Archive for fields

“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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“Shtiler, shtiler ovntvint” Performed by Yudeska (Yehudis) Eisenman

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

Commentary by Itzik Gottesman

Shtiler, shtiler ovntvint (Silent, silent evening wind) is the third song on the blog sung by Yehudis/ Yudeska Eisenman from a 1993 field recording made by Beyle Schaechter-Gottesman in the Bronx.

Best-Sights-Tour2
The Fields of Bessarabia

Another recording of the song Shtiler, shtiler ovntvint is found in The Stonehill Jewish Song Archive – a different blog of  the Center for Traditional Music and Dance, directed by Dr. Miriam Isaacs. The singer in the Stonehill collection, Menachem Brayer  says “This is a Ukrainian song in honor of the fighters for freedom.  The words are by me, the melody – unknown.” The link to that slow moving performance of a shortened version of the song is here.

Though Brayer seems to be claiming that he wrote the words to the song, it appears that it is a poem by the Yiddish writer Jacob (Yakov) Fichman (1881 – 1958) from Bălţi, Bessarabia (a town immortalized in the song “Mayn shtetele Belz”). I have yet to find the poem itself but Fichman’s authorship is cited in a work by Shmuel Shapiro  אשר לאורם הלכתי 1965, p. 274.

Brayer sings the song in the context of the Holocaust; Eisenman does not.

1) Shtiler, shtiler ovntvint,
kumst fun vaytn land atsind.
Kumst fun stepes on an ek,
kumst fun yamen on a breg,
vu di grozn hoyden zikh,
vu di khvalyes soyden zikh.

2) Kiler, shtiler ovntvint
brengst derkvikn undz atsind;
reykhes libe funem feld,
bsures gute tsu der velt.
Un du roymst undz ale ayn
S’vet fun itst shoyn beser zayn.

3) Voyl iz dem vos vakht vi du,
brengst dem elntn zayn ru.
Treyst dem shvakhn un farvigst
biz der mitog kert tsurik.
Un du roymst undz ale ayn –
S’vet fun itst shoyn beser zayn.

Unidentified voice: Alevay!

1) Silent, silent evening wind
you are now coming from afar.
You come from the endless steppes.
You come from the seas which have no end.
Where the grasses sway back and forth;
where the waves whisper to each other.

2) Cool, quiet evening wind,
you refresh us now:
nice scents from the field,
good news to the world.
And you whisper to everyone:
it will be better from now on.

3)  Happy is he who keeps watch as you,
bringing the lonely their peace.
You comfort the weak and lull to sleep,
till the noon hour returns.
And you whisper to everyone –
It will be better from now on.

Spoken by unidentified person:  “Alevay!”  [If only it comes true!]
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“Zhumen binen” Performed by Chaim Berman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , on October 7, 2014 by yiddishsong

Commentary by Itzik Gottesman

To help us enjoy a sweet new year, we have a Soviet-Yiddish song about Jewish beekeepers with the wonderful refrain “Makhn honik iz gevorn a yidishe parnose” – “Making honey, has become a way for Jews to make a living”.

beekeepJewish beekeeper at Kibbutz Yad-Mordechai

This song comes from a field recording of the folksinger, Chaim Berman, done by Rabbi Victor Reinstein in the early 1970s. Zhumen binen (Bees are Buzzing) is found in Sam Liptzin’s collection Zingen Mir/ People’s Sing for Peace (1974 edition, page 49 – thanks to singer and collector Leo Summergrad for that information).

We have also added a link to the song performed by Marina Gordon that we found on the Florida Atlantic University Judaica Sound Archives site. There it is called “Honigmakher.” This recording is from the cassette re-release of her Soviet recordings on the Musique Internationale label in Chicago, run by Barry Serota.

From this recording we see that the words are by the author Emmanuel Kazakevitch (1913 – 1962), known for his connection to Birobidzhan. The music was composed by the prolific Soviet Yiddish composer Leyb (Lev) Yampolsky. The song was written for Kazakevich’s play Milkh un honik (1938) and performed by Birobidzhan Goset in 1940. See the book In Search of Milk and Honey by Ber Kotlerman. It is quite possible that the song became known in the US through this Gordon recording, originally a 78 RPM. In the on-line Robert and Molly Freedman Jewish Sound Archive the question is asked whether the song appears in a film on Birobidzhan. This could also explain how it became known in the US.

FotoMarinaGordonMarina Gordon, one of the great post-war Soviet Yiddish singers was born in Minsk in 1917 and died in Brooklyn last December 2013. She was one of the first to sing Yiddish in public performances in the USSR after the Second World War. See Joel Rubin and Rita Otten’s CD on the Wergo label, Shalom Comrade and Gennady Estraikh’s work Yiddish in the Cold War for more information on this period. On Marina Gordon – see Rita Otten’s article – “Ich möchte stolz sein auf die Kunst meines Volkes”: Die jüdische Sängerin Marina Gordon. Neue Zeitschrift für Musik, 2006/04 (July/August). Mainz: Schott: 62-64.

Zhumen Binen 
Words by Emmanuel Kazakevitch
Music: Lev Yampolsky

Zhumen binen, binen zhumen.
Es klingt fun vaytn a garmonik.
Un arum iz vald un blumen,
un di luft iz zis vi honik.

Buzzing bees, Bees are buzzing,
You can hear an accordion afar.
And around are woods and flowers.
And the earth is sweet as honey.

Refrain:
Oy, sara rakhves, keyn eyn-hore,
S’iz di erd mit zaft fargosn
Makhn honik iz gevorn
Shoyn a yidishe parnose.

O what riches, no evil eye.
The earth is soaked with juice.
Making honey has become
A Jewish livelihood.

Shteyen Binshtoki in reyen.
S’iz di nakht azoy levonik.
Zoln zikh di kinder freyen
mit dem lindn zisn honik.

Beehives stand in rows.
The night is all moonlit.
Let the children enjoy themselves
with the gentle sweet honey.

Refrain

Esn gezunt dem honik zisn,
tsvishn felder, velder bloye
vet gedikhter honik flisn,
est gezunt un hot hanoe.

Eat in good health the sweet honey,
among the fields, the blue woods.
Let the thick honey flow,
Eat up and enjoy!

Refrain

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“Yaninke” Performed by Josh Waletzky

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 16, 2010 by yiddishsong

Notes by Pete Rushefsky

One of the leading contemporary composers of Yiddish song, Josh Waletzky (b. 1948) grew up in a family that was deeply embedded in the secular Yiddish world of Camp Boiberik and the Sholem Aleichem folkshuln.

Photograph of Josh Waletzky by Jenny Levison

As Itzik Gottesman writes “Camp Boiberik was a secular Yiddish culture camp which existed from 1923 to 1979 near Rhinebeck, New York (the camp site is now owned by the Omega Institute). Camp Boiberik was part of the Sholem Aleichem Folk Institute, a non-political Yiddish cultural organization with its center in New York and Sholem Aleichem Folk shuln (schools) in a number of states in the U.S. The Director and guiding spirit for most of Camp Boiberik’s existence was Leibush Lehrer (1887-1964), a leading Yiddish pedagogue, writer, philosopher and lyricist.” The camp took its name from a mythical vacation resort described by Yiddish writer Sholem Aleichem.

Waletzky’s mother, Tsirl, was born in 1921 to parents who had immigrated to New York from Galicia. While her parents maintained a traditionally observant household, Tsirl became involved in the secular Yiddish movement, finding her niche as a visual artist.

Tsirl Waletzky at Camp Boiberik

Tsirl illustrated a large number of publications by secular Yiddish organizations such as the Sholem Aleichem Folk Institute and the Arbeter Ring (Workmen’s Circle). Readers may be most familiar with Tsirl’s illustrations for the popular songbooks compiled by Khane and Yosl Mlotek for the Arbeter Ring, Mir Trogn a Gezang, Pearls of Yiddish Song and Songs of Generations. For many years, Tsirl taught art workshops at Boiberik’s adult resort.  Her artwork can be seen today in a number of museums.

Waletzky’s father, Sholom (1919-1975), was from a family active in the early years of the American Yiddish culture movement.  Sholom’s parents Moyshe (Morris) and Fradl (Frieda) were both from Mezritsh, near Lublin (in what is today Poland), but they met and married after immigrating to New York. Moyshe and Fradl were founding contributors to the relocated YIVO Institute in New York, the Sholem Aleichem Folk Institute and Camp Boiberik.

Sholom Waletzky spent two years at the University of Wisconsin, but did not graduate. He enlisted in the Army during World War II, and after serving returned to New York to work in the plumbing trade for his father. Sholom joined the plumber’s union and once even picketed his father’s shop during a strike!  Later Sholom became a general contractor involved with renovation projects, and managed public works projects for the Port Authority of New York/New Jersey.

Sholom Waletzky

Josh describes his father as a “sponge” for songs. During the 1930s, Sholom even sang in a German chorus in New York.  He was known in the Sholem Aleichem community as an excellent singer with a wide repertoire, and was often called on to perform at programs as well as informally at parties, or at long singing sessions held at the Boiberik adult resort’s tea house.  He recorded an album of holiday songs for the Sholem Aleichem shuln.

Tsirl and Sholom met in the yugnt-fareyn (youth organization) of the Sholem Aleichem movement, and settled down to have three children (Josh is the middle child), first in New Jersey and then the Bronx.  Josh remembers Sholom frequently singing for the family in the home and on long car trips. Josh writes “my father’s transfixing Yiddish songs spoke to me directly of his inner life, even as they connected me to a communal past in Eastern Europe and the New York City of his youth.”

Passover seders were a showcase for the family’s song repertoire. Josh remembers many member of his grandparent’s generation having a particular song that they were known for, and could be expected to sing at the seder table .

Josh grew up with his family spending summers at Camp Boiberik, and there he continued to expand his own song repertoire and knowledge of the culture. At age nineteen, Josh was appointed Boiberik’s Music Director, a post formerly held by a succession of Yiddish music luminaries such as composers Lazar Weiner and Vladimir Heifetz, and musicologist Khane Mlotek.

Camp Boiberik, 1940s. Tsirl Waletky is on the left side of the front row; composer Vladimir Heifetz is third from right in the back row; Alfie Fogel, a sculptor and occasional lyricist, is second from right in the back row.

During eight years as Music Director, Waletzky was responsible for compiling and composing songs for camp programs, including the annual felker yontev (peace festival) and mit-sezon (mid-season) pageants, and Friday night and Saturday morning services.

He frequently collaborated with Fishl Kolko, Boiberik’s Culture Director, on developing new musical/theatrical material for the camp, and revitalized an older Boiberik tradition of writing original musicals for the camp. Though a secular Yiddishist, Kolko had a wide knowlege of East European Yiddish culture, including Hasidism. Kolko was highly influential in Josh’s musical development, encouraging him to create new musical settings of Yiddish poetry.

Josh continued to work at Boiberik during the summer while an undergraduate at Harvard and a graduate student in film at NYU. In 1970, he collaborated with Zalmen Mlotek to compose the musical Chelm, undzer shtetl (Chelm, Our Town), and later contributed a number of compositions to the 1977 album Vaserl (Water), both commissioned by Yugntruf-Youth for Yiddish.

In 1979 Josh helped to found Kapelye, one of the seminal bands of the early klezmer revival. Kapelye included a number of other pioneering musicians working to revitalize Yiddish music – Michael Alpert (vocals/violin), Eric Berman (tuba), Lauren Brody (vocals/accordion/piano), Ken Maltz (clarinet) and Henry Sapoznik (vocals/violin).  Josh is featured on vocals and piano on Kapelye’s debut album, Future and Past (1981).

During the 1980s Josh directed, edited and composed the scores for two acclaimed documentaries about Jewish life in eastern Europe, Image Before My Eyes (1981) and Partisans of Vilna (1986). The Partisans soundtrack co-produced by Waletzky was nominated for a Grammy.

Waletzky also directed the Oscar-nominated 1992 film Music for the Movies: Bernard Herrmann about the legendary Hollywood film composer, and edited the 1995 Emmy-award winning PBS documentary, In the Fiddler’s House, about violinist Itzhak Perlman’s explorations in klezmer music.

Waletzky’s 2001 album of new compositions, Crossing the Shadows (Ariber di shotns), reflected material he had developed over two decades, and stands alongside Beyle Schaechter-Gottesman’s albums as one of the most important contemporary contributions to the canon of Yiddish song.

Through a successful career as a filmmaker (including directing and producing documentaries about Schaechter-Gottesman and Yiddish writer Itche Goldberg for The League of Yiddish), Waletzky continues to compose, and is currently collaborating with younger musicians such as clarinetist/composer Michael Winograd.

This week’s Yiddish Song of the Week (and the blog’s first video posting) is a performance by Josh of Yaninke, a song he learned from his father, Sholom. As Josh tells it, Yaninke is the first song he remembers learning from his father, perhaps because of the repetitive form.

Josh does not recall his grandparents ever singing the song, and speculates that Sholom learned it through the Sholem Aleichem movement. “Yaninke” is a Slavic name, and the narrative’s bucolic setting might lead one to suspect that it is a Yiddish version of a Slavic peasant folksong.

A variant of Yaninke, Oyf di vegelekh (On the Paths), was recorded by folklore scholar Barbara Kirshenblatt-Gimblett in Toronto in 1969 from her cousin Mariam Nirenberg, and released on the 1986 album Folksongs in the East European Jewish Tradition (Global Village Music). YIVO published a folio to accompany the Nirenberg recording providing extensive biographical and musicological annotations prepared by Kirshenblatt-Gimblett with Mark Slobin and Khane Mlotek.

The folio authors identify three published collections containing variants of the song: “This song about Yaninka appeared previously in Lomir ale zingen 51, with a melodic variant, and in a mimeographed collection Lider vos vern gezungen in der arbeter-ring shul, Nov. 1937, no. 79 with a note that the song is from Russian. The same melody with other words ‘Oyf di felder vu s’veyen vintn’ (appears) in Beregovski-Fefer 456, Saculet no. 125.”  Nirenberg learned the song in the 1920s in Tsharnovtshits (Czarnawczyce, Poland), just across the Bug River from Brisk Litovsk (Brest, Belarus). An excerpt of Nirenberg’s recording follows:

I recorded Nirenberg’s version of the song with Boston-based Yiddish singer Rebecca Kaplan Muranaka on our CD Oyf di vegelekh/On the Paths: Yiddish Songs with Tsimbl (Yiddishland Records, 2004). We included a newly-composed instrumental entitled the “Yanyinke Sirba” as a “chaser.” You can hear our performance here:

And finally we have Josh Waletzky’s performance of Yaninke.  Recorded November 8, 2010 at the Center for Traditional Music and Dance and the Center for Jewish History’s program Josh Waletzky – Boiberik and Beyond: Yiddish Songs for the 21st Century. The program was presented as part of CTMD and CJH’s An-sky Institute for Jewish Culture Series.

Di zun in feld iz lang fargangen, (3x)
kumt Yaninke klaybn zangen. (2x)

The sun in the field has long set,
Yaninke comes gathering sheaves.

Es loyfn vegn iber vegn, (3x)
kum, Yaninke, zets zikh lebn. (2x)

Roads are running over roads,
Come, Yaninke, sit down next to me.

Ikh vel zikh lebn dir nit zetsn, (3x)
vayl mentshn veln mikh nit shetsn. (2x)

I won’t sit next to you,
People won’t think well of me.

Vos art es dir vos mentshn zogn?
Vos art es dir vos mentshn redn?
Vos art es dir vos mentshn zogn?
Loyf, Yaninke, khvel dikh yogn.

What do you care what people say?
What do you care what people talk?
What do you care what people say?
Run, Yaninke, and I’ll chase you.

Koym khap ikh dikh, dan blaybstu mayne. (3x)
Loyf, Yanyinke, bist a fayne. (2x)

If I catch you, you’ll be mine.
Run, Yaninke, you’re a fine one.

Az du bist a fayne, dos veysn ale, (3x)
kum, yaninke, zay mayn kale. (2x)

Everyone knows you’re a fine one,
Come, Yaninke, be my bride.

Waletzky additionally recalls a verse that he often performs as the opening verse of the song, though his father did not sing it:

Af di felder, vu di vintn vyeyen (3x)
geyt Yaninke korn zeyen. (2x)

On the fields, where the winds are blowing,
Yaninke goes sowing rye.

Below is a scan of the lyrics of Nirenberg’s version from the Kaplan/Rushefsky CD (typography by Ari Davidow, Yiddish keyboarding by Itzik Gottesman):