Archive for Itzik Feffer

“Mirtseshem af shabes” Performed by Khave Rosenblatt

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 19, 2018 by yiddishsong

Mirtseshem af shabes / God Willing, This Sabbath
Performance by Khave Rosenblatt
Recorded by Beyle Schaechter-Gottesman
Jerusalem, 1970s
Commentary by Itzik Gottesman

The most popular version of this 19th century mock-Hasidic song begins with the line “Ver hot dos gezen…” or “Tsi hot men azoyns gezen…” (“Who has seen this” or “Who has every seen anything like this”). In the Mlotek’s collection Mir trogn a gezang, pages 126-127.  the song is called “Dos lid fun ayznban” (“The Song About the Train”).  Theodore Bikel recorded that version on his LP “Theodore Bikel Sings Jewish Folksongs” 1959.

Khave Rosenblatt’s version however is closer in some respects to the variants found in the collections Yidishe folks-lider, ed. Itzik Fefer and Moyshe Beregovski, Kiev 1938. pp. 386-387  (see below) and in A.Z. Idelsohn’s The Folk Song of The East European Jews, volume 9 of his Thesaurus of Hebrew Oriental Melodies, song # 558, beginning with the line “Nokh shabes imirtseshem….”.   Idelsohn also includes the “Ver hot dos gezen..” version, #556, from the German journal Ost und West. A scan of that page is also attached (see below)

train whistle

Only Rosenblatt’s theatrical version plays with the verbs “fayfn” (“fafn” in her dialect), which means “whistle” and  “onfayfen”  (“unfafn” in her dialect) meaning “to thumb one’s nose at.” One could easily imagine the wandering entertainers, the Broder Singers, performing this song in the wine cellars of the 19th century in Galicia.

TRANSLITERATION
Mirtseshem af shobes
vel ikh bam rebn zan.
Ikh vel tsiklugn di hiltayes, di drobes
vus zey nemen azoy fil gelt un zey leygn in dr’erd aran.

Rebe, hot er a fafer
mit a meshenem knop.
Er faft indz un hekher in hekher
in er vet gurnisht vern farshtopt.

Er faft un faft un faft un faft un faft
Er vil gurnisht oyfhern.
mit dem rebns koyekh
vet di ban tseshlugn vern.

TRANSLATION
God willing this Sabbath
I will spend with the Rebbe.
I will denounce the hedonists, the wastrels,
who take so much money and spend it wildy. [lit: bury it in the ground]

Rebbe, what a whistle it has!
with a brass knob.
He thumbs his nose at us louder and louder,
and nothing shuts him up.

He whistles and whistles and whistles and whistles and whistles
and doesn’t want to stop.
With the Rebbe’s power
the train will be trounced.

dos lid gottesman

Khane and Joe Mlotek, Mir trogn a gezang, pages 126-127:

dos lid mlotek

Yidishe folks-lider, ed. Itzik Fefer and Moyshe Beregovski, Kiev 1938. pp. 386-387:
miritzhashem (1)

dos lid fefer 2b

A.Z. Idelsohn’s The Folk Song of The East European Jews, volume 9 of Thesaurus of Hebrew Oriental Melodies (#558 & #556)

dos lid idelsohn 558dos lid idelsohn 556

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“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.”