddish song.
Sung by Anna Esther Steinbaum, recorded by Itzik Gottesman, Jerusalem 1997.

Commentary by Itzik Gottesman

The singer, Anna Esther Steinbaum (also known as Anna Rauchwerger Steinbaum), was from Chernovitz, Romania, and was active in the Yiddish cultural life there before the war. After the war, in Israel, she remained close to the Chernovitz intellectuals and translated Itzik Manger’s ballads into German.

Romania’s Mureș River

What makes this week’s song extraordinary is that though the text was written by an anti-Semitic, ultra-nationalist Romanian poet, whose politics were well known, a Yiddish poet found his poetry moving enough to adapt into a Yiddish song.

I met with her several times in 1997-98 in her apartment in Jerusalem. At this particular meeting my mother Beyle Schaechter-Gottesman was also present and occasionally can be heard as Steinbaum sings. Steinbaum found this song in a written notebook she had kept where she wrote down the songs she remembered. 

In her notebook the song is entitled “Doina” but it is  an adaptation of a Romanian poem “Noi” [“We”]  by Octavian Goga (1881 – 1938), a virulent fascist Romanian nationalist and anti-Semite, who was briefly the Romanian Prime Minister in 1938, when he stripped the Jews of their Romanian citizenship  

The Yiddish reworking of the song was done, according to Steinbaum, by the Romanian Yiddish writer Herts Rivkin, the author of the song “Nakhtishe lider” previously posted on the Yiddish Song of the Week

Here is a link to the longer original poem by Goga recited in Romanian with an English translation. 

Bay indz azoy fil kodres grine 

A Romanian poem by Octavian Goga, adapted in Yiddish by Hertz Rivkin. 

Bay indz azoy fil kodres grine [kodres=codri ]וועלדער 
velder fil mit korn. 
Bay undz azoy fil blumen, lider,
in shtiblekh fil mit tsorn. 

We have so mayn green woods,
forests full of rye.
We have so many flowers, songs,
in homes that are full of rage.

Kimen feygelekh fin vaytn
indzer doina hern. 
Bay indz azoy fil shmeterlingen
in taykhn trern, trern.

Birds come to us from afar
to hear our doina.
We have so many butterflies
in rivers of tears, tears.

Umet flist in shtiln muresh [Murăşul = Romanian river]
troyer rint in ovnt.
Es dertseylt fin indzer benkshaft
yeyder boym in vald.

Sadness flows quietly into the Murasul river;
Sadness runs in the evening.
Our longing is told by
every tree in the forest.

Zitsn mames gantse nekht,
shpinen layvnt, veybn. 
Tates, mames in oykh zin 
baveynen dus zeyer leybn.

Mothers stay up all night
spinning linen, weaving. 
Fathers, mother and sons too
lament their lives. 

Benkt zikh indz azoy nukh freyd.
Der vald iz undzer eydes.
Oysgevaremt hot di benkshaft
zeydes, elter-zeydes.

We yearn so for joy;
the woods are our witness.
This yearing was hatched 
by our grandfathers and their fathers. 

Un biz haynt iz ot der khulem
mekiyem nisht gevorn:
felder oysgebet mit veyts
shtiblekh fil mit tsorn. 

And till today this dream has
not been realized:
fields covered with wheat,
homes full of rage.

בײַ אונדז אַזוי פֿיל קאָדרעס גרינע
אַ רומעניש ליד פֿון אָקטאַוויאַן גאָגאַ
באַאַרבעט אויף ייִדיש פֿון הערץ ריווקין
געזונגען פֿון אַנאַ אסתּר שטיינבאַום

,בײַ אונדז אַזוי פֿיל קאָדרעס גרינע
.וועלדער פֿיל מיט קאָרן
,בײַי אונדז אַזוי פֿיל בלומען, לידער
.אין שטיבלעך פֿיל מיט צאָרן

זיצן מאַמעס גאנצע נעכט
.שפּינען לײַוונט, וועבן
טאַטעס, מאַמעס און אויך זין
.באַוויינען דאָס זייער לעבן

קומען פֿייגעלעך פֿון ווײַטן
.אונדזער דוינע הערן
בײַ אונדז אַזוי פֿיל שמעטערלינגען
.אין טײַכן טרערן, טרערן

אומעט פֿליסט אין שטילן מורעש
טרויער רינט אין אָוונט
עס דערציילט פֿון אונדזער בענקשאַפֿט
יעדער בוים אין וואַלד

.בענקט זיך אונדז אַזוי נאָך פֿרייד
.דער וואַלד איז אונדזער עדות
אויסגעוואַרעמט האָט די בענקשאפֿט
.זיידעס, עלטער־זיידעס

און ביז הײַנט איז אָט דער חלום 
.מקוים נישט געוואָרן
,פֿעלדער, אויסגעבעט מיט ווייץ
.שטיבלעך פֿול מיט צאָרן

New Yiddish Folksong Website!

Posted in Main Collection with tags , , , , , , on December 9, 2020 by yiddishsong

The Center for Traditional Music and Dance (the Yiddish Song of the Week’s sponsor) is pleased to announce a new website dedicated to research and pedagogy for the Yiddish folksong tradition. The website Inside the Yiddish Folksong has been created by CTMD in partnership with a project team led by ethnomusicologist Mark Slobin, and includes Michael Alpert, Walter Zev Feldman, Ethel Raim, Josh Waletzky and the Yiddish Song of the Week’s editor, Itzik Gottesman.

Click here to visit Inside the Yiddish Folksong

And join us at the end of December for Yiddish New York, the USA’s largest festival of Yiddish music, language and culture! Click here for more details.

“Khanike-gelt (mume, mume, mume gite)” Performed by Dora Libson

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , on December 7, 2020 by yiddishsong

Khanike-gelt (mume, mume, mume gite) – Hanukkah Money (Aunt, Aunt, Aunt So Good)
A Hanukkah song sung by Dora Libson. Recorded by Lionel Libson, 1977 

Commentary by Itzik Gottesman

There seems to be a connection between this song and the Yiddish schools of Argentina. Avrom Lichtenbaum, director of the Argentina YIVO, remembers singing it in kindergarten in a Yiddish school in Buenos-Aires. The only printed version I have found was in the children’s song collection Heym un mishpokhe, yomim-toyvim, edited by Sara Fischer, Buenos-Aires, 1948. A scan of the song from that volume is attached (Fischer). 

In Heym un mishpokhe, yomim-toyvim it is called “Khanike gelt” and includes only the first two verses which I also transliterate since the rhymes are better in those verses than the ones in Libson’s version.  It also states that the poem was “From the Hebrew” translated by the Argentinian Yiddish children’s writer Shemuel (Shmuel) Tsesler (1904 – 1955).  

Sure enough, in the Israeli Zemereshet website we find the song in Hebrew in several versions, with more and different stanzas but the composer and writer of the Hebrew original song remains unknown.

Libson’s third and fourth verse, however, are not included in these Hebrew versions. Click here to see the Hebrew versions.

Libson’s pronuncation of the holiday as “Khaniko” instead of the usual “Khanike” in Yiddish, or “khanuka” in modern Hebrew,  reflects an Ashkenazic Hebrew pronunciation.

Thanks this week to Avrom Lichtenbaum, Gila Flam and Dina Pozniak.

Khanike-gelt as sung by Dora Libson

1) Mume, mume, mume, gute,
vi ikh hob dikh lib.
Bist a gite, bist a zise,
khanike-gelt zhe gib.
Bist a gite, bist a zise,
khanike-gelt zhe gib.
Khaniko iz haynt! Khaniko iz haynt!

Aunt, aunt, aunt, so good,
how I love you.
You’re so good, you’re so sweet.
So give me Hanukkah-gelt!
Hanukkah is today! Hanukkah is today!

2) Un az di mume hot gegebn
loz ikh mikh tsurik.
Un ikh gey mir glaykh tsum feter
feter gib zhe di!
un ikh gey mir glaykh tsum feter
feter gib zhe di!
Khaniko iz haynt!   Khaniko iz haynt!

And after Auntie gave me,
I returned back
and go straight to my uncle.
Uncle give me!
Hanukkah is today! Hanukkah is today!

3) Dem [Di] badaytung fun dem yontif
veys ikh dokh gants git.
Antiyoykhes iz [hot] fargosn
fil yidish blit.
Antiyoykhes hot fargosn
fil yidish blit.
Khaniko iz haynt!  Khaniko iz haynt!

The significance of this holiday
I know so well.
Antioches spilled 
much Jewish blood.
Antioches spilled 
much Jewish blood.
Hanukkah is today! Hanukkah is today!

4) In beys-hamigdesh fremde geter
hot men ungeshtelt. 
Un du ayl zikh nisht mayn dreydl
zay zhe mir a held.
un du ayl zikh nisht mayn dreydl
zay zhe mir a held.
Khaniko iz haynt!  Khaniko iz haynt!

In the Temple, foreign gods
were erected.
And don’t hurry my dreydl
be my hero. 
Khanike is today!  Khanike is today!

חנוכּה איז הײַנט
געזונגען פֿון דאָרע לאַבסון

מומע, מומע, מומע גוטע
.ווי איך האָב דיך ליב
ביסט אַ גוטע, ביסט אַ זיסע
.חנוכּה־געלט זשע גיב”
!חנוכּה איז הײַנט! חנוכּה איז הײַנט

,און אַז די מומע האָט געגעבן
.לאָז איך מיך צוריק
,און איך גיי מיר גלײַך צום פֿעטער
„פֿעטער, גיב זשע דו !”
!חנוכּה איז הײַנט! חנוכּה איז הײַנט

די באַדײַטונג פֿונעם יום־טובֿ
.ווייס איך דאָך גאַנץ גוט
אַנטיוכות האָט פֿאַרגאָסן
.פֿיל ייִדיש בלוט
!חנוכּה איז הײַנט! חנוכּה איז הײַנט

אין בית־המיקדש פֿרעמדע געטער
.האָט מען אָנגעשטעלט
,און דו אײַך זיך נישט מײַן דריידל
.זײַ זשע מיר אַ העלד
!חנוכּה איז הײַנט! חנוכּה איז הײַנט

The two verses in the Shemuel (Shmuel) Tsesler collection Heym un Mishpokhe Yomim-Toyvim:

Tsu der mumen, tsu der guter
makh ikh a shpatsir.
“Khanike-gelt, gute mume,
Gib zhe gikher mir!”

Git di mume mir a groshn
“Kh’dank dir!” Zog ikh hoykh.
Itster gey ikh tsu mayn feter:
“Feter gib mir oykh!”
Khanike iz haynt! Khanike iz haynt! 

“Senderl (Ayzikl) mayn man” Performed by Rose Serbin and Bella Cutler

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 27, 2020 by yiddishsong

Senderl (Ayzikl) mayn man / Sender (or Ayzikl) My Husband
Two versions Sung by Rose Serbin and Bella Cutler
Ruth Serbin recorded by Ruth Rubin in Patterson, New Jersey, 1956, from Ruth Rubin Archive at the YIVO Sound Archives. Bella Cutler recorded by Beyle Schaechter-Gottesman, 1988, in Daughters of Jacob Nursing Home, Bronx

Bella Cutler version:

Rose Serbin version: Click here to listen to the Rose Serbin recording (at the Ruth Rubin Archive).

Commentary by Itzik Gottesman

Research into the one verse remembered by Bella Cutler (from Bolokhov, Galicia, today Bolekhiv, Ukraine) led me to a printed version of the song with music entitled “Senderle [sic] mein Man” in the collection Jewish Folk Songs from the Baltics: Selections from the Melngailis Collection edited by Kevin C. Karnes, 2014. (Scans attached – Karnes 1,2). According to Karnes, Melngailis possibly heard the song in Keidan (today Lithuania, Kedainei) in 1899. 

The innkeeper and his wife in Suchestaw, Eastern Galicia. (YIVO)

In the Ginsburg and Marek (GM) collection of 1901, Yidishe folkslider fun rusland, there are two versions, # 305, #306, one with 8 verses from Kaunas; one with 4 verses from Minsk.

In Der pinkes, ed. Shmuel Niger, Vilna, 1913, there is a version in the collection “Folklsider” of L. B-N  [Leyvi Berman].

Rose Serbin (1890 – 1974)  was born in Bohopolye, Podolia, Ukraine. In the Ruth Rubin Archive this song is entitled “Vi vel ikh nemen”.

All evidence indicates that it originates in Lithuania or other countries “up north”. Of the six versions of the song (all from the 19th century), three were written down in Lithuania, one in Belarus, one in Galicia, one in Ukraine. The important rhyme at the end of each verse “kroyn” and “aleyn” only rhymes in the “Litvish dialect” where “kroyn” is pronounced as “kreyn”.

The textual differences are also intriguing. Is the husband leaving? Is he dying? The question “Where should the wife get bread for the children?” is answered in four ways. In GM #306  and Serbin – “from the lord of the estate”,  in GM #307 “at the stall”, in Karnes “at the store”, in Berman ” from the baker”.

Serbin’s version is the most satisfying, not only because she is such a wonderful singer, but also because it ends with a wedding which is where many folk narratives conclude. 

Thanks for help with this week’s blog to: Paul Glasser, David Braun, Arun Viswanath, Philip Schwartz, Michael Alpert, Sergio Lerer and YIVO Sound Archives.

RUTH SERBIN: Transliteration and Translation

Oy, vi vel ikh nemen mayne kinderlekh oyf broyt,
Senderl mayn man?
Vi vel ikh nemen mayne kinderlekh oyf broyt,
Senderl mayn man?

Baym purits mayn tayer vaybele,
Baym purits mayn tayer taybele,
Baym purits, mayn tayere kroyn.
Di blabst do shoyn aleyn. 

Where will I get bread for my children,
Senderl my husband?
Where will I get bread for my children
Senderl my husband?

From the lord of the estate, my dear wife.
From the lord of the estate, my dear dove.
From the lord of the estate, my dear love [crown]
You will remain here all alone. 

Bam purits iz du hintelekh,
Senderl mayn man?
Bam purits iz du hintelkeh,
Senderl mayn man?

Mit a shtekele, mayn tayer vaybele,
Mit a shtekele, mayn tayer taybele,
Mit a shtekele, mayn tayere kroyn.
Di blabst do shoyn aleyn.

On the lord’s estate there are dogs,
Senderl my husband.
On the Lord’s estate there are dogs
Senderl my husband.

With a stick, my dear wife.
with a stick, my dear dove.
with a stick, my dear love [crown]
You will remain here all alone.

Mit veymen vel ikh firn mayne kinderlekh tsi der khipe,
Senderl mayn man?
Mit veymen vel ikh firn mayne kinderlekh tsi der khipe
Senderl mayn man?

Aleyn, mayn tayer vaybele
Aleyn, mayn tayer taybele
Aleyn mayn tayere kroyn.
Di blabst do shoyn aleyn. 

With whom shall I lead my children to the marriage canopy,
Senderl my husband?
With whom will I lead my children to the marriage canopy
Senderl my husband?

Alone, my dear wife.
Alone, my dear dove.
 Alone, my dear love [crown]
You will remain here all alone.

Bella Cutler’s version: translation and transliteration. 

Vos veln mir geybn di kinder esn,
Ayzikl mayn man?
Vos veln mir geybn di kinder esn,
Ayzikl mayn man?

Broytenyu mayn vaybele
Broytenyu mayn taybele
Broytenyu mayn kroyn 
Du veyst dos shoyn aleyn.

?סענדערל מײַן מאַן/ וווּ וועל איך נעמען
געזונגען פֿון ראָוז סערבין

,וווּ וועל איך נעמען מײַנע קינדערלעך אויף ברויט
?סענדערל מײַן מאן
וווּ וועל איך נעמען מײַנע קינדערלעך אויף ברויט
?סענדערל מײַן מאַן

,בײַם פּריץ מײַן טײַער ווײַבעלע
,בײַם פּריץ מײַן טײַער טײַבעלע
,בײַן פּריץ מײַן טײַער קרוין
.דו בלײַבסט דאָ שוין אַליין

בײַם פּריץ איז דאָ הינטערלעך
.סענדערל מײַן מאַן
בײַם פּריץ איז דאָ הינטערלעך
.סענדערל מײַן מאַן

,מיט אַ שטעקעלע מײַן טײַער ווײַבעלע
,מיט אַ שטעקעלע מײַן טײַער טײַבעלע
,מיט אַ שטעקעלע מײַן טײַער קרוין
.דו בלײַבסט דאָ שוין אַליין

,מיט וועמען וועל איך פֿירן מײַנע קינדערלעך צו דער חופּה
?סענדערל מײַן מאַן
,מיט וועמען וועל איך פֿירן מײַנע קינדערלעך צו דער חופּה
?סענדערל מײַן מאַן

,אַליין, מײַן טײַער ווײַבעלע
,אַליין, מײַן טײַער טײַבעלע
,אַליין, מײַן טײַערע קרוין
.דו בלײַבסט דאָ שוין אַליין

 Jewish Folk Songs from the Baltics: Selections from the Melngailis Collection edited by Kevin C. Karnes, 2014:

Ginsburg and Marek Yidishe folkslider fun rusland, 1901 # 305 and #306, one with 8 verses from Kaunas; one with 4 verses from Minsk:

Der pinkes, ed. Shmuel Niger, Vilna, 1913, in the collection “Folklsider” of L. B-N  [Leyvi Berman]:

Harry Boens & Nathan Hollandar’s Song “Di Shpanishe kholere” Performed by Cantor Sam Weiss

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 15, 2020 by yiddishsong

Di Shpanishe Kholere / The Spanish Contagion
Lyrics by Harry Boens (Bennett), Music by Nathan Hollandar.
Performance by Cantor Sam Weiss.

Commentary by Cantor Sam Weiss

Around 15 years ago my friend Michael Bennett discovered his grandfather’s name (see Michael Bennett’s post about his grandfather, Harry Boens / Bennett) listed as lyricist on a piece of Yiddish sheet music about the 1918 Spanish flu. As there were no extant recordings or performances of the song, in 2010 he emailed me to see if I could arrange to get it recorded. I glanced at the lyrics and was quickly captivated by their colloquial directness and interesting vocabulary. In short order I printed out the file, placed the sheets on my electronic keyboard, ran through the song, and emailed the mp3 to Michael.

Image courtesy of Michael Bennett; all rights reserved.

The song remained our private little adventure until COVID-19 reared its head and Michael reached out to me again: “…Maybe it’s an appropriate time to release to the public your rendition of my grandfather’s lament.” I hesitated, not really thinking of that quick take as a “performance, “and his idea remained dormant. Right before the High Holidays, however, it occurred to me that the Yiddish Song of the Week website would be an appropriate vehicle for sharing this gem, and Itzik Gottesman agreed to host it along with Michael’s back story on his grandfather.

Cantor Sam Weiss by Robert Kalfus

As the song is equal parts humor and pathos, I adopted a theatrical singing style along with the “stage Yiddish” dialect suggested by the printed notation. The initial sound in the Yiddish word for “Spanish” is clearly intended to be pronounced “S” rather than “Sh,” being spelled here with a samekh in place of the standard shin, and that is how I sang it.

In the case of the word for “heart” I vacillated between the standard pronunciation harts and the printed word hertz. In these two cases the transcription reflects standard Yiddish spellings rather than the pronunciations heard on the recording; the remaining words are transcribed as sung. Although the notation indicates a repeat of the final phrase in the verses, these repeats were skipped in verses 3-6.

I was struck by an interesting word that occurs three times, neveyre, which I have translated as “plague.” Strictly speaking neveyre is simply the colloquial version of aveyre, meaning “sin” (the “n” resulting from conflating the two words an aveyre), but in this context neveyre implies a divine punishment that may have come about as a result of our sins. Although I have yet to find this particular meaning in any Yiddish dictionary or thesaurus, the usage is amply supported by Jewish lore from the Ten Plagues onwards. The song itself, moreover, expresses a plea for God’s compassion (to reverse the punishment, as it were) as well as the darkly comical idea of the Spanish flu as Woodrow Wilson’s vengeance for Germany’s role in World War I.

The title word kholere is especially noteworthy. Unlike the English word “cholera,” it has a much broader connotation than any specific type of illness. Indeed, the technical name of the disease appears only on the Yiddish lyrics back cover page as the title—but nowhere in the song—as Di Shpanishe influentsiye. In verse 5 kholere appears unmodified by Shpanishe; I therefore translate it as “contagion.” Kholere is found in a great number of Yiddish curses where the speaker is not particularly concerned with which krenk befalls the victim, as long as it is grueling and punishing. Indeed “punishing” is the word’s operative intention, as in the case of neveyre. Note the antiquated spelling of the word on the title page with a khes instead of the standard khof. This older Yiddish orthography hints at a presumed Hebrew origin, as if kholere were a retributive disease related to kadokhes (biblical kodokhas), which is always spelled with a khes. The back cover lyrics are below.

TRANSCRIPTION AND TRANSLATION by Cantor Sam Weiss

1. Ikh gey mir arim in strit fartrakht
Say bay tug in say bay nakht.
In mayn hartzn kokht dus blit,
Ze’endik vi mentshn faln in strit.

REFRAIN:

Vayl di gantse velt iz yetst in trobl,
In yeder eyner zikht dem knobl.

I walk the streets deep in thought,
Be it day, be it night.
The blood is seething in my heart
As I watch people collapsing in the street.

REFRAIN:

Because the whole world is now in trouble,
And everyone is searching for garlic.

2. Mentshn zitsn in hoyz mit der neveyre,
Zey hobn moyre far der Shpanisher kholere.
Nemt mayn edvays in seyft zikh fin dem trobl,
Trinkt a glezl vayn in est dem knobl.

REFRAIN: Vayl di gantse velt…

Everyone is stuck at home with this plague,
They’re all afraid of the Spanish flu.
Take my advice and save yourself from trouble,
Drink a glass of wine and eat some garlic.

REFRAIN: Because the whole world…

3. Der Daytsh iz oykh a groyser diplomat!
Er hot gevolt farnikhtn di velt vi a rats;
Wilson hot ober genimen zikh di ere
In geshikt dem Daytsh di Shpanishe kholere.

REFRAIN: Vayl di gantse velt…

The Germans are some diplomats…
Seeking to destroy the world as if it were a rat;
But Wilson stepped right up
And sent the Germans the Spanish flu!

REFRAIN: Because the whole world…

4. Sobveys, kars, gepakt oykh fil mit mentshn;
Ikh bet bay dir, oy Got, di zolst indz bentshn!
Nem fin indz oykh di neveyre
In hit indz up fin der Shpanisher kholere.

REFRAIN: Vayl di gantse velt…

Subways, cars, all packed with people;
I beg you, God, please bless us!
Remove the plague from us too,
And shield us from the Spanish flu.

REFRAIN: Because the whole world…

5. Barbers loyfn arim azoy vi di nyankes;
Fin hoyz tsi hoyz shteln zey ayedn bankes.
Zey aleyn trugn arim di neveyre;
Zey danken Got es halt on di kholere!

REFRAIN: Vayl di gantse velt…

Barbers scurry about as if they were nurses,
From house to house, with cupping glass treatments;
They themselves are carriers of the plague,
Thanking God that the contagion perseveres!

REFRAIN: Because the whole world…

6. Mikh tsi hern zingen is nisht kayn vinder;
Mentshn, past nor oyf of ayere kinder.
Di froyen in Eyrope zenen geblibn vi ofn yakor,
In di mener in Amerike brenen vi a flaker

REFRAIN: Vayl di gantse velt…

Don’t act surprised to hear me singing;
Folks, just watch over your children.
The wives are all marooned in Europe
While their husbands are ablaze in America

REFRAIN: Because the whole world…

Below images courtesy of Michael Bennett; all rights reserved.

About Lyricist Harry Bennett (Boens) by Michael Bennett

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , on November 15, 2020 by yiddishsong

I never met my paternal grandfather Harry Boens (pictured left, b. March 17, 1891, Odessa; d. August 9, 1943, Los Angeles), and practically nothing about him was revealed to my brother and me. Innocent childhood questions about family history were met with stoicism and the subject quickly changed. Eventually, I did learn quite a bit about Harry through discovery of hidden documentation and much research. The journey to those revelations began in 2004, weeks before my father’s death in the hospital.

Harry Boens/Bennett. Image courtesy of Michael Bennett; all rights reserved.

Originally admitted for a respiratory virus, my father had become infected with multiple strains of hospital-spread bacteria. Months into his illness, through an internet search for Harry Boens, I discovered a piece of Yiddish sheet music entitled Di Shpanishe cholera (The Spanish Influenza) for sale. The cover sheet featured a photograph of the composer Nathan Hollandar and the lyricist Harry Boens. My father’s younger brother Philip had years earlier told me that Harry had changed the family name from Boens to Bennett and shared with me an old, color-dyed photograph of Harry and my father taken in 1933. From that photograph I saw a strong resemblance to the Harry Boens featured on the cover of Di Shpanishe cholera. I purchased the sheet music, printed out a copy of the title page, and brought it to my father in the hospital for verification. “Absolutely,” my father responded when I asked if the picture was that of his father, and then he added, “I never knew about this,” before angrily handing back the picture. Nothing further was discussed about the topic. However, the fact that my father was dying from infectious diseases struck me as tragically ironic in light of the subject of Harry’s song and my discovery of it at that heart-wrenching time.

Image courtesy of Michael Bennett; all rights reserved.

My father’s last request to me before he passed on June 13, 2004, was to write a book about his life. And so began years-long research into my father’s life, which of course included an in-depth look into Harry Boens, including the circumstances of his writing and co-publishing Di Shpanishe cholera. I fulfilled my father’s charge and self-published My Father: an American Story of Courage, Shattered Dreams, and Enduring Love in 2011.

Harry Boens immigrated to America in 1907. In about 1913 he married a Bessarabian émigré named Dora Ladyzhensky, and settled into a 3-room tenement apartment in New York’s Lower East Side. Harry worked as a waiter and accordionist in a subterranean diner on the corner of Rivington and Allen Streets in the same neighborhood. Dora worked as a seamstress in a sweatshop. Their first child, Clara, was born in 1914, their second, Irving (who would become my father) in 1915. Three months after Irving’s birth, Harry left his family. He returned in early 1917 and later that year Dora gave birth to the couple’s third child, Philip. Shortly after Philip’s birth, Harry left his family again. He returned in August 1920, but the reconciliation lasted only six weeks. This time he left his family for good.

The problem of male abandonment was common amongst Russian immigrants at that time—so common that Jewish organizations formed the National Desertion Bureau (NDB). The NDB served as a Jewish FBI whose goal was to locate AWOL husbands and fathers and force them to reconcile with their spouses, or at least support their families. Dora reported Harry to the NDB after his first desertion, and it was at that time that Harry began to pursue a career in music. He partnered with Nathan Hollandar who had a small recording studio where would-be immigrant artists could realize their dreams. The two developed a strong friendship and collaborated on several musical compositions. When the 1918 Spanish Influenza pandemic emerged, Harry aptly wrote the lyrics to Di Shpanishe Cholera; Nathan composed the music. They filed copyright for the piece in 1919, when Harry was twenty-eight years old.

But Harry’s musical career did not generate income. Instead, he moved to Brooklyn, partnered in a liquor store business and bought an automobile. Dora, meanwhile, languished on the Lower East Side. The children eventually were placed in foster homes and ultimately became inmates of the Hebrew Orphan Asylum (HOA) due to Dora’s inability to care for them. My father was not yet six years old at the time and he remained in HOA for the next twelve years. Harry’s liquor store business folded with the passing of the Prohibition amendment. Harry then left New York and settled in Los Angeles (a common destination in those days for wayward husbands and fathers like Harry). His surname now Bennett, Harry married a wealthy California socialite who was decades his senior. He used her money to start a Yiddish newspaper, buy a gas station, and build a small real estate empire. He returned to New York to visit his children and financially supported them in the HOA. When his children reached the age of liberation from orphanage, Harry invited them to join him in California.

Spurred by his wealthy father’s promises of a college education and membership in an exclusive beach club, in 1933 my father eagerly boarded a steam ship headed for the California coast. Harry waited for him in his legendary Stutz automobile. Harry’s promises of a new life for his son never materialized, and he reneged on his commitment to pay for college tuition. Instead, Harry wanted his son to work for him managing his businesses. My father grew increasingly resentful, and eventually sued Harry for past child support and college tuition. Harry disinherited his son. After my father was drafted in to the United States Army and shipped overseas, Harry reinstated him into his will. Harry Boens died in 1943 at the age of fifty-two; his early demise likely brought about by his five-and-half-pack-a-day cigarette habit. My father’s angry reaction to seeing Harry’s picture on the cover of Di Spanishe Cholera in 2004 was certainly understandable in light of all that I later discovered. However, I believe my father reconciled those emotions when he said to me days before his passing, “I don’t hate anybody.” I too reserve judgement of my grandfather in favor of understanding him in the context of his times and circumstances.

In 2010, while completing the book about my father, I had a desire to hear what my grandfather’s song actually sounded like. So I asked longtime family friend Cantor Sam Weiss—an accomplished singer, musician, and specialist in Yiddish music—if he would get Di Spanishe Cholera recorded for me. Cantor Weiss obliged in short order by recording it himself, and sent me the MP3 file that you hear on this page. Fast-forward to 2020: During this time of the COVID-19 pandemic, in a strange sort of way, the words and music of Di Spanishe Cholera provide some comfort in knowing that our ancestors—in fact the entire world—went through a similar experience. For that I thank the grandfather whom I never knew.

“Fin mitvokh in der fri (Hot a yid a vaybele)” Performed by Lifshe Schaecther Widman and Beyle Schaechter Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 30, 2020 by yiddishsong

Fin mitvokh in der fri (Hot a yid a vaybele) / From Wednesday Morning (A Man Has a Wife)
Sung by Lifshe Schaechter-Widman (LSW) and Beyle Schaechter-Gottesman. LSW recorded by Leybl Kahn, 1954 NYC

Commentary by Itzik Gottesman

This popular song was copyrighted in the US in 1922 by Morris Goldstein, who is listed as composer and lyricist. But this is doubtful since Pepi Litman and Helen Gespass recorded a version in 1912/1913 in Budapest or Lemberg. Apparently even earlier, in 1907, Hungarian singers recorded it (see Bob Cohen’s comments below).

Here is LSW, recorded by Leybl Kahn in New York, 1954:

More recently LSW’s daughter Beyle Schaechter-Gottesman recorded Lifshe’s version on her CD Bay mayn mames shtibele with Nigel Jacobs on violin, recorded live at the Cactus Cafe in Austin, November 9th, 1993. Her lyrics are basically the same as LSW, though I do prefer her word “badekn” to LSW’s word “dekn”.

Here is the Peppi Litman version:

And here is the Gespass version:

Since the instrumental version of the song on the recording Maramaros: The Lost Jewish Music of Transylvania of the Hungarian group – Muzsikas, made such an impression, I asked Budapest resident Bob Cohen, researcher of Roma and Hungarian and Jewish musical connections, leader of the pioneering klezmer ensemble Di naye kapelye, for his take on the song.

Bob Cohen writes:

“Hot a yid a vajbele” is definitely the most popular and widespread Yiddish song in the Hungarian language area. Almost everyone I spoke with in the early 1990s knew it, and it was a standard at our old-age home gigs. It remains in the repertoire of Roma bands in Transylvania as “the Jewish song” and some even sing along to it in macaronic yid-speak as “Itta, Itta Babele”. I’ve also heard it played by Roma orchestras in Slovakia.  What is interesting is the fact that knowledge of the tune seems to have completely been forgotten among the post WWII generation of Jews, given the popularity it had among older folks I met in around 1990.

A testament to its staying power is this recording by Zoldi Marton in 1907 (Most of Zoldi’s other songs are comical Hungarian nota style in Hungarian). Also a 1912 version by the Toll Jancsi Orchestra, or the same band in 1907.

The version I played on our (Di naye kapelye’s) first recording back in 1997 came from the Gypsy primas (lead violinist) Andras Horvath of Jankamajitis, near Csenger on the Romanian border. He learned his Jewish tunes from a Jewish musician family named “Markus” before the war. He became a Seventh Day Adventist in later life, and he called me over once to tell me his life story and his relationship to Jews.

Thanks this week to Robert Cohen and Martin Schwartz. Please note: though still performed today, the song’s dated humor is misogynistic.

Fin mitvokh in der fri
biz fraytik far nakht
hot Surele mayn vayb
deym kigl gemakht.

From Wednesday in the morning
until Friday twilight,
Surele my wife
made a kugel. 

Hot a yid a vaybele
hot er fin ir tsures.
Hot a yid a vaybele
toyg zi af kapures.

A man [Jew] has a wife;
she gives him trouble,
A man has a wife
and she is not good for anything.

Vi s’iz gekimen
shabes tsim esn,
hot Surele mayn vayb
fin deym kigl gur fargesn.

When the Sabbath arrives
and  it’s time to eat.
Surele, my wife
forgot all about the kugel.

Hot a yid a vaybele
hot er fin ir tsures.
hot a yid a vaybele
toyg zi af kapures.

A man has a wife;
she gives him trouble.
A man has a wife
and she is not good for anything.

Hot er gekhapt 
deym grobn shtekn
Un hot ir ungehoybn 
git tsi dekn.

So he got
his thick cane
and started to 
beat [cover] her. 

Hot a yid a vaybele
hot er fin ir tsures.
hot a yid a vaybele
toyg zi af kapures.

A man [Jew] has a wife;
she gives him trouble,
A man has a wife
and she is not good for anything.

Hot zi gekhapt
di alte shkrabes,
tsim tatn iz zi 
avek deym shabes.

So she grabbed
her old worn-out shoes
and went to her father
for the Sabbath.

Hot a yid a vaybele
toyg zi af kapures
hot a yid a yidene
hot er fin ir tsures.

A man [Jew] has a wife;
she is good for nothing.
A man has a wife
and she gives him trouble.

Hobn di shkeynim
ungehoybn shpekulirn
me zol dus porfolk
vider tsuzamen firn. 

So the neighbors
started to speculate/plan
how to bring the couple
together again.

Hot a yid a vabele
hot er fin ir tsures.
hot a yid a vaybele
hot er fin ir tsures.

A man [Jew] has a wife;
and she gives him trouble.
A man has a wife
and she gives him trouble

האָט אַ ייִד אַ ווײַבעלע
געזונגען פֿון ליפֿשע שעכטער-ווידמאַן

פֿון מיטוואָך אין דער פֿרי
ביז פֿרײַטיק פֿאַר נאַכט
האָט שׂרהלע מײַן ווײַב
.דעם קוגל געמאַכט

האָט אַ ייִד אַ ווײַבעלע
,האָט ער פֿון איר צרות
האָט אַ ייִד אַ ווײַבעלע
.טויג זי אויף כּפֿרות

ווי ס’איז געקומען
,שבת צום עסן 
האָט שׂרהלע מײַן ווײַב
.פֿון דעם קוגל גאָר פֿאַרגעסן

האָט אַ ייִד אַ ווײַבעלע
,האָט ער פֿון איר צרות
האָט אַ ייִד אַ ווײַבעלע
.טויג זי אויף כּפֿרות

האָט ער געכאַפּט 
,דעם גראָבן שטעקן
און האָט איר אָנגעהויבן
.גוט צו דעקן

האָט אַ ייִד אַ ווײַבעלע
,האָט ער פֿון איר צרות
האָט אַ ייִד אַ ווײַבעלע
.טויג זי אויף כּפֿרות

האָט זי געכאַפּט
די אַלטע שקראַבעס
צום טאַטן איז זי
.אַוועק דעם שבת

האָט אַ ייִד אַ ווײַבעלע
,האָט ער פֿון איר צרות
האָט אַ ייִד אַ ייִדענע
.האָט ער פֿון איר צרות

האָבן די שכנים
אָנגעהויבן שפּעקולירן
מע זאָל דאָס פּאָרפֿאָלק
.ווידער צוזאַמענפֿירן

האָט אַ ייִד אַ ווײַבעלע
.האָט ער פֿון איר צרות

“Geltenyu” Performed by Clara Crasner

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 19, 2020 by yiddishsong

Geltenyu / Money
Sung by Clara Crasner, recorded by Bob Freedman, Philadelphia, 1972

Commentary by Itzik Gottesman

A most unusual song about Jews oppressing (or “taking advantage”, in Crasner’s words), of fellow Jews.

Ukrainian Jews escaping pogroms and the Russian Civil War crossed over into Romania. 1919-1921.  This song documents the hard times these Jews faced, apparently because of the Bessarabian Jews who extorted money from them once they crossed the border.  The “Ukrainians” were forced to do manual labor and sleep in horrible conditions in order to secure passports. 

In an earlier post on this blog where Clara Crasner sings the song “Eykho” she mentions the Bessarabian town of Yedinitz (today in Molodova – Edinets); perhaps that is the town in question. There she refers to her fellow refugees as “yoridnikes”, impoverished ones. In the Yedenitz Yizkor (Memorial) Book, there is indeed a chapter that recalls the Ukrainian Jews who crossed the border to escape the violence and came to Yedinits (legendary klezmer clarinetist Dave Tarras, was one of these migrants).

Committee for Assistance of Ukrainian Refugees, Yedenitz, 1920-1921

The first two verses of the song are from the perspective of the money-hungry Bessarabians. The third verse is from the refugee’s perspective.

This is the fifth song sung by Clara Crasner from Shargorod, Ukraine, that we have posted. They were all recorded by her son-in-law, Robert Freedman in Philadelphia 1972. Freedman and his wife Molly Freedman are the founders of the “Robert and Molly Freedman Jewish Sound Archive” at the University of Pennsylvania Library, an invaluable resource in researching Yiddish song.

TRANSLITERATION

Crasner (spoken)

 “Ot di lid hob ikh gehert in Rumenye, Basarabye, in 1919, 1920. Nokh der ershter milkhume, ven di yidn fin rusland zenen antlofn, iz dus geveyn di neyvnste greynets far indz, fin vonen ikh kim un nokh mentshn. Kimendik kin Basarabye obn mir geheysn “Ukrayiner.” Di Basarbyer hobn genemen …zey hobn genemne “advantage’ fin indz. M’o’me nisht gekent aroysfurn finem shtyetl. M’ot indz nisht gevolt geybn keyn peser, obn di mentshn gemakht a lid. Ikh denk az s’iz a “satire”. In di lid heyst “gelt”. 

(sung)

Tsu indz keyn Besarabye kimen Ukrainer a sakh.
Zey shvimen in der blote, azoy vi di fish in takh.
Zey loyfn im, imedim nor vi a vint
ergets vi, nor tsi krign a dokument.
Freygn zey far vos kimt indz dos?
Entfert men zey:
Geltenyu, hot ir geltenyu?
Git indz gelt nor a sakh
Val mir viln vern rakh.
Geltenyu iz a gite zakh.

In der Ukrainyer er lozt arop di nuz.
Er miz nebekh geyn in shlufn in kluz.
Dort iz fintster ,kolt un vist; nor azoy vi in der erd.
Zey hakn holts un trugn voser in horeven vi di ferd.
Freygn zey far vos kimt indz dos?
Entfert men zey: 
Geltenyu, hot ir geltenyu?
Git indz gelt mit beyde hent
krigt ir bold a dokument.
Geltenyu iz a gite zakh. 

Ober es kimt a tsat ven di Ukrayner zey leybn hoykh a velt.
Ven es kimt zey un di pur daler gelt. 
Zey rasn zikh aroys fin donen nor vi fin a shtag.
In ale Beseraber yidn tsaygn zey a fag.
Freygn zey far vos kimt indz dos?
Entfert men zey:
Geltenyu, mir hobn mir oykh geltenyu.
Mir darfn shoyn mer nit nitsn [?] aykh.
Mir hern aykh vi dem kuter,
vayl ayer Got iz indzer futer.
Geltenyu iz a gite zakh. 

TRANSLATION

[spoken]

“This song I heard in Romania, Bessarabia, in 1919, 1920. After the First War, when the Jews from Russia escaped, this was the closest border to us, from where I am from and others. Coming into Bessarabia, we were called “Ukrainians” and Bessarabians took advantage of us. We were not able to leave the town. We were not given passports, so the people created a song. I think it’s a satire and the song is called “Gelt” – “Money”

[sung]

To us in Bessarabia come many Ukrainians
They swim in the mud, as fish in a river.
They run around everywhere like the wind;
anywhere just to get a document.
So they ask – why do we deserve this?
And they are answered:
money, do you have money?
Give us a lot of money
because we want to become rich.
Money is a good thing.

And the Ukrainian, he drops down his nose.
He must, alas, go to sleep in the synagogue.
There it is dark, cold and deserted.
Just like being in the ground.
They chop wood and carry water
and work hard as a horse.
So they ask why do we deserve this?
And they are answered: 
Money, do you have money?
Give us money with both hands
and you’ll get back a document.
Money is a good thing.

But a time will come when the Ukrainians
will live in luxury when they get their few dollars.
They will tear out of here as if from a cage.
And at all Bessarabian Jews they will thumb their noses
at them. [literally show them the fig = finger]
So they ask why do we deserve this?
They are answered:
Money, we also have money.
We don’t need you anymore
we totally ignore you
because your God is our father.
Money is a good thing.

TRANSCRIPTION

אָט די ליד האָב איך געהערט אין רומעניע, באַסאַראַביע, אין 1919, 1920. נאָך דער ערשטער מלחמה, ווען די ייִדן פֿון רוסלאַנד זענען אַנטלאָפֿן, איז דאָס געווען די נאָענססטע גרענעץ פֿאַר אונדז, פֿון וואַנען איך קום און נאָך מענטשן. קומענדיק קיין באַסאַראַביע האָבן מיר געהייסן „אוקראַיִנער”. די באַסאַראַבער האָבן גענעמען פֿון אונדז. מ’ אָ’ מיר נישט געקענט אַרויספֿאָרן פֿונעם שטעטל. מ’האָט אונדז נישט געוואָלט געבן קיין פּעסער, האָבן די מענטשן געמאַכט אַ ליד. איך דענק, אַז ס’איז סאַטירע. און די ליד הייסט געלט

.צו אונדז קיין באַסאַראַביע קומען אוקראַיִנער אַ סך
.זיי שווימען אין דער בלאָטע, אַזוי ווי די פֿיש אין טײַך
.זיי לויפֿן אום, אימעדים נאָר ווי אַ ווינט
.ערגעץ ווי נאָר צו קריגן אַ דאָקומענט
?פֿרעגן זי פֿאַר וואָס קומט אונדז דאָס
?ענטפֿערט מען זיי ־ געלטעניו, האָט איר געלטעניו
גיט אונדז געלט, נאָר אַ סך
.ווײַל מיר ווילן ווערן רײַך
.געלטעניו איז אַ גוטע זאַך

.און דער אוקראַיִנער, ער לאָזט אַראָפּ די נאָז
.[ער מוז נעבעך גיין און שלאָפֿן אין קלוז [קלויז]
,דאָרט איז פֿינצטער, קאַלט און וויסט
.נאָר אַזוי ווי אין דער ערד
זיי האַקן האָלץ און טראָגן וואַסער
.און האָרעווען ווי די פֿערד
?פֿרעגן זיי פֿאַר וואָס קומט אונדז דאָס
?ענטפֿערט מען זיי ־ געלטעניו ־  האָט איר געלטעניו
,גיט אונדז געלט מיט ביידע הענט
.קריגט איר באַלד אַ דאָקומענט
.געלטעניו איז אַ גוטע זאַך

אָבער עס קומט אַ צײַט ווען די אוקראַיִנער
.זיי לעבן הויך אַ וועלט
ווען עס קומט זיי אָן
.די פּאָר דאָלער געלט
זיי רײַסן זיך אַרויס פֿון דאַנען
.נאָר ווי פֿון אַ שטײַג
און אַלע באַסאַראַבער ייִדן
.צײַגן זיי אַ פֿײַג
?פֿרעגן זיי פֿאַר וואָס קומט אונדז דאָס
:ענטפֿערט מען זיי
.געלטעניו, מיר האָבן  אויך געלטעניו
.מיר דאַרפֿן שוין מער ניט ניצן אײַך
,מיר הערן אײַך ווי דעם קאָטער
.ווײַל אײַער גאָט איז אונדזער פֿאָטער
.געלטעניו איז אַ גוטע זאַך