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“Shluf mayn kind, mayn treyst” Performed by Beyle Schaechter-Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , on August 28, 2020 by yiddishsong

Shluf mayn kind, mayn treyst/Sleep my child, my comfort
An otherwise unknown alternate melody for Sholem Aleichemś lullaby from Chernovitz, Romania sung by Beyle Schaechter-Gottesman

Commentary by Itzik Gottesman

There are several melodies for this song known commonly as “Sholem Aleichem’s lullaby”, words by the writer Sholem Aleichem (Solomon Rabinovitch, 1859 – 1916).

Screenshot 2020-08-27 at 11.38.53 PM
Sholem Aleichem

There are two popular tunes to this poem but Beyle Schaechter-Gottesman (BSG) sings an otherwise unknown third melody that she remembers from her home town of Cernauti/Chernovitz, Romania.

BSG sings only two verses of a longer song. Sholem Aleichem first printed the poem in 1892 but only a few years later it was already published as a “folksong” in the Ginsburg and Marek collection of 1901.

The most commonly sung melody was composed by Dovid Kovanovsky. You can hear Ruth Rubin sing the Kavonovsky melody at this link. (from YIVO’s Ruth Rubin Archive). Also posted at the link is Feigl Yudin’s performance of the second most popular melody. Below is a version of the Yudin melody performed by vocalist Rebecca Kaplan Muranaka, accompanied by tsimblist Pete Rushefsky from their 2003 CD, Oyf di vegelekhOn the Paths (Yiddishland Music):

Both melodies plus transcribed words and translation have been printed in Ruth Rubin’s Jewish Folksongs in Yiddish and English (Oak Publications, 1965) (scans attached).

In Emil Seculetz’s Romanian Yiddish collection Yidishe folkslider, (Bucharest 1959) the compiler collected 5 versions of Shlof mayn kind, with music. Two of them (#21 and #22) are related to BSGs version. (scans are attached))

In BSG’s repertory she knows a completely different song to this second popular melody sung by Yudin: a lullaby about armed resistance which can be heard on her CD “Bay mayn mames shtibele” (2004).

There is much more to say about the history and transformations of Sholem Aleichem’s lullaby. See the article “America in East European Yiddish Folk Song” in The Field of Yiddish, 1954 by Eleanor Gordon Mlotek and the chapter on Sholem Aleichem in Perl fun der yidisher poezye, ed. Yoysef and Khane Mlotek, 1974.

Fans of Beyle Schaechter-Gottesman – be sure to watch this amazing online concert commemorating BSG’s 100th Birthday!

Shluf man kind as sung by Beyle Schaechter-Gottesman

Shluf man kind, man treyst, may sheyner
Shluf man zinonyu.

Shluf man kind, man kadish eyner
Hayda-liu-lku

Shluf man kind, man kadish eyner
Hayda-liu-lku-liu

In amerike der tate,
dayner zinonyu.

Bist a kind nokh shluf lis-ate
shluf zhe, shluf liu-liu

Bist a kind nokh shluf lis-ate
shluf zhe, shluf liu-liu

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From Emil Seculetz’s Yidishe folkslider, (Bucharest 1959), #21 and #22:

Screenshot 2020-08-27 at 11.45.58 PMScreenshot 2020-08-27 at 11.46.07 PM

From Ruth Rubin’s Jewish Folksongs in Yiddish and English (Oak Publications, 1965):

“Dus geboyrn finem mentshn” Performed by Frahdl Post

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

 Dus geboyrn finem mentshn / The Birth of Man
Sung by Frahdl Post
Recorded by Wolf Younin 1976, Workmen’s Circle Nursing Home, Bronx

Commentary by Itzik Gottesman

Usually on the blog we identify the songs by the first line, but the singer Frahdl Post called this song Dus geboyrn finem mentshn – The Birth of Man – so we will stick with that title. It is an adaptation of the first half of the poem Der malekh (The Angel), a poem by Avraham Goldfaden (1840-1908), a section bearing the subtitle “Di yunge neshome – The Young Soul”. It was first printed in Goldfaden’s poetry collection Dos yidele (Zhitomir 1866). We are attaching in 4 scans the entire poem as it appeared in the 1903 Warsaw edition.

Goldfaden picAvraham Goldfaden

The poem and song are based on the midrash and Jewish folk belief that before birth the soul of the child knows the entire Torah and all about the world. But right before birth the angel flicks his/her finger hitting the lip and the newborn forgets everything as it enters this world. The indentation above our lips, the philtrum, marks where the angel struck the child.

In Goldfaden’s 25-verse poem and Frahdl Post’s 14-verse song, the angel especially points out the evils of money in Jewish society.

Henry Carrey transcribed the song as he heard his grandmother, Frahdl Post, sing it. After listening, I changed some words of his transcription. Some words remain unclear and we indicate alternatives in brackets. I would suggest that one must read Goldfaden’s original poem to make sense of some of the lines in the song.

Post’s northern Ukrainian dialect includes both turning the “oy” to “ey”, (for example “skheyre instead of “skhoyre”), a change we associate with the northeastern Yiddish dialect (Litvish), as well as vowel changes we usually associate with the southeastern Yiddish dialect – “zugn” instead of “zogn”, “arim” instead of “arum”. The transcription reflects the dialect as much as possible.

Needless to say Frahdl Post’s memory in recalling these long songs is very impressive. Thanks for help in this week’s post go to Henry Carrey and David Braun.

TRANSLITERATION

[Ge]shlufn iz ales eyn halbe nakht
kayn shim mentsh hot zikh nit gerirt.
Nor di zilberne levune aleyn
tsvishn di shtern shpatsirt.

Demolt tsit on der shluf mit makht ,
farshlefert di mentshn di oygn,
iz fin dem himl a malakh arup
[Un iz iber di dekher gefloygn.]

Er halt di hent tsugeltulyet tsu zikh;
a yinge neshume getrugn,
“Vi trugsti mikh? Vi shlepsti mikh ?”
heybt im on di neshume tsi zugn .

“Hob nit keyn meyre, neshumele mayns”
Heybt on der malakh tsu reydn,
“Ikh vel dir bazetsn in a hayzl a fayns
Du vest dortn lebn tsufridn [in freydn].”

“Vest onheybn di velt beser farshteyn
Veln mir dir gebn a kameyeh,
Azey aza zakh hostu keyn mol geyzen
Zi heyst mitn nomen matbeye.”

“Mit der matbeye darfstu visn vi azoy tsu bageyn,
Zi iz magnet, zi iz kishef, zi iz gelt.
Zi ken dir gibn di velt tsu zeyn,
Zi ken dir farvistn dayn velt.“

Dortn zitst eyner in zan tsimer
Er trinkt mit im frayntlekh un kvelt,
Zey vi er kikt im [?] same in bekher aran.
Er vil bay im yarshenen zayn gelt.

Dortn shluft eyner in zayn tsimer.
Er shluft zikh git geshmak
Zey vi er shteyt un kritst mit di tseyn
Er vil hobn dem shlisl fun dem gelt.

Dortn firt eyner ganeyvishe skheyre,
Gur farviklt, farshtelt,
Zey vi er hot di skheyre geganvet
Un er vil zi farkeyfn far gelt.

Dortn oyf dem beys-hakvures
In an ofenem keyver oyfgeshtelt,
Zey vi er tsit di takhrikhim arup
Un er vil zey farkeyfn far gelt.

“Okh! neyn, neyn, neyn, neyn, heyliker malakh
Mit aza velt kim ikh nit oys.
Fir zhe mir beser upet aheym,
Ikh ze du kayn gits nit aroys.“

“Shpatsir dir a bisl arim afn brik,
Shpatsir zikh a bisl arim,
Di vest dokh bald darfn kimen karik
Di zolst nit kimen far im [mit keyn grim.][?]”
[Goldfaden: “Zolst kumen aheym on a mum]

Der hun hot gegebn dem ershtn krey,
A kol fun a kimpeturin,
Azey hot men gegeybn bald a geshrey,
“ A yingele! – mit lange yurn.”

[Azoy vi men hot gegeybn dem geshrey.
“Mazl-tov, a yingl geboyrn”]
Der malakh hot gegebn a shnal in der lip
Un iz karik tsum himl farfloygn.

TRANSLATION

Everything is asleep at midnight.
Not a soul was stirring.
Only the silver moon
Went walking among the stars

Sleep covers all with its power
And makes drowsy all of the people’s eyes.
An angel then came down from heaven
And flew over the rooftops.

He holds his hands tucked close to himself
A young soul he was carrying.
“Where are you carrying me? Where are you dragging me?”
The soul starts saying to him.

“Do not fear, my dear little soul”
the angel begins to speak
“I will place you in a good house.
You will live there happily.”

“When you begin to understand the world better,
we will give you a charm.
Such a thing you have never seen:
It is called by the name – coin.”

“With this coin you will have to know what to do.
It’s a magnet; it’s magic, it’s money.
It can help you see the world.
It can destroy your the world.”

There sits someone with his friend in his room.
He drinks with him as friends and enjoys it.
Look how looks right in the goblet .
He wants to inherit his money.

Another sleeps in his room,
He is sound asleep.
See how he stands and grits his teeth;
He wants to have the key to the money.

Over there someone deals with stolen goods,
Completely wrapped up, disguised.
See how he stole that merchandise
And how he wants to sell if for money.

There on the cemetery
In an open grave [a body] is propped up.
See how he pulls the burial shrouds off it
and wants to sell them for money.

“Ah no, no, no, no holy angel
I cannot survive in such a world.
It would be better if you took me home.
No good do I see here.”

“Take a walk around the bridge,
take a little walk around.
You will soon have to come back
So that you don’t appear before him with make-up [?].”
[In Goldfaden’s original – “So that you return with no blemish”]

The rooster gave its first crow
The voice of a midwife,
And thus was given the first scream
A boy! May he live for many years.

As soon as the first yell was given
“Mazl-tov! A boy was born”.
The angle gave it a flick on the lip
And flew back up to heaven.
geboyrn1

geboyrn2

geboyrn3

geboyrn4

Di yunge neshome – The Young Soul, as printed in Goldfaden’s poetry collection Dos yidele (Zhitomir 1866):

YungeNewshome1

YungeNeshome4

YungeNeshome3

YungeNeshome2

“Drayfusl mayn kind” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , on October 3, 2011 by yiddishsong

Commentary by Itzik Gottesman

The song Drayfusl mayn kind is a rare Yiddish song about the „Dreyfus Affair‟: the trial and tribulations of Captain Alfred Dreyfus in France, convicted of treason in 1894.


Captain Alfred Dreyfus

I remember, from a taped interview, that the singer Lifshe Schaechter-Widman (LSW) learned this song from a street singer/organ grinder in her home town of Zvinyetchke, Bukovina. Perhaps this explains why she sings the song at a faster pace than she usually does with the other songs in her repertory.

The song is a little gem, for though the song comments on a current event of the times, it is not a broadside by any means, but a lullaby, transforming Captain Dreyfus into a child in the crib. He comes to represent all vulnerable Jewish children, and by extension the entire suffering Jewish people.

In mayne oyern tit mir klingen,
Hay-da lu lu lu
Vus mayn mame fleyg mir zingen
bay mayn vigele.

In my ears it still rings,
Ay- li lu lu lu
What my mother used to sing me,
At my crib.

Hay-li- la-lu la,
Di gantse velt zingt‘ekh dos lidele.
Hob kayn moyre Dreyfusl mayn kind,
Farges nisht az di bist a yidele.

Hay¨ de la lu¨ lu
The whole world is singing this song.
Fear not my dear Dreyfus,
Don‘t forget that you are a Jew.

Vus in Frankraykh hot (itst?) pasirt
Veyst a yeder gants git.
Men hot farurteylt kapitan Drayfus
Nor derfar vayl er iz a yid.

What happened in France
Everyone knows too well.
Captain Dreyfus was convicted,
Only because he is a Jew.

Hay-li-la-li-la
Di gantse velt zingt‘ekh dos lidele.
Hob keyn moyre Drayfusl mayn kind,
Farges nisht az du bist a yidele.

Hay-li-la-lu-la
The whole world is singing this song.
Fear not Dreyfus my child,
Don‘t forget that you are a Jew.