Archive for heart

“Shtey ikh mir in ayn vinkele” Performed by Itka Factorovich Sol

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 29, 2017 by yiddishsong

 

 

Commentary by Itzik Gottesman.

This week’s Yiddish Song of the Week is a beautiful submission from Steve Balkin – a 1958 recording he made in Detroit on a Webcor reel to reel tape recorder of his grandmother, a wonderful singer, Itka Factorovich Sol.

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Itka Factorovich Sol (left), pictured with her younger sister Channa-Leya “Lizzie” Factorovich in the City of Chernigov, Ukraine, ca. 1910. Courtesy of Steve Balkin.

Balkin writes the following about her:

My bubbe Itka Factorovich Sol (shortened from Zolotnitsky) was from Chernigov, Ukraine (Ukrainian – Chernihiv, Yiddish – Tshernigov) but it might have been Russia then. She spoke Russian and Yiddish, and a little English. She and my zeyde Nathan Sol (Nauach Zolotnitsky), living in Neshin, migrated to Chicago in 1912 and owned and ran a fish store. Up above the fish store lived Menasha Skolnick’s sister. Later in 1955 she moved with us to Detroit. Since my mother worked, she spent a lot of time raising me. She kept a kosher house, sang a lot of lullabies, and was a great baker and cook.  I still have the taste of her taiglach (small, knotted pastries boiled in honey) on my tongue. 

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Itka Factorovich Sol (center) with her sisters at a party in New York City, 1948. Courtesy of Steve Balkin.

This is yet another Yiddish song about a drunk who has a conversation with the moon and beats his wife. (See: “Ekh zits mir in shenkl” [“I sit in the tavern”] sung by Michael Alpert on the CD The Upward Flight: The Musical World of S. An-sky and the commentary there.) In fact the number of Yiddish songs about drunks is large enough to form its own section – “Shikurim-lider” – in Folklor-lider vol. 2, Moscow, 1936.

In this song the singer refers to the “monopol”. The liquor store in Russia under the Czar was referred to as the “monopol”, since the Czarist regime had full control over it.

I found two textual variants of this song, and screen shots of them are included at the end of the post. “Epes tut mir mayn harts zogn” is found in Skuditski/Viner Folklor-lider Moscow, 1933, page 141, #12. “Monopol, monopol” is in Skuditski/Viner Folklor-lider, vol. 2 , Moscow 1936, page 263-264, #5.

The last line in Sol’s version “…un lozt mir gornit oys” – “…and does not leave me out” – doesn’t quite fit if I understand it right. In these two other versions there are alternate lines which fit better. “Zi lozt mir afile eyn tropn. In gantsn gist zi dos oys” – “She doesn’t leave me a drop. She pours the whole thing out” (in “Monopol, monopol”).  “Oy gevald ikh halt dos nit oys” – “Oy, help, I can’t stand it” (in “Epes tut mir mayn harts zogn”)

Thanks to David Braun for assistance with the Yiddish text.

 

Shtey ikh mir in ayn [=a] vinkele
eyner aleyn.
In mayne oygn iz mir finster;
ze nit vuhin tsu geyn.

Shiker iz di gantse velt.
S’zet zikh (?) dokh aleyn
un di veg iz mir farshtelt.
Ikh ze nit vuhin ikh gey.

Ot ersht, ot ersht hot di levone geshaynt.
Zi hot azey likhtik geshaynt.
Mit a mol hot zi ir ponim farshtelt
Azey vi unter [=hinter] a vant.

Di levone vil a bisele bronfn,
A make hot zi gelt.
Hot zi zikh far mir farshemt
un hot ir ponim farshtelt.

Levone, levone, kum aher,
ikh vel dir epes zogn.
Di velt lozt zikh nokh nit oys;
Ikh ken dir an eytse gebn.

Ikh hob far dir ayn [=a] gutn plan.
Du zolst mikh nor oyshern.
Kum mit mir in monopol,
Farzetsn a por shtern.

Epes tut mir haynt mayn harts zogn
gor a naye zakh.
Ikh vil haynt mayn vayb shlogn.
Es vet zayn zeyer glaykh.

Di letste fleshl fun tsu kopnl
nemt zi bay mir aroys
un trinkt oyset biz ayn [=a] tropn
un lozt mir gor nit oys.

Just standing in a corner
all alone.
My eyes see darkness,
I don’t see where to go.

The whole world is drunk.
That everyone can see.
And the road is hidden.
I cannot see where to go.

Just now, just now the moon was shining,
She shone so brightly.
Suddenly she covered her face,
as if behind a wall.

The moon wants a little whiskey.
But money she has none.
So she was shamed before me,
and covered up her face.

“Moon, moon come over here
I want to tell you something.
The world is not coming to an end;
So let me give you some advice.

I have for you a good plan
Please hear me out.
Come with me to the “monopol”  [=liquor store]
We’ll pawn a few stars.”

Something told my heart today
something brand new.
I want to beat my wife;
that will be well deserved.

The last bottle that’s by my head
She takes away from me.
She drinks it down to the last drop
and does not leave me out.

itka1itka2itka3

“Epes tut mir mayn harts zogn” is found in Skuditski/Viner Folklor-lider Moscow, 1933, page 141 #12:

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“Monopol, monopol” is in Skuditski/Viner Folklor-lider, vol. 2 , Moscow 1936, page 263-264, #5:

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“Oy vey rebenyu” Performed by Josh Waletzky

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 29, 2014 by yiddishsong

Oy vey rebenyu
Performance by Josh Waletzky
Video-recorded at Center for Traditional Music and Dance’s office, New York City, by Peter Rushefsky, Ethel Raim and Benjy Fox-Rosen, January 28th, 2012.

Commentary by Itzik Gottesman

New York Yiddish singer Josh Waletzky learned this maskilic/anti-Hasidic song from from his grandfather Morris (Moyshe) Waletzky. Oy vey rebenyu has been recorded in a similar version by Jan Bart, with another version by Cantor Isaac Goodfriend.

The Soviet folklorist Z. Skuditski pointed out the similarity to the Mikhl Gordon song Mayn Tshuve (see note in Folklor-lider, volume 2) and it has been considered a Mikhl Gordon song ever since (I could not obtain the original Gordon version). However this anti-Hasidic song was later adapted and interpreted in some circles as a song to praise the rebbe, not mock him.

Interpretations praising the rebbe:

The Yiddish poet Yermye Hescheles (1910 – 2010), from Glina, Galicia, Poland,  told me that on the holiday of Lag B’omer, when the melamed (teacher in the kheyder) walked with them into the woods, he taught the children this song in praise of the rebbe. (I would imagine that the verse with the cook Trayne was cut).

Di Naye Kapelye in Budapest recorded the song – only the refrain – in a slow, spiritual interpretation, on their album –  “A mazeldiker yid” released on the Oriente Musik label.

According to band leader Bob Cohen, the source is a tape recording made in Maramures in 1970 by Romanian-Jewish ethnomusicologust Ghizella Suliteanu of a Roma band from Borsa led by Gheorghe Stingaci Covaci.

Refrain:

Oy vey rebenyu, ikh shuteye un tsiter
un in hartsn brent a fayer.
un in hartsn brent a fayer.
Yakh vil zayn a khosidl a guter,
a khosidl a getrayer.
Yakh vil zayn a khosidl a guter,
a khosidl a getrayer.

O rebbe I stand and shiver
In my heart burns  fire.
I want to be a good khosid,
a faithful khosid.

Bay dem davenen vel ikh zikh shoklen,
makhn alerley hevayes.
Far dem rebn mit zayne khasidim
geyt mir oys dos Hayes.

When I pray I will rock,and make all kinds of gestures.
For the rebbe and his khasidim,
my strength gives out.

Vinter in di greste keltn.
Far dem rebn mit zayne Chasidim
gey ikh aynleygn veltn.

Winter in the greatest cold.
For the rebbe and his khasidim
I will tear down entire worlds.

Refrain

In Folklor-lider, vol. 2 the verses are:

A kalte mikve vel ikh zikh makhn
vinter in di greste keltn.
Far dem rebenyu, far zayne khsidimlekh
vel ikh kereven veltn.

A cold mikve I will prepare
winter in the greatest cold.
For the rebbe, for his hasidim
I will turn over worlds.

A vareme shal vel ikh zikh koyfn
zumer in di greste hitsn.
A zaydenem gartl vel ikh mir koyfn,
a hitl mit zibetsn shpitsn.

A warm shawl will I buy
summer in the greatest heat.
A silk belt will I buy, 
a hat with 17 corners.

Dem rebn vel ikh leygn in fodershtn alker
tsuzamen mit der kekhne Trayne.
Un ale kshidemlekh veln hobn tsum rebn
gor a groyse tayne.

I will put the rebbe in the front den
with the cook Trayne.
And all the Hasidim will complain
to the rebbe. 

oyveyrebenyu1

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“Bay der fintsterer nakht” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 3, 2012 by yiddishsong

Commentary by Itzik Gottesman

A print version of Bay der fintsterer nakht can be found in I. L. Cahan “Shtudyes vegn yidisher folksshafung” YIVO, 1952, NY, in an article given the title for this volume “Peyrushim af 24 lider” that his student at the YIVO institute in Vilna, Shmuel-Zanvil Pipe, had prepared for publication. This article consisted of Cahan’s comments on Yiddish songs that Pipe had collected in his hometown of Sanok [in Yiddish “Sunik/Sonik”], Galicia. Pipe had collected a version of “Bay der fintserer nakht” in 1934 from a singer who said it was sung 30 years earlier. The song is in Cahan, 1952, page 185, and has three verses, rather than two verses and one refrain, as Lifshe Schaechter-Widman (1894-1974) (LSW) sings it.

According to interviews with LSW conducted by Prof. Barbara Kirshenblatt-Gimblett, NYU, in 1972-73, the song was sung by the plagers/plogers (sufferers). The plagers were young Jewish men who were about to be inducted into the Austria-Hungarian army and wandered from town to town, usually in groups, so they would intentionally fail the draft because of their poor health. See my article “Plagers: a folkloristishe shtudye” [Plagers: a folkloristic study], Forverts, January 7th, 2010, page 4, which refers to the literature on plagers in Yiddish.

Lifshe Schaechter-Widman’s Hometown of Zvinyetchke, Bukovina, Ukraine
Photo by Itzik Gottesman, 2010

In this recording of LSW made by Leybl Kahn in New York City in 1954, she clearly sings the song too high in this performance, as can be heard in the last verse.

Bay der fintsterer nakht is unusual textually – it doesn’t fall into the usual categories of men’s songs – not religious, not political, not a work song, not humorous, not nationalist. It’s partly a lament on how miserable life is, and partly a love song; topics we would usually hear in women’s songs.

Bay der fintsterer nakht
lig ikh mir bayshtendik*, oy, un trakht.
zayt ikh bin fin mayn heym avek.
ikh ken shoyn nit kimen keyn kayn tsvek.
Ver se vil nit, dertsapt mir mayn blit.

In the dark night,
I lay constantly, oy, and think,
since I have left my home.
I cannot reach any goal.
Who ever wants can bleed me.

Oy, oy, oy, oy
Vi farbitert iz mir dus harts
Oy, oy, oy, oy
Ver ken den film mayn shmerts.
Derekh ayn imgliklekher libe
Imtsugeyn in di gasn aleyn,
Tsu zayn fin mayn heym fartribn.
Oy elnt bin ikh vi a shteyn.

Oy, oy, oy, oy
How bitter is my heart.
Oy, oy, oy, oy
Who can feel my pain?
Because of an unfortunate love,
I wander the streets alone.
To be driven from my home – 
Oy, lonely am I as a stone.

Mayn mame hot mikh gelozt shtudirn.
Zi hot gevolt az fun mir zol zayn a lat
Fun deym alemen hot zikh gur oysgelozt.
Ikh ti mir blind arimshpatsirn.
Elnt bin ekh, in na venad.

My mother allowed me to study,
She wanted something to become of me 
[lit – she wanted me to become a respectable person]
From all of this, nothing turned out.
Blindly I wander around,
lonely am I and homeless.

Oy, oy, oy, oy
Vi farbitert iz mir mayn harts
Oy, oy, oy, oy
Ver ken den film mayn shmerts?
un derekh a finsterer libe
arimtsugeyn in di gasn aleyn,
Tsu zayn fin mayn heym fartribn.
Oy, elnt bin ikh vi a shteyn.

Oy, oy, oy, oy,
How bitter is my heart
Oy, oy, oy, oy,
Who can feel my pain?
Because of a dark love
to wander in the streets alone.
To be driven from my home – 
Oy lonely am I like a stone.

*bayshtendik – though I am unfamiliar with this word, my mother, Beyle Schaechter-Gottesman (LSW’s daughter), and I assume it means the same as „shtendik‟.

 

“Ikh tu dir a brivele shraybn” performed by Harry Ary

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , on April 22, 2011 by yiddishsong

Commentary by Benjy Fox-Rosen

A powerful song lamenting the horrors of war. A soldier lies wounded in the hospital and writes to his mother and fiancé.

This recording is from Ruth Rubin’s field recordings courtesy of Lorin Sklamberg and the YIVO Sound Archive. It was recorded in 1955 in Montreal. The singer is named Harry Ary, he is the same singer who sings “In Droysen iz Finster” from Ruth Rubin’s “Jewish Life: The Old Country” LP of field recordings. I love his delivery and especially the very slight differences between each verse. He may be my favorite male singer on that record.

Note the difference in the opening phrase on the first, and later verses; at the beginning of the second and third verses, he sings a sharp fourth instead of the natural fourth.

On the second and third verses, when he repeats the last two lines, I especially like the different way that he treats, “mayn harts” and “mayn kale.” The variations have very much the same shape, but are sung varied slightly each time. Also his final cadences at the end of each verse are of particular interest to me, for he sings almost a quarter tone sharper than a flat second (in the mode), and this is of course intentional. This difference in tuning is often overlooked in transcriptions and re-interpretations of folk sources, however these controlled variations in pitch are what make this singer particularly interesting.


I will write you a letter Mamenyu,
And Mamenyu, I write of my health,
Oy, my hand was amputated,
And in both eyes, Mamenyu, I am blind.

I lie in the hospital, wounded,
And the doctors stand around me,
My heart is gushing with blood,
My dear Mamenyu is not near me.

I write a letter to my bride,
And I write of her alone,
That she should rip up the engagement,
And go with someone else to the khupe.
(translation by Benjy Fox-Rosen)

Itzik Gottesman writes: Below is the version of the song from “Yidishe folks-lider” edited by Moyshe Beregovski and Itzik Feffer, Kiev 1939, page 119. The melody is essentially the same, and the words vary only slightly. However one textual change should be noted: in the Beregovski-Feffer version the singers says in the second line of the third verse “I write to you only about myself” which is the opposite of Harry Ary’s version.”