“Zey, mayn kind” Performed by Khave Rosenblatt

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 22, 2019 by yiddishsong

Zey, mayn kind / See, my child
Performance by Khave Rosenblatt.
Recorded by Beyle Schaechter-Gottesman, 1974, Jerusalem

Commentary by Itzik Gottesman

This curious song, I would venture to guess, comes from a musical play of the turn of the 20th century. It starts off as a critique of money (“Dos shtikele papir” – “that little scrap of paper”) but then becomes a quick review of how to keep a kosher home. It seems to address two separate aspects in the plot of a play.

100karbovantsevunr_r

100 Karbovantsiv note from the short-lived Ukrainian National Republic, 1917. Note the Yiddish text at bottom. 

Khave Rosenblatt is a wonderful singer and her style of performance reinforces the probable theatrical connection with this song. She sings in her Ukrainian Yiddish dialect that is called “tote-mome-loshn” [father-mother-language], because the “a” sound becomes “o”. For example in the first line she sings “faronen” instead of “faranen”.  As always in this blog her dialect is reflected in the transliteration, not the Yiddish transcription.

A reader asked Chana and Yosl Mlotek about this song in their Forverts column Leyner demonen zikh (Readers Remember) on June 23, 1974 but they could find no additional information. The reader remembered only the first four lines beginning with “Her oys mayn zun” (“Listen my son”).  In the original recording, Rosenblatt says before she sings that “the song is known, but I have never heard anyone sing it”.

Rosenblatt also sang this song for Barbara Kirshenblatt-Gimblett and that recording is found on the website of the National Library of Israel (listen for the first song at 2:16).

Special thanks for this week’s post to David Braun for help in deciphering the text.

TRANSLITERATION

Zey, man kind, s’iz faronen af der velt
a shtikele papir.
Se git a numen urem in gevir.
Se makht groys far kleyn
narunim far yakhsunim.
shoyte far klige
in khakhumim far meshige.

Derkh dir harget eyner ’em tsveytn.
In derkh dir kriminaln, arestantn in keytn.
derkh dir geyt eyner di moske farkert.
Di oygn farglentst
in di pleytses farkrimt.
In vus far a maskirn iz alts tsulib dir
kedey ustsirasn bam tsveytn
dus shtikele papir.

Oy, zey man kind, zolst dikh firn bikshire.
Zolst nit zan keyn gozlen
in keyn yires-shomaimdike tsire.
In zolst nisht klopn “ushamni”
in nit tin vu’ di vilst.
Zolst nisht farglentsn mit di eygelekh
in zolst nit ganvenen keyn gelt.

Derof  shray ikh gevold
a’ dus iz user
Eyder tsi makhn fin treyfe kusher
in fin kusher treyfes.

Tepl in lefl tsim ruv gey derval
oyf deym ribl freygt keyner keyn shales.
Fleysh veygt men oys
in me zoltst es oys.
A ey mit a blitstropn varft men aroys.
Derim darf’n oykh dem ribl  oykh git boydek tsi zayn
Se zol in deym ribl keyn fremder blitstrop aran.

TRANSLATION

See my child, how there is in this world
a little piece of paper.
It marks the poor and the wealthy.
It turns  great ones into small ones,
foolish ones into privileged ones,
idiots into brilliant ones,
the wise into crazy ones.

Because of you one kills the other,
and because of you criminals, convicts walk in chains.
Because of you one’s mask is upside-down,
the eyes are rolled up, the shoulders hunched up.
And any masquerading is all because of you –
to tear away from another
that little piece of paper.

Oh, see my child, that you should lead a proper life.
You should neither be a robber,
nor walk around with a God-fearing mug.
Don’t beat your heart “we are guilty”,
and don’t do whatever you want.
Don’t roll your eyes,
and don’t steal any money.

Therefore I shout help
that this is forbidden;
to make something kosher from unkosher,
and from kosher something unkosher.

For a spoon in a pot go ask the Rabbi,
but about the heating stove, no one ever asks any questions.
Meat should be soaked and salted.
An egg with a blood drop should be thrown out.
But the heating stove should be well inspected
So no outside blood drop should fall into it.

screen shot 2019-01-22 at 12.13.06 pm

screen shot 2019-01-22 at 12.13.33 pm

Advertisements

“Reb Tsudek” Performed by Itzik Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 4, 2018 by yiddishsong

Reb Tsudek
Sung by Itzik Gottesman, recorded Nov 2018, Austin TX

Commentary by Itzik Gottesman

I was asked to post the song “Reb Tsudek” as sung by the Yiddish poet Martin Birnbaum. He sang it to Michael Alpert and me in 1984-85 in NYC.  But, alas, I cannot find the original recording so I have recorded it myself.

Birnbaum was born in 1905 in Horodenke when it was Galicia in the Austro-Hungarian empire. Now it is in the Ukraine  – Horodenka. According to a NY Times obituary he came to the US in 1923 and died in 1986. In the YIVO Institute’s Ruth Rubin Legacy Archive, Birnbaum sings four songs but not this one. Those recordings were done in 1964.

I believe there is more Yiddish folklore to be discovered about this shlimazel (bad luck) character Reb Tsudek. When I asked the Yiddish poet Yermye Hescheles about him he affirmed that there was such a comic figure in Galicia, where both he and Birnbaum were from.

The song mocks the Hasidic lifestyle – absurd devotion to the rebbe, irresponsibility, staying poor. The word “hiltay” – defined by the dictionaries as “libertine” “skirt-chaser” “scoundrel” – is really a cue that this is a 19th century maskilic, anti-Hasidic, song. The word is often used in such songs. The humor also hinges on the double meaning of tsimbl both as a musical instrument (a hammered dulcimer) and as a verb – “to thrash or scold someone”.

couple tsimblA tsimblist, about to be thrashed by his wife.
(courtesy Josh Horowitz)

In the song two towns are mentioned: Nay Zavalek remains a mystery but Grudek, west of Lviv, is Grodek in Polish and Horodok in Ukrainian.

Here is a clip of Michael Alpert singing  the song, with Pete Rushefsky on tsimbl, Jake Shulman-Ment on violin and Ethel Raim singing at the Smithsonian Folkife Festival in Washington D.C.,  2013:

TRANSLITERATION

Fort a yid keyn Nay-zavalek,
direkt bizn in Grudek.
Fort a yid tsu zayn rebn – Reb Tsudek.
Tsudek iz a yid, a lamden.
Er hot a boykh a tsentn,
Un s’iz bakant, az er ken shpiln
of ale instrumentn.

Shpilt er zikh derbay (2x)

Fort a yid keyn Nay-zavalek
direkt bizn in Grudek.
Oy vey z’mir tatenyu!
Fort a yid keyn Nay-Zavalek
direkt bizn in Grudek.
Oy vey z’mir tatenyu!

Un Reb Tsudek, er zol lebn,
hot gehat a gutn shabes.
Tsudek hot gekhapt shirayem,
mit beyde labes.
Aheymgebrakht hot er zayn vaybl
a zhmenye meyern-tsimes.
Un dertsu, oy vey iz mir,
a tsimbl un strines.

“Hiltay vus iz dus!” (2x)

Oy hot zi getsimblt Tsudek
fun Zavalek bizn in Grudek.
Oy vey z’mir tatenyu!
Oy hot zi getsimblt Tsudek
fun Zavalek bizn in Grudek.
Oy vey z’mir tatenyu!

TRANSLATION

A man travels to Nay-Zavalek,
directly until Grudek.
The man is traveling to his rabbi,
Mister Tsudek.
Tsudek is a learned man,
and has a belly that weighs ten tons.
And everyone knows that he can play
on all the instruments.

So he plays as he travels –

A man travels to Nay-Zavalek
directly until Grudek,
Oh my, dear God!
A man travels to Nay-Zavalek
directly until Grudek,
Oh my, dear God!

And Reb Tsudek, may he be well,
had a good Sabbath.
Tsudek caught the Rebbe’s holy leftovers
with both paws [large, rough hands].
For his wife he brought home
a handful of carrot – tsimmes,
and in addition – oh no! –
a tsimbl with no strings.

Scoundrel! what is this? (2x)

Boy did she thrash Tsudek
from Zavalek until Grudek
Oh my, dear God.
Boy did she thrash Tsudek
from Zavalek unti Grudek
Oh my, dear God

tsudek1

tsudek2

tsudek3

“Ikh bin a tsigaynerl a kleyner” Performed by Beyle Schaechter-Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 29, 2018 by yiddishsong

Ikh bin a tsigaynerl a kleyner / I am a Small Gypsy (Rom) Lad
Pre-war version from Chernovitz, Romania.
Sung by Beyle Schaechter-Gottesman [BSG]
Recorded by Itzik Gottesman at the Sholem Aleichem Cultural Center, Bronx 1980s.

Commentary by Itzik Gottesman

The more popular song version of this poem by Itzik Manger (1901 – 1969) was composed by Hertz Rubin (1911 – 1958) and has been recorded by at least thirteen artists. According to Chana and Yosl Mlotek in Songs of Generations, the singer Masha Benya received that version from Manger’s widow Genia Manger after the second world war in NY.

MangerItzik Manger in his Chernovitz days, 1920s

But this earlier version has a different melody, and slightly different words without the “Ekh du fidele du mayn” refrain. BSG learned this song in Chernovitz, which was Romania between the world wars and is now in the Ukraine.

Manger’s lyrics carry a number of commonly-held negative stereotypes about Romany (Gypsy) culture. However, considering the time in which he was writing, through first-person narration, Manger creates a sympathetic window into the challenges faced by Roma including poverty, oppression, and a sense of otherness as a minority community. The ever-wandering Manger, no doubt, felt like a kindred spirit.

In the Ruth Rubin Legacy: Archive of Yiddish Folksongs at YIVO, Sore Kessler sings this Chernovitz version and explains she learned it from the Yiddish poet M. M. Shaffir in Montreal. Shaffir was also from the Bukovina region (not Bessarabia as Kessler says in her spoken introduction), and a friend of BSG. Some of Kessler’s text differs and she sings a verse that BSG does not:

Shtendik zaynen mir af vegn,
mir af vegn.
Say bay nakht,
un say in regn.

Always are we travelling,
travelling [on the roads.]
Both at night
and in the rain.

Accordionist Mishka Zignaoff (who was a Yiddish-speaking Russian Rom musician based in New York) recorded the melody as Galitzianer khosid (Galician Hasid) in a medley with the famous Reb Dovidl’s nign.

I am posting this song to mark Beyle Schaechter-Gottesman’s 5th yortsayt (1920 – 2013) which falls on the second candle of khanike.

BeyleItzikTapes2Beyle and Itzik Gottesman looking over Yiddish field recordings, 1970s.

TRANSLITERATION

BSG Spoken: [Itzik Manger] iz geveyn maner a landsman, un hot geredt Yidish vi ekh. Vel ikh zingen in durem-yidish azoy vi er hot geredt. “Ikh bin a tsiganerl a kleyner” un di lider vus ikh zing zenen a bisele, tsi mul, andersh vi ir zingt zey, val ikh ken zey nokh fun der heym.

1) Ikh bin a tsigaynerl a kleyner, gur a kleyner
ober vi ir zeyt a sheyner.
Tra-la-la-la-la-la-la

Ikh veys nisht vi ikh bin geboyrn, bin geboyrn.
Di mame hot mikh in steppe farloyrn
Tra-la-la-la-la-la-la-la

Tra-la-la-la-la-la-la-la
Tra-la-la-la-la-la-la-la

2) Dem tatn hot men oyfgehongen, oyfgehongen
Vayl er iz ganvenen gegangen
Tra-la-la-la-la-la-la-la

Burves, hingerik un freylekh, ober freylekh
Fil ikh zikh vi a ben-meylekh.
Tra-la-la-la-la-la-la-la

Tra-la-la-la-la-la-la-la
Tra-la-la-la-la-la-la-la

3) In mayn lidl kent ir hern, kent ir hern
Mayn tatns zifts, mayn mames trern.
Tra-La-la-la-la-la-la-la-la-la

S’kost in gantsn nor a drayer, nor eyn drayer.
S’iz mayn veytik gurnisht tayer.
Trala-la-la-la-la-la-la

Tra-la-la-la-la-la-la-la
Tra-la-la-la-la-la-la-la

TRANSLATION

BSG Spoken: “[Itzik Manger] was from the same city as me and spoke Yiddish as I do. So I will sing in the southern Yiddish that he spoke.  “Ikh bin a tsiganerl a kleyner” and the other songs that I will sing are a little different than the way you sing them because I learned them form home.”

I’m a small Gypsy lad, a very small Gypsy lad,
But as you see good-looking.
Tra-la-la-la-la-la-la-la

I don’t know where I was born, was born.
My mother lost me somewhere in the Steppes.
Tra-la-la-la-la-la-la

Refrain: Tra-la-la-la-la-la-la

They hanged my father, hanged my father
Because he went thieving.
Tra-la-la-la-la-la-la

Barefoot, hungry and merry, always merry.
I feel like a prince.
Tra-la-la-la-la-la-la

Refrain: Tra-la-la-la-la-la-la

In my song you can hear, can hear
My father’s sigh, my mother’s tears.
Tra-la-la-la-la-la-la

It will only cost you three kopecks.
My suffering doesn’t cost much at all.
Tra-la-la-la-la-la-la
tsigaynerl 1

tsigaynerl 2

tsigaynerl3

“Farmutshet in fintserer tfise” Performed by Leo Summergrad

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , on November 21, 2018 by yiddishsong

Farmutshet in fintserer tfise / Exhausted In a Dark Jail
Sung by Leo Summergrad, recorded by Summergrad in 1959

Commentary by Itizk Gottesman

Upon hearing a previous post Es hot geshneyet un geregnt sung by Esther Gold, Yiddish singer, song lover and collector Leo Summergrad wrote to say that the melody is similar not only to In kampf by David Edelshtadt but also to the song Farmutshet in fintserer tfise. I asked him to send his recording of the song to the Yiddish Song of the Week.

RussianPrison

Russian Prison, circa 1890

Farmutshet in fintserer tfise is a Yiddish translation of a popular Russian poem Замучен тяжелой неволей by Gregori Machtet (1852 – 1901). Here is a choral version of the original Russian song:

In Albert Bitter’s song collection Zing-A-Lid (NY, 1940, 1941) he has printed the words and melody and noted that it is a translation from Russian. In a Yiddish song collection of the 1890s Lieder Magazin (NYC)  it is already noted that the source of the music for Edelshtadt’s In kamf is the Russian song.

The Yiddish translator is “A. Kovner” which I assume to be a pseudonym.  In the on-line Ruth Rubin Legacy: Archive of Yiddish Folksongs at YIVO,  Naomi Feder sings the first two verses of Farmutshet in fintserer tfise. I could not find any studio recording of the song.

Leo Summergrad writes about this recording:

I probably learned the song in Mitl Shul, which was also before the war.  I don’t recall the when and how, but we put on plays honoring Naphtali Botwin and Hirsh Leckert.  Perhaps it was part of the plays.

As to the recordings:  I’ve had a love affair with Yiddish music since I was a very young child.  My mother and father both sang beautifully and did so all the time.  My uncle was the lead tenor in the Oscar Julius quartet.  A big regret is that I never recorded my parents when I had the opportunity.

In 1959 I bought a quality reel to reel tape recorder, which I still have, for the sole purpose of memorializing some of the songs I love.  Over a period of months, I did so.  On the recording I say, “These are a few of my favorites”.  I then record two hours of songs.  As technology improved, I converted the reels to cassettes and later to CDs.  פארמוטשעט אין פינסטערע טוויסעס appears on volume 1, under “Songs of Struggle”.

About the same time, I started collecting Yiddish recordings and song books.  I currently have about 700 recordings from 27 different countries and more than 60 books.  Information about the recordings and songs, of which there are about 2300, are in data bases that I developed.

Over the years, I have made about a dozen more recordings, many of which were of programs that a friend and I put on at various locations over a number of years.

Thanks this week to Leo Summergrad for sending us his stirring recording. 

TRANSCRIPTION

Farmutshet in fintserer tfise,
in kamf far der arbeter-makht.
Bagegnt dem toyt hostu heldish,
bist erlekh gefaln in shlakht.

Neyn, sine hot bloyz undz nor gevorgn,
getribn in shlakht hot undz mut.
Baym keyver mir hobn geshvoyrn
batsoln dem faynt far dayn blut.

Far undz iz nor eyn veg nor dayner,
vi du zayn in tfise farshmakht.
A lebn nor shtraykn nor kemfn,
un faln vi du far der zakh.

TRANSLATION

Exhausted in a dark prison,
in struggle for the workers’ power,
you met your death like a hero
and died honestly.

No, hatred has only strangled us.
Our courage drove us into battle.
At the grave we swore
to make the enemy pay for your blood.

For us there is only one way – yours,
As you, to be suffering in prison.
A life of only strikes and struggles,
and to die as you for the cause.
jail lyrics.jpeg

“Lomir ale in eynem marshirn” Performed by Beyle Schaechter Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , on November 14, 2018 by yiddishsong

Lomir ale in eynem marshirn / Let’s All March Together
Sung by Beyle Schaechter-Gottesman (BSG), recorded by Itzik Gottesman, Bronx, 2010.

Commentary by Itzik Gottesman

BSG Picnic

Beyle Schaechter-Gottesman on a picnic outside of Chernovitz with friends, mid 1930s. Probably from the group leftist Zionist group Hashomer Hatzair.

A Yiddish school song that Beyle Schaechter Gottesman learned in Chernovitz, Romania, later 1920s, early 1930s either in the Bundist Morgnroyt school or the more leftist Der yidisher shul-fareyn.

TRANSLITERATION

Lomir ale in eynem marshirn
Af di felder shpatsirn azoy — eyns, tsvey.
Lomir ale in eynem zikh rirn
Af di veygn zikh rirn azoy – eyns, tsvey

Purlekh, purlekh geshlosene reyen;
in der mit zol keyner nisht zan.
Lomir geyn in geshlosene reyen,
Lomir geyn, lomir geyn, lomir geyn.

TRANSLATION

Let’s all march together
In the fields, let’s go this way – one, two.
Let’s all move together;
on the roads let’s move – one, two.

As couples let us close ranks,
no one should remain in the middle.
Let’s close ranks,
Let’s go, let’s go, let’s go.

Lomir Yiddish

“Es hot geshneyet un geregnt” Performed by Esther Gold

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 25, 2018 by yiddishsong

Es hot geshneyet un geregnt (Dos borvese meydele)
It was Snowing and Raining (The Barefoot Girl)
text by Morris Rosenfeld, sung by Esther Gold
Recorded by Dr. Diane Gold in 1983 in Massachusetts

Commentary by Itzik Gottesman

This week’s recording  was sent to me by Joe (Yosl) Kurland, Yiddish singer, songwriter, teacher  based in Western Massachusetts. It was recorded by the singer’s granddaughter Diane Gold so that Kurland could sing it at the bar-mitsve of her three sons.

As one can tell from this moving performance, the song meant a lot to Esther Gold since she had learned it from her father in New York City at the turn of the 20th century. Esther Gold (1900 – 1984) was born in Bryansk, Russia (southwest of Moscow) and came to New York in 1906.

gold pic 1Esther Gold (center) with parents & brothers 

Kurland realized that she sang the song to the same melody as David Edelshtadt’s song In kamf (Mir zaynen gehast un getribn) and combined the two at the bar-mitsves.

The text is by the great “sweatshop poet” Morris Rosenfeld and can be found in Volume II of his Shriftn (Writings). We are attaching the poem from that 1912 publication where it is called Tsu a borvose meydl – To a Barefoot Girl.

The original poem has twelve verses, Esther Gold sings nine. I have transcribed the words as Gold sings them which are incredibly accurate compared to the original. On occasion I have put in brackets the original word or phrase as found in Rosenfeld’s poem if different. The singer forgets one line in verse eight and I have put the original text in its place.

Significantly, the order of the last three verses differs from Rosenfeld’s. She ends the poem with the verse that suggests the barefoot girl could become a prostitute. A very powerful ending indeed. But the poet placed that verse third from the end, and concludes with Gold’s verse seven in which he worries about his own child.

Esther husband babyEsther Gold with her husband Isador (“Izzie”) and son H. Carl (“Chaim”) Gold (Carl is Diane Gold’s father).

Diane Gold writes about her grandmother, Esther Gold and about the song:

Our Grandma Esther was born in Bryansk (Russia), the daughter of Dina and Elhanan (Harris) Scheinin, and young sister to Eddie (Aaron) and Joe. I believe there was another sibling who died in childhood. Her grandmother came from Starodub and her grandfather came from Kriemenchuck (Kremenchuk, Ukraine). The birthdate she was given when they arrived at Ellis Island in 1906 was January 1, 1900. She died on December 28, 1984.

Harris, who was a fine tailor in Russia, came by ship to NYC in 1906, a little earlier in the year than Dina (a midwife) and the children. My father Carl, who grew up in the same household as his grandfather, remembers Harris as a gentle man with high principals who insisted that Carl never put his hands behind his back, as it was important not to be hiding things from people. Harris insisted on looking for fine tailoring work and according to the family was injured demonstrating against sweated labor and even against union leaders who were in league with the bosses. Not surprisingly he had trouble finding work, and this made for tensions and sadness in the family. He banned Esther from working in garment factories.

Esther learned the Borvese meydl song as a girl by his side at home, and I imagine him singing to her as he sewed and pressed clothing. The words of this song were real to him, I am certain. He worried about the fate of his children, and children who were even worse off than his immediate family. I am not surprised, given his politics and background that the version of the song he shared with Esther was put to the tune of In Kamf. 

The siblings worked as children and teenagers.  Dina berated Joe for selling newspapers and chewing gum, but took the money. As a teenager Esther, who must have been a gay flapper with a love of show tunes, got a job splicing film at Universal Studios in New York, where she met our grandfather Isador Gold, who was a photographer in Europe in WWI and did some of the first silent film newsreels. Living under the magnifying glass of the demanding and bewildered older generation, that marriage sadly fell apart and my dad grew up without a father, with his mom in his grandparents’ household. For a while Esther kept the books (and I think the accounts) for our great-uncle Joe, who eventually flourished financially in the New York cement business. Then, from when I was little, I remember Esther was a “salesgirl” in the girl’s department at B. Altman’s, living alone after her parents died in her rent controlled apartment at 110 Post Avenue. She only moved to be with us in Newington, Connecticut in the last years of her life, with no savings or pension after years of work, after she became blind. She was a petit determined intelligent loving grandma harboring memories damping her capacity for joy, which bubbled up when she talked about her girlfriends, when she dressed us in the finest clothes from Altman’s, when she kvelled at our accomplishments or when she sang.

Thanks to Joe (Yosl) Kurland, and Dr. Diane Gold and family.

TRANSLITERATION

1) Es hot dort geshneyt un geregnt
un geyendik shnel durkhn gas.
A meydele hob ikh bagegnt
halb naket un borves un nas.

2) Zi hot mit di nakete fislekh
gepatsht dem fargosenem bruk.
Un epes azoy vi fardrislekh
geshaynt hot ir kindisher kuk.

3) Kleyn meydele zog mir vu geystu?
Durkh regn, durkh shney un durkh kelt?
Zog mir mayn kind tsi farshteystu
vi iberik du bist oyf der velt?

4) Di velt velkhe lozt dir do zukhn
a lebn durkh elnt un leyd.
Un vil dayne fis nit bashukhn
nit haltn dayn guf in ayn [a] kleyd.

5) Zog, zaynen dir fremd di gefiln?
Tsi falt gor nit ayn der gedank,
ven du zolst zikh itstert farkiln
dan falstu avek un bist krank.

6) Ver vet dir damols kurirn?
Ver vet far dir epes ton?
Di velt velkhe lozt dir farfrirn,
Der Got velkher kukt [dir] nit on?

7) Derfar muz ikh veynen un klogn.
Es ken eykh zayn mit mayn kind
ven mir (mikh) zoln tsores dershlogn,
un ir zol farvarfn der vint.

8) Derfar muz ikh veynen un klogn.
Derfar heyb ikh uf a geshrey.
Derfar (nor, yo, volt ikh dikh kishn)
Tsu helfn tsu shtiln mayn (dayn) vey.

9) Dayn borveskeyt, kind, dayne trern
dayn geyn un nit visn a vu.
veys ikh, vos es ken vern
fun meydlekh, azelkhe vi du.

TRANSLATION

1) It was snowing and raining,
and while walking down the street,
I encountered a girl
half naked, barefoot and wet.

2) With her bare feet
she slapped the pavings stones.
And, in what looked like regret,
her childlike appearance shone.

3) Little girl, tell me where you’re going
in this rain, through the snow and cold
Tell me my child, do you understand
how superfluous you are in this world?

4) The world that lets you search here
for a lonely suffering life.
And does not want to shoe your feet
and not clothe your body in a dress.

5) Tell me, do you have these feelings
or does it not occur to you,
that if you were to catch cold here,
you’d be struck down and be sick.

6) Who would then heal you?
Who would do something for you?
The world that lets you freeze?
The God who does not even look at you?

7) Therefore I must cry and lament:
it could also happen to my child;
when sorrows would depress me,
and the wind would blow her far away.

8) Therefore I must weep and lament;
Therefore I raise up a cry.
Therefore, yes,  [I would kiss you ]
to help you quiet my [your] pain.

9) You being barefoot, child, your tears,
your wandering not knowing where;
I know what could become
of girls such as you.

Gold1

gold2

gold3

gold4

Below is Tsu a borvose meydl – To a Barefoot Girl, from Shriftn (Writings), Vol. II, pp. 143-145 by Morris Rosenfeld (1912, New York):

mrosenfeld1mrosenfeld2.jpeg<img class="alignnone size-full wp-image-4273" src="https://yiddishsong.files.wordpress.com/2018/10/mrosenfeld3-e1540485244566.jpeg&quot; alt="mrosenfeld3" width="564" height="186" /

“Eyns un tsvey” Performed by May (Menye) Schechter

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 10, 2018 by yiddishsong

Eyns un tsvey / One and Two
Performance by May (Menye) Schechter
Recorded by Itzik Gottesman, Circle Lodge Camp, Hopewell Junction, NY, 1985

Commentary by Itzik Gottesman

To welcome the beginning of the school year we present a Yiddish children’s song written and composed in New York but sung by the children in Eastern Europe Jewish schools as well.

The singer May Schechter (Yiddish name “Menye”)  was born in August 1920 in Soroki (Yiddish- Soroke), Bessarabia, then Romania. She died this year, February 2018.

may schechter picMay (Menye) Schechter 1920-2018

In an interview I conducted with her in 1986 at Circle Lodge, the Workmen’s Circle camp in Hopewell Junction, NY, Schechter explained that the children in Soroki performed this song as part of Zishe Weinper’s (Vaynper) children’s operetta Der bafrayter (The One Who Was Liberated). Der bafrayter was published by Farlag Matones in 1925, NY. We are attaching the Yiddish words and music (composed by N. Zaslavsky/Zaslawsky) as it appeared there. Yosl Kotler did wonderful illustrations for the publication.

befrayter pic
Picture of Der Bafrayter by Yosl Kotler

May Schechter’s daughter, Naomi Schechter, wrote  about her mother:

She liked to say “I came in singing and I’m going to go out singing” and she was able to do that almost to the end, sharing Russian songs with her caretaker Luba and Yiddish and other songs with me. She also loved to dance. She had many talents including being a world class seamstress able to make couture suits, drapery and just about anything, carrying on the tailoring tradition of her family…

May Schechter’s husband was Ben Schechter, the long time manager of the Folksbiene Yiddish theater in NY.

The poet Zishe Weinper (1893 – 1957) came to America in 1913. He was a central figure in the Yiddish left and a number of his poems appealed to composers, among them “Toybn” and “A pastekhl, a troymer”. His song Zingendik, music by Paul Lamkoff, was another American Yiddish children’s song that became popular in Eastern Europe.

The composer Nathan Zaslavsky (1885 – 1965) immigrated to the US in 1900 and composed a number of other Yiddish songs. Sarah Gorby recorded this song twice we are attaching the MP3 of the version on:  Sarah Gorby – Yiddish et Judeo-Espagnole (Arton Records).

One verse of the  song was also recorded by Masha Benye and Workmen Circle school children on the LP Lomir zingen lider far yidishe kinder. Since May Schechter and Sarah Gorby both came from Bessarabia one has to wonder whether the play Der bafrayter was especially popular there.

Special thanks to Naomi Schechter for this week’s post, as well as Lorin Sklamberg and the YIVO Sound Archive.

TRANSLITERATION

Eyns un tsvey, eyns un tsvey
eyns un tsvey iz dray.
Zun bahelt undzer velt.
Leybn iz keday.

Zum, zum, zum?
Zum, zum, zum?
freygt ba mir a flig.
Tra-la-la, tra-la-la
entfer ikh tsurik.

Tsvey un tsvey, tsvey un tsvey
tsvey un tsvey iz fir.
Vintl bluz afn gruz,
bluzt es oykh af mir.

Tri-li-li, tri-li-li
zingt a vaserfal.
Blyasket blendt, glit un brent.
Iber im a shtral.

Fir un fir, fir un fir
fir un fir iz akht.
Af a kark fun a barg
hot zikh ver tselakht.

Kha-kha-kha, kha-kha-kha
ver zhe lakht es dort?
Kha-kha-kha, kha, kha, kha
Me hert dort nisht keyn vort.

Finf un finf, finef un finf
finef un finf iz tsen.
kling klang klingt
Foygl zingt.
Vazt mir, vos er ken.

Foygl flit, taykhl tsit
Ikh tsi oykh mit zey.
Eyns un eyns, eyns un eyns.
Eyns un eyns iz tsvey.

TRANSLATION

One and two, one and two
one and two is three.
Sun light up our world,
It’s worth living.

Zum, zum, zum, zum, zum, zum?
A fly asks me.
Tra-la-la, tra-la-la
Is my reply.

Two and two, two and two
two and two is four.
Breeze blows on the grass
and so too it blows on me.

Tri-li-li, tri-li-li
sings a waterfall.
Shines and dazzles, glows and burns
A beam of light above.

Four and four, four and four
four and four is eight.
On the neck of a hill
someone was laughing.

Ha-ha-ha, ha-ha-ha
who is laughing there?
Ha-ha-ha, ha-ha-ha
Not a word is heard.

Five and five, five and five
Five and five is ten.
Kling-klang rings, the bird sings
Shows me what he can do.

Bird sings, river attracts,
and I am drawn to them.
One and one, one and one
One and two is three.

eyns1

eyns2
eynsmusic