Archive for Bund

“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.

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“Der nakhtvekhter” Performed by Beyle Schaechter-Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , on July 30, 2018 by yiddishsong

Der nakhtvekhterThe Night Watchman
Words by Avrom Reyzen, performance by Beyle Schaechter-Gottesman
Recorded by Itzik Gottesman, 1980s Bronx

Commentary by Itzik Gottesman.

Beyle Schaechter Gottesman (BSG) remembers learning this song in Jewish school in Chernovitz, Romania in the 1930s. She attended two schools: the Morgnroyt, a Bundist (socialist) school, every day after Romanian public school. On Sundays she attended the Yidisher shul-fareyn which was more left. She remembers learning Nakhtvekhter  at the Morgnroyt school.

Nightwatchman 4 The words are by Avrom Reyzen (1876 – 1953), a beloved Yiddish writer whose poetry was often turned into song.  In Reisin’s volume of selected poetry (Di lider, 1951) he placed this poem among his earliest, so we can assume it was written around the turn of the century.  We are attaching a scan of the words as they appear in that volume. BSG’s version varies slightly.  When she repeats the last two lines of each verse, she corrects herself twice when she felt she had sung those lines incorrectly the first time.

I have not found any recordings yet. Paul Lamkoff composed a different melody to the poem and it can be heard at the Milken Archive of Jewish Music.


Der nakhtvekhter

Shpeyt di nakht iz kalt in fintster.
Neypldik in nas.
In di hayzer ruen ale
shtil un toyt in gas
In di hayzer ruen ale
toyt in shtim in gas.

Elnt shlept zikh nokh der vekhter
of der gas arim.
in di shtile hayzer kikt er
troyerik in shtim.
In di shtile hayzer kikt er
troyerik in shtim.

Dort in veykhn varem betl
shluft zikh azoy git.
Oy, vi voltn mayne beyner
Dort zikh oysrerit.
Oy, vi voltn mayne beyner
Dort zikh oysrerit.

In er klugt zikh farn himl –
zey mayn troyer tsi!
Ikh aleyn hob gornisht, hit ikh
yenems shluf un ri.
Ikh aleyn hob gornisht, hit ikh
yenems gits un ri.

The Night Watchman

Late at night, it’s cold and dark,
foggy and wet.
In the houses all are resting
Silent and dead on the street.
In the houses all are resting
dead and silent on the street.

Alone, the watchman drags himself
along the street.
He looks into the quiet houses
sadly and silently.
He looks into the quiet houses
sadly and silently.

There in a soft warm bed
one sleeps so well.
Oh, how my bones would
love to rest there.
Oh, how my bones would
love to rest there.

And he laments to the heavens –
witness my sorrow!
I myself have nothing, so I guard
another’s sleep and rest.
I myself have nothing, so I watch
another’s goods and rest.

nakhtvekhter

Four Songs, One Melody

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 25, 2011 by yiddishsong

Commentary by Itzik Gottesman.

In this week‘s entry the reader will get four Yiddish songs for the price of one. What connects them is the same melody. I am not the first to write on the popularity of this tune. The Israeli Yiddish song-researcher Meir Noy wrote an article זמר סובב עולם [The tune that circles the world]  in the Israeli publication אומר, April 13, 1962. I could not find the article yet, so am not sure what he includes.

The first song and perhaps the oldest is a beggar song –  Vu zenen mayne vugn un ferd? (Where are my wagon and horse?); the second song  Yosele mit Blimele (Yosele and Blimele) is a typical lyrical love song. These are sung by Lifshe Schaechter-Widman (LSW, 1893 – 1974), recorded in 1954 in NYC and originate from her Bukovina repertoire that she learned in the small town of Zvinyetchke in the 1890s-early 1900s. I have found no variants of the beggar song, and one of Yosele mit blimele (Oy vey mame,  in the Pipe-Noy collection, see below, page 270-71 with music). The first line as my mother remembers it sung was “Vu iz mayn vugn, vu zenen mayne ferd?” which fits better into the melody; it does indeed sound as if  LSW forgot a syllable or two when she sings it here, and forces it into the melody.

In the interviews that Professor Barbara Kirshenblatt-Gimblett of New York University recorded with LSW in the early 1970s shortly before her death, LSW said that much of her repertoire, particularly the songs about life‘s difficulties, was learned from the older, married women in town, while the younger unmarried women taught her the hopeful love songs. Vu zenen mayne vugn un ferd would fall into the category taught by the married women (vayber) while Yosele mit blimele would be a typical song performed during the Sabbath afternoon walks that the unmarried girls took into the woods. In terms of style, the beggar song is sung slower and more mournful, while the love song is more playful.

LSW sings other versions of Yosele mit blimele including a second verse: 

Az du vest kumen, tsum dokter bay der tir, 
zolst im gebn a vink, azoy vi ikh tsu dir. 
Zolst im gebn a  tuler in der hant. 
Vet er shoyn visn vus mit dir iz genant 

When you come to the doctor’s door,
you should give him a wink, like I give to you.
you should give him a dollar in his hand;
so he will know what embarrased you.

A verse which implies an abortion! But in such a light-hearted song it seems quite incongruous.

The third song – In a kleynem shtibele (In a Small Room) – is sung by Beyle Schaechter-Gottesman (born 1920) and was recorded May 13th 2011 (last week) in the Bronx. She learned this song in one of her afternoon Yiddish classes in Chernovitz, (then Romania) either at the Morgnroit school (Socialist Bundist) or the Yidisher shulfareyn, a Yiddish cultural group, in the 1920s, early 1930s. Basically the same version was collected by the folklorists Shmuel-Zanvil Pipe and his brother Oyzer Pipe in their hometown of Sanok (in yiddish- Sunik), Galicia, then Poland. Dov and Meir Noy published the Pipe brothers collection in Israel (Folklore Research Studies , Vol. 2, Jerusalem 1971),  and a copy of that version is attached with the music. See the footnote to the song by Dov and Meir Noy (p. 326) for other songs with this melody, and the reference to Meir Noy‘s article mentioned above.

In a kleynem shtibele is a worker‘s song, text written by the writer and ethnographer A. Litvin  (pseudonym of Shmuel Hurvits 1863 – 1943) and the complete original text (Di neyterkes) can be found in M. Bassin‘s Antologye: Finf hundert yor yidishe poezye, volume one 258-259, NY 1917.

The fourth song with the same melody is In shtetl Nikolayev (In the Town of Nikolayev). The Freedman Jewish Sound Archive has information on three recordings: a version by David Medoff (1923); Kapelye (the album „Future and Past‟, sung by Michael Alpert); and the German group Aufwind (from the album „Awek di junge jorn‟). We have included a link to the Medoff performance. See Mark Slobin and Richard Spotwood‘s article on Medoff (David Medoff: A Case Study in Interethnic Popular Culture in American Music, Vol. 3, No. 3 (Autumn, 1985), pp. 261-276.

AUDIO RECORDINGS:

Song 1: Vu zenen mayne vugn un ferd? (Where are my wagon and horse?). Performance by Lifshe Schaechter-Widman, recorded in 1954 by Leybl Kahn.

Song 2: Yosele mit Blimele (Yosele and Blimele). Performance by Lifshe Schaechter-Widman, recorded in 1954 by Leybl Kahn.

Song 3: In a kleynem shtibele (In a Small Room). Performance by Beyle Schaechter-Gottesman, recorded May 12, 2011 by Itzik Gottesman.

Song 4: In shtetl Nikolayev (In the Town of Nikolayev). Performance by David Medoff, recorded 1923.

TEXTS AND TRANSLATIONS

Song 1: Vu zenen mayne vugn un ferd? (Where are my wagon and horse?). Performance by Lifshe Schaechter-Widman, recorded in 1954 by Leybl Kahn.

Vu zenen mayne vugn un ferd?
Az ikh bin aroysgefurn, hot getsitert himl un erd.
Hant bin ikh urem; shtey ikh ba der tir.
Kimen tsu geyn di sholtikes un lakhn (up?) fin mir.

Where are my wagon and horse?
When I first drove out, heaven and earth shook.
Now that I am poor, I stand at the door.
So the scoundrels come by to mock me.

Vi iz mayn tsiring vus ikh hob gebrakht fin vin?
Vus mayn vab un kinder zenen gegongen ongetin?
Hant az ikh bin urem, shtey ikh far der tir.
Kimen tsu geyn di sholtikes un lakhn up (?) fin mir.

Where is the jewelry that I had brought from Vienna?
That was worn by my wife and children.
Now that I am poor, I stand by the door.
So the scoundrels come by to mock me.


Song 2: Yosele mit Blimele (Yosele and Blimele). Performance by Lifshe Schaechter-Widman, recorded in 1954 by Leybl Kahn.

Yosele mit Blimele zey zitsn af a bank.
Oy vey Blimele, ikh bin azoy krank.
Kh‘hob aza krenk, ikh shem zikh oystsuzugn,
Der dokter hot mir geheysn khasene-hobn.

Yosele and Blimele are sitting on a bench.
Oh dear Blimele, I am so very ill.
I have an illness, I am embarrased to reveal –
The doctor ordered me to get married.

Khasene hobn – es geyt dir nor in deym.
Khasene hobn – ken men glaykh ven (?) me vil aleyn.
Khasene hobn – darf men hubn gelt.
Ken men opfirn a sheyne velt.

Getting married – is all you can think of.
Getting married is easy if you want to do by ourselves.
Getting married – you need money for that,
and then you can have a beautiful world.

Yingelekh un meydelekh hot shoyn nisht keyn moyre.
Khasene hubn – es shteyt dokh in der toyre.
As der shnader shnadt – shnadt er mit der mode
un az der rebe vil a vab, meygn mir avode.

Boys and girls, you no longer have to fear.
Getting married – It says so in the Torah.
When the tailor tailors, he cuts according to the fashion
and if the Rebbe wants a wife, then we may too of course.

Song 3: In a kleynem shtibele (In a Small Room). Performance by Beyle Schaechter-Gottesman, recorded May 12, 2011 by Itzik Gottesman.

In a kleynem shtibele, bay a langn tish.
Zitsn dortn meydelekh un dreyen mit di fis.
Zey dreyen di mashindelekh fun fri biz nakht
Un azoy vern tutsnvayz hemdelekh gemakht.

In a small room, at a long table,
There sit girls and turn with their feet.
They turn the machines from early to night.
And thus by the dozens, shirts are produced.
Girls, so small, tell me why are you pale?

Meydelekh ir kleninke, zogt vos zent ir blas?
Hemdelekh ir vaysinke, zogt vos zent ir nas?
Meydelekh un hemdelekh, zey reydn nisht keyn vort.
Nor di mashindelekh zey geyen imer fort. 

Shirts so white, tell me why are you wet?
Girls and shirts, they do not speak a word.
But the machines, they keep going forever.

Song 4: In shtetl Nikolayev (In the Town of Nikolayev). Performance by David Medoff, recorded 1923.

Transliterated lyrics courtesy of the German klezmer band Aufwind may be found on the Zemerl website by clicking here.

“Khavele iz fun der arbet gegangen” performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , on May 12, 2010 by yiddishsong

Notes by Itzik Gottesman

Khavele iz fun der arbet gegangen is a folklorized version of the labor/worker‘s song Brider, mir hobn geshlosn by Khaim Alexandrov (1869 – 1909). Molly and Bob Freedman‘s on-line catalogue lists two recorded versions of this song; one can be found on the LP Yiddish Songs of Work and Struggle produced by the Jewish Students Bund (1970s) and on the two cassette field recording of the singer Sarah Benjamin that Dr. Sheldon Benjamin produced in 1984 (cassette two). This week I offer a third version, a field recording by Lifshe Schaechter-Widman, recorded by Leybl Kahn in New York in 1954.

Information on this song can be found in Joseph and Chana Mlotek‘s book Perl fun der yidisher poezye pp. 515-517. The original title, as it was published in the newspaper Arbeter [published in Vilna?] Oct. 8th, 1904, was Khaverim in kamf and consists of versions of the three verses that LSW sings. Sarah Benjamin prefaces her performance by saying that it was a Zionist song.

Clearly LSW‘s recollection that she heard this when she was 5 or 6 years old (she was born in 1893) does not jibe with the information we have on the song. However her memory that it had to do with a strike in Galicia does match up with the folklorist Shmuel-Zanvil Pipe‘s comment which we find in Pipe‘s letter (from Vilna) to his folklorist/mentor I. L. Cahan in NY, Dec. 1936. The version Pipe collected begins with „Khanele iz fun der arbet gegangen‟ and has 5 verses.

Pipe writes – „This song was created in Drohobych (Yiddish- Drubitsh, then Galicia, today Western Ukraine) during the bloody elections for the Austrian parliament, March 30th, 1911. Fayershtein, a leading figure in Drohobitsh, was campaigning for Levenshteyn to be elected. The authorities intentionally provided only a narrow voting space, and only 60 people received permission to vote. The place became packed and tense and an order was given to fire a salvo – 26 died and 55 were wounded. „ Pipe further writes that he is doubtful that the song is a folksong, and thinks it probably „has a father‟. Cahan, Shtudyes vegn yidisher folksshafung, YIVO, 1953 pp. 345-346.

So I surmise from this that a Galician/Bukovina variant developed from Alexandrov‘s earlier version, beginning with the line „Khanele/Khavele iz fun der arbet…‟  Sarah Benjamin‘s Litvish version is predictably closer related to the older version.

In lectures, I sometimes play LSW‘s performance of this song and contrast it with the LP version sung by the Youth Bund chorus. The chorus sings it with a marching rhythm, and I am sure that‘s it how it is sung, perhaps even today, at Jewish socialist gatherings. When LSW sings the same song, only a hint of the march remains, and she interprets the song more in the style of an old ballad, with an emotional build-up leading up to the last two lines.


Introduction spoken by Lifshe Schaechter-Widman (LSW);
interviewer Leyb Kahn (LK).

LSW: S’iz geven in Galitsye vi s’iz du naft
This happened in Galitsye, where there was oil.

LK: In voser shtot iz dos geven?
In what town did this happen?

LSW: Mistame Yaruslav, lebn Pshemesh.
Iz gegangen a meydl, imshildik, un zi iz geteyt gevorn. S’iz du a lid fin ir.
Probably Yaruslav, near Pshemesh, and she was killed. There’s a song about her.

LK: Ven hot ir dus gehert?
When did you hear this?

LSW: Ikh bin geveyn a kind, efsher 5 yor, si’z geven mit 50, 55 yur fleg me dus zingen.
I was a child, maybe 5 years old; this was 50, 55 years ago when it was sung.

Khavele iz fin der arbayt gegangen.
Zi hot dokh fun gurnisht gevisht.
Iz aroys a falsh komande
Un m’hot af Khavelen geshist.

Khavele went to work.
She was totally unaware.
A false command was given,
And they shot at Khavele.

Khavele iz geleygn a toyte,
di eygelekh tsigemakht.
M’hot zi tsigedekt mit der fun, der royter,
A korbn funem strayk hot zi gebrakht.

Khavele is lying dead,
her eyes closed.
She was covered with the red flag:
She became a victim of the strike.

Az se treft dikh a koyl mayn getraye,
Fin dem soyne, dem hint,
Dan trug ikh dikh af mayne hent fun dem fayer.
Un ikh heyl dir mit kish dayne vind.

If you are hit by a bullet, my dear one,
by the enemy, that dog.
Then I will carry you on my arms away from the fire,
and heal with my kisses your wounds.

חווהלע איז פֿון דער אַרבעט געגאַנגען,
זי האָט פֿון גאָרנישט געוווּסט.
איז אַרויס אַ פֿאַלש קאָמאַנדע,
און מ’האָט אויף חווהלען געשיסט

חווהלע איז געלעגן אַ טויטע,
די אייגעלעך צוגעמאַכט.
מ’האָט זי צוגעדעקט מיט דער פֿאָן דער רויטער;
אַ קרבן פֿונעם סטרײַק האָט זי געבראַכט

אַז סע טרעפֿט דיר אַ קויל, מײַן געטרײַע,
פֿון דעם שׂונה, דעם הונט,
דאַן טראָג איך דיך אויף מײַנע הענט פֿונעם פֿײַער,
און הייל דיר מיט קיש דײַנע וווּנד