Archive for dance

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

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

Commentary by Itzik Gottesman

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

luzerlsw

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

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

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

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

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

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

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

TRANSLATION

LSW spoken introduction:

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

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

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

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

shlofmaynfeygele2

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“Di veverke” Performed by Chana Szlang Gonshor

Posted in Main Collection with tags , , , , , , , , , , , , , , on June 22, 2015 by yiddishsong

Commentary by Itzik Gottesman

Currently on YouTube, one can hear “Bobe Chana” (Grandmother Chana) sing several Yiddish children’s songs, some less familiar than others. This week we present her song Di veverke (The Squirrel).

We obtained biographical information about Chana Szlang Gonshor from her daughter-in-law, the Montreal Yiddish teacher and scholar, Chana (Anna) Gonshor.

Chana Szlang Gonshor was born in Warsaw in 1919 where her family was very poor. As a young child there she attended the Borochov school and attended the Medem Sanitorium at least 10 times. Anna Gonshor believes she learned her repertoire from these sources. She currently lives in Montreal.

bobe chanaChana Szlang Gonshor

A video interview with Chana Szlang Gonshor conducted by Jordan Kutzik and Anna Gonshor for the Wexler Oral History Project of the Yiddish Book Center can be found by clicking here.

The song Veverke was composed, both text and melody by Rive Boiarskaia [Boyarski], and we are attaching the music as it is found in her song collection for small children – Klingen hemerlekh (Moscow, 1925). There are some textual changes as Gonshor sings it. The entire book can be downloaded here.

In a vald af a sosneboym –
a veverke gezesn.
Zi hot zikh niselekh geknakt,
di yoderlekh gegesn.

Tants zhe, tants zhe veverke.
Mir veln ale zingen.
Varf arop a nisele,
mir veln ale shpringen.

Un az di veverke derzet
kinderlekh in krantsn.
Aropgevorfn a nisele,
genumen mit zey tantsn.

Tants zhe, tants zhe veverke.
Mir veln ale zingen.
Varf arop a nisele,
mir veln ale shpringen.

In the woods on a pine tree
there sat a squirrel.
She cracked nuts,
and ate the kernels.

So dance, dance squirrel,
We will all sing.
Throw down a nut,
and we will all jump.

And when the squirrel sees
the children in circles,
It threw down a nut
and began to dance with them.

So dance, dance squirrel,
We will all sing.
Throw down a nut,
and we will all jump.

squirrelsquirrel2

“Der heyliker moshiakh” Performed by Josh Waletzky

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , on March 30, 2012 by yiddishsong

Commentary by Itzik Gottesman

This week’s Yiddish Song of the Week features a performance of Der heyliker moshiakh (The Holy Messiah) by New York-based Yiddish singer Josh Waletzky, recorded at the Center for Traditional Music and Dance on January 28, 2011. The song is from Waletzky’s family repertoire (his family referred to it as “The Name Song”); Ruth Rubin collected the song from Waletzky during her fieldwork at Camp Boiberik.

Josh Waletzky

I have attached a variant of this song as found in Noyekh Prilutski‘s collection Yidishe folkslider volume one, Warsaw, 1914. Number 61 (pages 90 – 91). There is no melody given in Prilutski‘s volume, so thanks to Waltezky we have one now!

Der heyliker moshiakh is a great example of a maskilic Yiddish song (composed by Jews who were adherents of the Jewish Enlightenment movement, the Haskalah) in which the irony of the song was confusing or lost to the ‟folk‟, and in this case, to the Maskil as well, Noyekh Prilutski. See his comment on the bottom of the attached Yiddish page 91, footnote number 2,  where he writes:

Typical: as often happens that in the most Hasidic songs, secular [‟fraye”] lines are sung at the end. Perhaps because the song was sung at Simkhes-toyre, when everyone was a little drunk?‟

So Prilutski believed that the song was Hasidic, not Maskilic (anti-Hasidic), and perhaps he had even seen it performed by Hasidim? That would not be shocking, since it was common for similar parodic anti-Hasidic songs such as this, written from the point of view of Hasidim, to be ‟misinterpreted‟ as pro-Hasidic, pro-rebbe. The classic example is Velvl Zbarzher‘s Kum aher du filosof  which was recorded in a typically lyrical fashion by Theodore Bikel.

Is it mis-interpretation? ‟Reinterpretation‟ or just plain ‟interpretation‟ would be preferable. The singer, whose context and audience varies from that of the composer, gives the song a different meaning through his performance.

Waletzky clearly sings it as a parody in the way the Maskilic composer wrote it, and the song has several of the subjects of satire that the maskilim often mocked about the traditional shtetl life: the blind devotion of the hasidim to their rebbe, the fanatic anti-modern/progress attitude (e.g., mocking the popular secular dance kadril  ‘quadrille’ as shmadril, which also alludes to the word for converting, shmadn), and the highlight of the song, the satirizing of Yiddish names that comprises the refrain.

Notice that in Prilutski‘s version there is no reference to shmadril but non-traditional dance is mentioned (Zey veln tantsn mit fremde yunge-layt / They will dance with young strangers).

“Der heyliker moshiakh”

“The Holy Messiah”

un az der heyliker moshiekh vet kumen
vel ikh zayn der ershter af der shlakht.
af di daytshn vet men zikh nemen
un zey shlogn tog vi nakht.
gor on pulver un on blay,
koyln veln flien iber aln.
un az der rebe vet nokh tsugebn a posek derbay,
vi shtroy veln di daytshn faln.

And when the holy Messiah comes
I will be the first into battle.
We’ll set upon the Assimilators
And beat them day and night.
No need for powder or lead,
Bullets will be flying everywhere.
And the moment the Rebbe adds a verse from Scripture,
The Assimilators will drop like straw.

un es vet nokh tsuhelfn
zurekh un burekh, yankev, danil,
zindl, grindl, khayem, smil,
berl, shmerl, getzl, azril,
veln firn dos gantse krentsl.
keyle, beyle, yente, sose,
khane, brayne, yakhne, dvose,
sime, blime, pesi un rose
veln tantsn dos mitsve-tentsl.

And helping out will be
Zorekh and Baruch, Jacob, Daniel,
Zindl, Grindl, Chaim, Samuel,
Berl, Shmerl, Getsl, Azriel,
The ringleaders.
Keyle, Beyle, Yente, Sose,
Hannah, Brayne, Yakhne, Dvose,
Sime, Blume, Pesi and Rose
Will dance the Mitsve Dance…

tshiri-bim-bom…

der rebe vet zayn der komendant.
er vet komedirn ahin un aher.
un ikh vel zayn zayn atyudant,
di khsidim dos militer.
un az der rebe vet onfangen fun toyre tsu shmaysn,
tsu bavayzn zayne havayes,
azoy veln di khsidim onhoybn tsu shisn
af di drabes, af di hultayes.

The Rebbe will be the commander.
He’ll issues orders this way and that.
And I will be his adjutant;
The Chassidim–his troops.
And when the Rebbe begins thrashing them with Torah,
Making his faces at them,
The Chassidim immediately open fire
On the freethinking prostitutes and adulterers.

And helping out will be
Zorekh and Baruch, Jacob, Daniel,…

di daytshn, zey vern dokh poshet dil–
zey veysn nit vos zey zoln tin.
zey hobn a tants vos heyst ‘shmadril’:
eyner loyft aher, un der anderer ahin.
un di daytshke vos tsimblt af dem shlambil
vet fayerdike kneydlekh esn;
un az der rebe vet aroyfleygn zayn lape af ir,
vet zi in tsimbl fargesn.

un es vet nokh tsuhelfn…

The Assimilators will simply get confused–
They won’t know what to do.
They have a dance called the ‘Shmadrille’:
One runs this way and the other runs that way.
The Lady Assimilator tsimbling* her ‘shmambourine’
Will eat hot matzo-ball ammo.
And when the Rebbe lays his paws on her
She’ll forget all about her tsimbl*.

And helping out will be
Zorekh and Baruch, Jacob, Daniel..

*tsimbl = cimbalom/hammered dulcimer; tsimbling =  to play a tsimbl (or in this case, to beat with sticks as if playing a tsimbl)

Der heyliker moshiakh in Noyekh Prilutksi‘s collection Yidishe folkslider (click to enlarge)

“Shpilt zhe mir dem nayem sher” Performed by Isaac (Tsunye) Rymer

Posted in Main Collection with tags , , , , on July 14, 2010 by yiddishsong

Notes by Itzik Gottesman

Tsunye Rymer was born in Krasna, Ukraine (Yiddish “Krosne”) and grew up and learned to drink among Bratslaver Hasidim in town. He was an incredible reciter of Sholem-Aleichem. He memorized 20 monologues, because he thought he was going blind in his youth (he lost vision in one eye), and wanted to entertain himself in later years. Two LPs of his recitations were produced and you can hear them on the Judaica Sound Archives website.

Picture of Isaac (Tsunye) Rymer by Beyle Schaechter Gottesman

Rymer loved to party, and his gregariousness is reflected in his expressive and passionate singing style. He was a mainstay in our Yiddish cultural world in the Bronx centered at the Sholem-Aleichem Folk Shul 21 on Bainbridge Avenue. He owned a dry cleaning store. Rymer died in 1995, I believe, in his early 90s.

I hope to post a number of Rymer‘s songs. One of his staples, „Fishelekh in vaser,” has become well-known thanks to the singing of Michael Alpert. Most of these recordings are taken from these Bronx zingerays (singing get-togethers) in the 1980s and 1990s. On this performance of this song, I particularly like how much heart he puts into the “Ta-ta-ta” refrain, which most singers would just sing “on automatic.”

One point of Yiddish grammar that is confusing in the song. A scissor in Yiddish is feminine „Di sher.‟ According to the Uriel Weinreich dictionary, the dance is masculine „der/dem sher.‟ Rymer mixed up the two genders, as you can hear.

The folksong „Shpilt zhe mir dem nayem sher‟ (“Play for Me the New Sher”) has been recorded by Ruth Rubin, Masha Benya and Shura Lipovsky. Rymer‘s last verse is different from theirs. This recording of Rymer was made at a zingeray at the Gottesman home in the Bronx in 1988.

Pete Rushefsky adds: The music for „Shpilt zhe mir dem nayem sher‟ is familiar as the opening sections of the well-known sher medley played in New York City, also collected in Belarus by Sophia Maggid in 1934 from Dovid Veksler, an amateur violinist from Mozyr, Gomel oblast (I thank Dmitri Slepovitch for this information). Sher is the quintessential East European Jewish square dance. Given the length of time required to dance a sher (often 20-30 minutes or more), klezmer musicians would string together a variety of different melodies into a medley to accompany the dance. Over time, these medleys became codified, with different communities adopting unique sher medleys. For more information about sher, see Walter Zev Feldman’s entry on “Traditonal Dance” in the YIVO Encyclopedia.  Additionally, Hankus Netsky has documented the evolution of the sher medley known to Philadelphia in his Ph.D. dissertation, “Klezmer: Music and Community in 20th Century Jewish Philadelphia” (Wesleyan University, 2004).

Shpilt zhe mir dem nayem sher, di naye sher,
vos iz aroysgekumen.
Ikh hob zikh farlibt in a yingele.
Ikh ken tsu im nisht kumen.

Play for me the new Sher, the new Sher
That has just come out.
I fell in love with a boy,
But I cannot go to him.

Kh‘volt tsu im gegangen,
voynt er zeyer vayt.
Kh‘volt im a kush gegebn,
Shem ikh zikh far layt.

I would go to him,
but he lives very far.
I would give him a kiss,
But I am ashamed in front of people.

Nisht azoy far laytn,
vi far Got aleyn.
Ikh volt tsu im aheymgegangen,
Az keyner zol nisht zen.

I am not ashamed in front of people,
as for God himself.
I would go home with him,
Nobody should see us.

Ta-da-da…..

Di naye sher iz shoyn alt gevorn,
Dos yingele iz shoyn a zeyde.
Di alte iz shoyn oykhet groy.
A lebn af zey beyde.

The new sher has already aged,
The boy is now a grandfather.
The old woman has also turned gray,
May they both live a long life.

Ta-da-da…