Archive for Leybl Kahn

Mark Varshavski’s “Vi halt ikh dus oys?” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , on April 23, 2018 by yiddishsong

Vi halt ikh dus oys? – How Can One Stand It?
Words and Music: Mark Varshavski
Sung by Lifshe Schaechter-Widman
Recorded by Leybl Kahn NYC 1954

Commentary by Itzik Gottesman

Vi halt ikh dus oys is surely one of the saddest songs from a composer, Mark Varshavski (aka Warshavsky) known for his classic nostalgic and upbeat songs such as Oyfn pripetshok, Milner’s trern and Di mezinke oysgegebn.

In her brief discussion with Leybl Kahn before and after she sings, LSW connected the -message of the song to the Zionist movement; a commentary on the eternal wandering of the Jews. She also affirms that she learned it from an aunt in her small town of Zvinyetshke in the Bukovina.

For a full biography of Mark Varshavski (1848 – 1907) see the YIVO Encyclopedia.

mark varshavsky picMark Varshavski in Berdichev, 1900 (YIVO)

In her very emotional performance, the singer Lifshe Schaechter-Widman [LSW] stays remarkably close to the original text which is attached at the end of the post from the volume “Yidishe folkslider fun M. M. Varshavski” One interesting textual change, however, is in the line where LSW sings:

Farentfer di kashe, Got di bist groys
[Answer the question – God you are vast/supreme]

In Varshavski’s original text it reads:
S’farenfert di kashe, Got du bist groys
[The question is answered by – God you are vast/supreme]

The folklorized words by LSW address God directly, reflecting a more intimate relationship with God than in Varshavki’s version.

I could not find a previous recording of this song, neither on record, CD nor in field recordings. However, a song about Mendel Beilis and his infamous trial (1911-1913), accusing him of a blood libel is based on this Varshavski song. Lorin Sklamberg, YIVO sound archivist and lead singer for The Klezmatics, sang Dos lid fun Mendel Beilis at YIVO in 2013:

Thanks for help with this week’s post to Lorin Sklamberg.

TRANSLITERATION

Vi halt men dus oys? Farshtey ikh nisht kh’lebn.
Es iz shoyn fin Got azoy mir bashert.
Bay veymen s’iz a yontif dus shtikele leybn:
Bay mir iz dus leybn shvarts vi di erd.
Far vus un far ven, fregt mekh nit eyner.
Farentfer di kashe – Got di bist groys.
Es triknt in mir der marekh fun mayne beyner,
un ikh halt dus nit oys; ikh halt dus nit oys.

Vi halt men dus oys? Es iz avade a vinder.
Vi ikh shlep mayne krank, geshvolene fis.
Ikh blondze arim mit mayne ureme kinder
un vi ikh kim iz finster in vist.
A du ken ikh nisht shteyn, a du tor men nit lign.
azoy tsit men fin mir mayne koykhes aroys.
Vu ikh gey her ikh eyn nign –
Ikh halt dus nit oys; ikh halt dus nit oys.

A yeder fin aykh, say rakh say urem,
hot dus alte beys-oylem shoyn gezeyn.
Dort lign alte, tsebrokhene kvurim,
un fun dort hert men a geveyn.
Azoy iz tsebrokhn iz mir yeder eyver,
di velt iz mir fintster khotshe zi iz groys.
Oy, dek dikh af gikher, di fintserer keyver.
Vayl ikh halt dus nit oys, ikh halt dus nit oys.

TRANSLATION

How can one stand this? I swear I don’t understand.
It must be decreed from God.
For those who enjoy a little of life –
For me is life black as the earth.
Why and for what reason? No one asks me.
Answer the question, God you are supreme.
The marrow of my bones is drying
and I can no longer stand it, I can no longer stand it.

How can I stand it? It is truly a wonder.
I drag my sick, swollen legs.
I wander aimlessly with my poor children
and wherever I come, I feel dark and deserted.
There I may not stand; here I may not lay.
And in this way my strength disspipates.
Wherever I go I hear only one tune –
I cannot stand this; I can no longer stand this.

Each of you, the rich and the poor
has surely seen out Jewish cemetery.
There lay old, broken graves
and from deep in the graves one hears a cry.
Thus is broken in me every limb.
The world is as dark as it is vast.
O, cover me up you dark grave
Because I can no longer take it, I can no longer take it.

vi halt 1 yidvi halt 2 yid

warshavkiBookWarshavski1Warshavski2

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“Mame a kholem” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 8, 2018 by yiddishsong
Mame, a kholem (Mother, A Dream)
Performed by Lifshe Schaechter-Widman
recorded by Leybl Kahn, NY 1954

Commentary by Itzik Gottesman

The motif of the lover who returns as a beggar is as old as Homer’s Odyssey and is found in ballads throughout the world. In this Yiddish ballad version, the former lover is not disguised as a beggar but has indeed become one because of his “character”.

JewishBeggar by Rembrandt“Jewish Beggar” by Rembrandt

I consider this ballad to be one of Lifshe Schaechter-Widman’s [LSW] masterpieces. Not only because it is certainly among the older songs in her repertoire, but because of the deeply emotional way she performs it, concluding with the dramatic last verse in which the woman reveals to her mother who is at the door.

In typical old ballad style, the dialogue prevails: first between mother and daughter, then between daughter and beggar (former lover) and finally, again, between daughter and mother. There is a break in the narrative after the third verse when the dialogue changes and at this point Leybl Kahn, who is recording the song, feels compelled to ask LSW to continue.

This transition from third to fourth verse is noteworthy. A new plot/scene develops at this point. It leads me to believe that originally there might have been two ballads that were combined to form one.

Supporting this idea are the awkward transitions between the two scenes in all the versions. We also have examples of separate ballads. Singer/researcher Michael Alpert recorded Fanya Moshinskaya, (born 1915 in Babyi Yar, Kiev), singing a ballad of the first scene – ‘Oy a kholem’. And he has recorded Bronya Sakina (1910 – 1988) from Olvanisk (Holovanivsk/Golovanevsk, Ukraine) singing a ballad – “Derbaremt aykh”- depicting the beggar/lover scene. Alpert currently sings both of them and sometimes combines them.

In addition, there are two other versions of just the beggar/lover ballad with no first “kholem” part in the Soviet Folklor-lider volume 2 1936, page 202-204,. Song #62  – “Shoyn dray yor az ikh shpil a libe” and #63 – “Vi azoy ikh her a lirnik shpiln”.  The singer for #62 was Rive Diner from Bila Tserkva, Ukraine, 1926. The singer for #63 was Yekhil Matekhin from Sobolivke, Ukraine, recorded in 1925.

A nine-verse Odessa variant without music of the LSW combined ballad – “Oj, a xolem hot zix mir gexolemt” – can be found in Folklor-lider volume 2 1936, page 201-202 song# 61. This was republished by Moyshe Beregovski with music in his Jewish Folk Songs (1962) #34 pp. 75-77, reprinted in Mark Slobin’s Beregovski compendium Old Jewish Folk Music 1982, p. 353 – 355. The singer was Dine Leshner from Odessa, 1930.

In Leshner’s ballad, the transition verse between the two scenes, verse four, is presented in first person from the beggar’s viewpoint, not in dialogue. It would be quite confusing for the listener to figure out who is speaking, and I imagine the singer would almost be required to stop singing and indicate who is speaking (as LSW does at this transition point!).

Another variant of the combined version was collected by Sofia Magid in 1934 in a Belarus kolkhoz “Sitnya”, from the singer Bronya Vinokur (PON 103, full text on page 580, “Unser Rebbe, unser Stalin” edited by Elvira Grozinger and Susi Hudak-Lazic, 2008. The audio recording can be heard on the accompanying DVD). The initial dialogue is between a man and his mother. He then travels to the rebbe, and comes to her as a beggar. She curses him in the last verse.

Oyb du host a froy mit a kleyn kind,
Zolstu zikh muttsen [mutshn] ale dayne yor.
Oyb du host mir frier nit genumen,
Konstu sheyn nit zayn mayn por.

If you have a wife and child,
May you suffer all your years.
If you did not take me before,
Then you can no longer be my match.

Hardly the romantic ending we find in the LSW version.

I would like to take the liberty of suggesting some word changes in LSW’s version for any singers out there thinking of performing the song. These suggestions are based on the other versions and on the way LSW’s daughter, Beyle Schaechter-Gottesman [BSG] sang the song.

1) Clearly the last line in the first verse of LSW’s ballad, which doesn’t rhyme with “gedakht”, is a mistake. BSG sang instead the rhymed line –

“Az mayn gelibter shteyt baym bet bay nakht” [“That my lover is standing at my bed at night”]

But in Magid’s version and in the Alpert/ Moshinskaya’s version this line reads  – “un fun mir hot er zikh oysgelakht” (and he laughed at me”) And in the Folklor-lider version the line reads “un fun mir hot er khoyzek gemakht” (“and he mocked me”)  So the mocking of the girl is the “character” flaw that results in his becoming a beggar.

2) Instead of “futerland” Bronya Sakina sang “geboyrn-land” which strikes me as folkier and more appropriate, though in one of the Folklor-lider versions, the daughter does use “foterland” as well.

3) Instead of LSW’s “derkh mayn kharakter”, – “because of my character”, – others sing “durkh a libe” and “durkh a gelibter– “because of a love”, “because of beloved”. This also strikes me as the older concept and more in line with the whole song.

4)  Instead of  LSW’s “untershtitsung” – “nedove” is more traditional.  Both mean “alms”, “donation”.

5) LSW sings “iftsishteln di hant” – “to raise up the hand”. Usually that would be “oystsushtrekn di hant” – “to reach out your hand”.

6) For the last line she sings “vayl dos iz der velkher iz mayn gelibter geveyn.” (“because this is the one who was my lover”) but shorter and to the point is “vayl dos iz mayn gelibter geveyn” (because he was my lover”). BSG sang it this way.

TRANSLITERATION
1)  Mame, a khulem hot zikh mir gekhulemt,
Oy, mame, a khulem hot zikh mir gedakht.
Oy, a khulem hot zikh mir gekhulemt,
az man gelibter shteyt leybn mayn bet.

2)  Oy a khulem tokhter tur men nit gleybn
Vayl a khulem makht dem mentshn tsim nar.
Morgn veln mir tsi dem rebe furn.
A pidyen veln mir im geybn derfar.

3)  Vus ken mir den der rebe helfn?
Tsi ken er mir geybn deym vus eykh hob lib?
In mayn hartsn vet er mame blaybn
Biz in mayn fintsern grib.
In mayn hartsn vet er mame blaybn.
Biz in mayn fintsern grib.

Spoken:  Leylb Kahn says  “Dos gantse lid”

LSW: “Es geyt nokh vater.”
Leybl: “Lomir hern vayter.”
Spoken: LSW – “Es dakht zikh ir, az der khusn
kimt aran..”

4) Hots rakhmunes af mir libe mentshn
hots rakhmunes af mir in a noyt.
mit alem gitn zol nor Gotenyu bentshn.
Hots rakhmones un shenkts a shtikl broyt.

5) “Far vus zhe geysti azoy upgerisn?
Shemst zikh nisht iftsishteln di hant?
Fin vanen di bist bin ikh naygerik tsi visn.
Rif mir un dayn futerland.

6) Geboyrn bin eykh in a groys hoz.
Dertsoygn bin eykh eydl un raykh,
derkh mayn kharakter bin eykh urem gevorn
in intershtitsing beyt eykh du fin aykh.

7) Tsi vilt ir mir epes shenkn?
Git zhet mir in lozts mekh du nisht shteyn.
Tits mikh nit azoy fil krenken,
Vayl dus hob eykh mir mitgenemen aleyn.

8) Oy, mamenyu gib im shoyn a neduve.
Gib im shoyn un loz im do nisht shteyn.
Gib im avek a halb fin indzer farmeygn,
vayl dos iz der velkher iz mayn gelibter geveyn.
Gib im shoyn a halb fin indzer farmeygn,
vayl dos iz der velkher iz mayn gelibter geveyn.

TRANSLATION
1)  Mama, I dreamed a dream,
oh mame, a dream i had imagined.
Oh a dream i had dreamed,
That my love was near my bed.
[..stands near me at night]

2)  O daughter, a dream should not be believed.
Because a dream can lead you astray.
Tomorrow we will travel to the Rebbe
and give him payment for this.

3)  O, how can the Rebbe help me.
Can he give me the one I love?
In my heart he will always remain.
Till my dark grave.

SPOKEN:
Leylb Kahn: The whole song
LSW: There is more.
Leybl: Let’s hear more.
LSW: She thinks that her groom has entered…

4) “Take pity on me dear people.
Take people on me in my need.
May God bless you with all good things.
Take pity and give a piece of bread.”

5)  “Why are you going around in rags?
Are you not ashamed to hold out your hand?
Where are you from? I would like to know.
Tell me your fatherland.”

6)  “I was born in a big house,
Raised noble and wealthy.
Because of my character, I became poor,
and for a donation from you I now beg.”

7)  “Do you want to give me some alms?
Then give me and don‘t leave me standing here.
Don‘t torture me so,
For I have already suffered enough.”

8)  “O mother give alms right now,
Give him now, and don‘t let him stand there.
Give him away a half of our fortune,
For he was once my beloved.”

screen-shot-2018-02-08-at-4-15-21-pm.pngkholem itzik2

Folklor-lider Volume 2 1936, pp. 202-204,. Song #62  – “Shoyn dray yor az ikh shpil a libe”:
12

and #63 – “Vi azoy ikh her a lirnik shpiln”:

34

Jewish Folk Songs (1962) #34, ed. Moyshe Beregovski,  pp. 75-77, reprinted in Mark Slobin’s Beregovski compendium Old Jewish Folk Music 1982, p. 353 – 355:

Beregovski Mame A

“Unser Rebbe, unser Stalin” edited by Elvira Grozinger and Susi Hudak-Lazic, 2008:
MagidMameAkholem

Post edited for web by Samantha Shokin.

“Avreymele melamed” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 24, 2017 by yiddishsong

Commentary by Itzik Gottesman.

The amusing children’s song Avreymele melamed (Little Abraham, the Jewish Elementary School Teacher) tells the story of the shlimazl (bearer of poor luck) of the shtetl. This week’s posting features a performance of Avreymele by Lifshe Schaechter Widman in the Bronx in 1954 (recording by Leybl Kahn):

The song became popular thanks to numerous cantors who included it into their repertory. The transformation from LSW’s folksong to the cantorial version is notable. LSW’s verses rhyme and have a distinct melody throughout. She playfully sings “shirem hashirem” instead of “shir hashirem”, turning the “Song of Songs” into the “Umbrella of Umbrellas.”

f23ab2af7d5e72bfa94ad6553c627887--elementary-schools-schools-in

The much longer cantorial versions feature a recitative style with no rhyming verses. For an example of the cantorial version, see this video featuring the Cantor Simon Spiro, complete with chorus and orchestra, arranged by Maurice Goldman and produced by the Milken Archive:

Many Yiddish folksongs entered the cantorial repertoire thanks to Menachem Kipnis’ successful Yiddish songbooks and performances throughout Poland between the world wars. Kipnis (1878 – 1942)  was a singer, cantor, folklorist, journalist and photographer. It is clear that his version, which has many more verses than LSW’s, was the basis for the cantorial versions. Attached at the end of this post are scans of Kipnis’ “Avremele Melamed”. The version of the song in A. Z. Idelsohn’s Thesaurus of Oriental Hebrew Melodies (Vol. 9)  is also taken from Kipnis’ collection.

Cantor David Kossovitsky, Oberkantor Boas Bischofwerder, Mike Burstyn (in Hebrew) and Gojim (Austria) among other cantors and singers have had a lot of fun with this song. Though cantors have taken the song far from its folksong roots, the playful call-and-response – implied in LSW’s and heard in Spiro’s version –  was not lost along the way.

When the song was translated into Hebrew and performed in the Israeli musical איש חסיד היה [Ish khasid haya] by Dan Almagor (1968) it attained a new and wide audience.

Here is a recent performance of the song in the Israeli musical:

The nature of the song almost invites singers to create new verses about a shlimazl. One of my favorites is performed by the Columbia University Jewish vocal group Pizmon, who sing in Yiddish but add a verse in English at the end:

And who do you think it was
who came late to shul
and his cell phone went ringing
right in the middle of the rebbe’s dvar toyre?

Thanks this week to David Braun for help with the transcription. 

Transliteration / Translation:

Spoken by LSW: Dus is a kinderlidl: Avreymele melamed.

Avreymele melamed
Avreymele melamed.
Oy! Ze’ mir gegangen zikh budn –
Avreymele melamed.
Gehat hob ikh a shudn.
Avreymele melamed.
Oy! Tsulib dem shirem-hashirem,
Avreymele melamed,
makhn di yidn pirem.
Avreymele melamed.
Oy! Avreymele melamed.
Bist Avreymele!

Spoken by LSW: This is a children’s song: Avreymele melamed [Avreymele the Elementary Schoolteacher]

Avreymele melamed.
Oy! We went bathing
Avreymele melamed,
and suffered a loss –
Avreymele melamed.
Oy! Because of the “umbrella of umbrellas”,
Avreymele melamed,
Jews celebrate Purim,
Avremele melamed.
Oy! Avreymele melamed.
You’re indeed Avreymele.
avreymelemelamed1kipnis2

From Kipnis, Akhtsik folks-lider (Warsaw, 1925):

kipnis1kipnis2

“Yoyne-hanuvi” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 26, 2017 by yiddishsong

 

Commentary by Itzik Gottesman

We are posting this recording of Lifshe Schaechter-Widman singing Yoyne-hanuvi (Jonah the Prophet) for Yom-Kippur since Maftir Yoyne, the Bible story of Jonah is read during the mincha (afternoon) service. The recording was made by Leybl Kahn in the Bronx in 1954. Two newer interpretations of this song based on LSW’s version have been recorded: the German/USA  group Myridian on their recording of 2004 and one by the singer Eleonore Biezunski and her group Yerushe on the CD Yerushe/Heritage in 2016 (you can hear part of the song at this link).

jonah_whale

This song might have had special meaning for LSW since her father was named “Yoyne.” He died of cholera in 1894 when she was one-year old. His grave is still to be found in the Jewish cemetery of (Yiddish name) Zvinyatchke (aka Zvinyace, Zvineace, Zveniachyn), Ukraine on the Dneister river.

The sudden break in the narrative (and melody) from the story of Jonah to a direct appeal to God from the woman singer makes this a very unusual song. I have found no other versions. This recording first appeared on a Global Village  Music cassette release of LSW’s songs Az di furst Avek (1986).  Upon another listen I have changed a few words in the transcription since that release. The transliteration reflects LSW’s dialect.

Yoyne-hanuvi iz fin Got antlofn.
Er hot nisht gevolt kayn shlikhes geyn.
Oyf dem shif hot es im getrofn
ven dus shif hot ungehoybn intergeyn.

Gevald! Varft men goyrl oys.
Veymen me zol in yam araynvarfn.
Goyrl iz aroys:
Yoyne-hanuvi min-hastam.

Inter dray misles hot Got bashert a nes.
A fish hot im ousgeshpign tsirik
Hobn di yidn gezeyn, vus se iz gesheyn.
Nisim fin Got aleyn.

Azoy zolst mir vazn vi mayn man tsi shpazn.
Uptsihitn zekh fin deym toyt.

Dus ken nisht keyner, nor di Got eyner.
Rateven Yoynen finem toyt.

Dus ken nisht keyner, nor Got di eyner.
Uptsirateven Yoynen fin deym toyt.

Jonah the prophet ran away from God;
He did not want to go on his mission.
There on the sea it happened to him –
when the ship started to sink.

Help! So they throw lots
to determine whom to throw into the sea.
The lots concluded that:
Jonah the Prophet of course.

In three days God performed a miracle.
A fish threw him back out.
And thus the Jews saw what had occurred –
miracles from God himself.

So you should show me
how to provide for my husband,
to save him from death.

No one can do this,
only you God –
who rescued Jonah from death.

yoyne1

yoyne2

yoyne3

“Ver es vil kayn tate-mame folgn” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , on August 31, 2016 by yiddishsong

Commentary by Itzik Gottesman, Ph.D.:

Ver es vil kayn tate-mame folgn (Whoever Does Not Listen to Their Parents) is a lyric love song performed by Lifshe Schaechter Widman (LSW) for this recording by Leybl Kahn, made in the Bronx in 1954. So far, I can find no other versions of the whole song in printed collections.

It seems LSW remembered the final fourth verse a little later so the song is presented on two audio files – the first three verses are on one audio file and the final verse on a second audio file. The song is unusual in that the melody changes for just the last verse.

As usual on this blog, the transliteration in the English alphabet reflects more accurately the singer’s dialect than the transcription in Yiddish that follows, which is done in standard Yiddish.

Ver es vil kayn tate-mame folgn.
Deym kimt dekh oys azoy tsi geyn.
Mayn mame hot mir geheysn shlufn geyn leygn.
Hob ekh getin in drosn shteyn.

Zenen derkhgegangen tsvey sheyne yingelekh.
In ekh bin mir geshtanen azoy betribt.
Az s’iz eynem bashert tsuris tsi ladn.
Hob ekh mekh in eynem farlibt.

Bay mayn mamen bin ekh eyn un eyntsik kind
Un mayn mame hot mekh zeyer lib.
Zeyt zhet mir tsi poyln bay mayn mame
Zi zol im lozn arayn in shtib.

From second file – final verse.

Di mame zogt shoyn yo.
Ober mayn tate zogt dekh neyn.
Zeyt zhet mir tsi poyln bay mayn tatn
Er zol meygn in shtib arayngeyn.

TRANSLATION

Whoever does not listen to their parents –
That is how it goes.
My mother told me to go to sleep
but I went outside to stand.

Then two handsome boys went by,
and i was standing there so sullenly.
If it’s your fortune to have troubles –
I fell in love with one of them.

I am my mother’s one and only child,
and my mother loves me very much.
So please help me convince my mother
to let him into the house.

My mother says “yes”.
But my father says “no”.
So please help me convince my father,
he should allow him to come into the house.

ver-es-vil

“Di Kolomeyer tsaytung” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , on April 21, 2016 by yiddishsong

Commentary by Itzik Gottesman

Perhaps because of an advertisement in the Kolomey [Kolomyia, Kolomea – Eastern Galicia, today Ukraine] newspaper, young women came to the city and became street walkers. Any other interpretations of the first line of this song, which Lifshe Schaechter-Widman (LSW) says was created during the first world war, would be welcome. This recording of Lifshe was made by Leybl Kahn in 1954 in New York.

Leybl Kahn

 As part of YIVO’s I. L. Cahan Folklore Club Leybl Kahn recorded approximately 90 Yiddish songs from LSW in NY in 1954. This photo of Kahn is from the 1980s

Klezmer music scholar Prof. Martin Schwartz (Berkeley) remembers his mother from Brisk de Lite (Brest Litovsk, now in Belarus) singing this song, but about a “Bialistoker tsaytung” (newspaper from Bialystok)  He also pointed out that the same melody, more or less, can be heard in the klezmer repertoire in Harry Kandel’s Odessa Bulgar.

Note: in the first verse LSW sings mistakenly “Arop fun dem shlekhtn veg iz zi” which means – “She went off the bad/crooked path”; the opposite of what she intended. I believe she meant to sing “Arop funem glaykhn veg iz zi” – “She went off the good/straight path”.

Spoken:

LSW: A pur lider vos me hot gezingen in krig.
LK: In der ershter velt-milkhome.
LSW: In der ershter velt-milkhume
LK: Gut, dos ershte lid…

Di kolomeyer tsaytung hot gebrakht a vabele
shpeyt bay nakht.
Gegangen iz zi
fun shpeyt biz fri
Arup fun dem shlekhtn [glaykhn] veyg iz zi.

Meydlekh in der ershter klas
geyen arim in der (h)intershter gas.
Hefker iz di velt atsind.

Tsi iz dus fayn? Tsi iz dus sheyn?
Biz shpeyt ba nakht arimtsigeyn?
Es iz nisht fayn; es iz nisht sheyn.
Dus iberike shtoyst zikh un aleyn.

Spoken:

LSW: A few songs that were sung in wartime.
LK: In the first world war.
LSW: In the first world war.
LK: the first song…

The Kolomey newspaper brought a young woman
late at night.
She walked from late to early morning
Off the straight path she went.
[LSW sings mistakenly “off the evil path she went”]

First class girls wander around in the back alleys.
The world is topsy-turvey now.

Is this fine? Is this nice?
To walk around till late at night?
It is not fine; it is not nice.
You can imagine the rest yourself.

kolomeyer1kolomeyer2.JPG

“S’iz gekimen di heylike teyg” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , on September 9, 2015 by yiddishsong

Commentary by Itzik Gottesman

S’iz gekimen di heylike teyg (The Holy Days Have Arrived) is a song that takes place before Rosh-hoshone and Yom-kipper when it is a tradition to visit the departed family at the cemetery.

YIVO

Photo courtesy of the YIVO Institute for Jewish Research

In the cemetery, a voice is heard of a recently deceased woman who died in childbirth, and she sings of her anguish about her new born child and her husband whom she loved.

S’iz gekimen di heylike teyg
Ven me darf geyn af keyver-oves
Az ikh bin gekimen in halbn veg
Hob ikh mikh dermont in mane makhshoves.

Plitsem hert men a kol
fin a frishn korbn.
Fin a yunger kimpiturin.
Vus iz ersht nisht lang geshtorbn.

Vi iz mayn yinger man?
Ver vet im arimnemen?
Vi iz mayn pitsele kind?
Ver vet im zeygn gebn?

Az ikh dermon mikh in der tsayt
Ven gehat hob ikh es [epes?] tsu krign.
Az ikh dermon mikh in der tsayt
Fin mayn man, fin mayn libn.

The holy days have arrived
time to visit family in the graveyard
When I was half way there,
I remembered my ruminations.

Suddenly a voice is heard
from a fresh victim:
A woman who died in childbirth
Just a short while ago.

Where is my young husband?
Who will embrace him?
Where is my little child?
Who will breastfeed it?

When I am reminded of that time
when I had what I wanted.
When i think of that time,
Of my husband whom I loved.sizgekumen1sizgekumen2

When one thinks about love songs in Yiddish, the vast majority are sung by unmarried girls who dream of the man they love and how wonderful life will be after the wedding. Few are the songs, such as this, in which the woman openly expresses love for her young husband. Lifshe Shaechter Widman’s (LSW’s) powerful emotional style matches the words perfectly.

In this case, the wife sings of her love from her grave and the song immediately reminds us of another song performed by LSW, Afn beys-olyem, also known as Di shtifmuter and originally penned by Mikhl Gordon.

In addition to this field recording of LSW made by Leybl Kahn in the Bronx, 1954, there are two other published versions of S’iz gekimen di heylike teg. One, collected by Shmuel-Zaynvil Pipe in Galica, does indeed take one verse taken from Gordon’s song. see Dov Noy and Meir Noy, Yidishe folkslider fun galitsye (Tel Aviv, 1971), page 110 – 112.

In Pipe’s version the song is strictly an orphan song and has a refrain.

Pipe1Pipe2

The second version can be found in Shloyme Bastomski’s song collection, Baym kval – folkslider, Vilna, 1923 (page 81, song #22) and he calls it Di shtifmuter, the same title as Gordon’s song. This second version emphasizes the wicked step-mother who will mistreat the child.

bastomski- heylike teg