Archive for New York City

“Reb Tsudek” Performed by Itzik Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 4, 2018 by yiddishsong

Reb Tsudek
Sung by Itzik Gottesman, recorded Nov 2018, Austin TX

Commentary by Itzik Gottesman

I was asked to post the song “Reb Tsudek” as sung by the Yiddish poet Martin Birnbaum. He sang it to Michael Alpert and me in 1984-85 in NYC.  But, alas, I cannot find the original recording so I have recorded it myself.

Birnbaum was born in 1905 in Horodenke when it was Galicia in the Austro-Hungarian empire. Now it is in the Ukraine  – Horodenka. According to a NY Times obituary he came to the US in 1923 and died in 1986. In the YIVO Institute’s Ruth Rubin Legacy Archive, Birnbaum sings four songs but not this one. Those recordings were done in 1964.

I believe there is more Yiddish folklore to be discovered about this shlimazel (bad luck) character Reb Tsudek. When I asked the Yiddish poet Yermye Hescheles about him he affirmed that there was such a comic figure in Galicia, where both he and Birnbaum were from.

The song mocks the Hasidic lifestyle – absurd devotion to the rebbe, irresponsibility, staying poor. The word “hiltay” – defined by the dictionaries as “libertine” “skirt-chaser” “scoundrel” – is really a cue that this is a 19th century maskilic, anti-Hasidic, song. The word is often used in such songs. The humor also hinges on the double meaning of tsimbl both as a musical instrument (a hammered dulcimer) and as a verb – “to thrash or scold someone”.

couple tsimblA tsimblist, about to be thrashed by his wife.
(courtesy Josh Horowitz)

In the song two towns are mentioned: Nay Zavalek remains a mystery but Grudek, west of Lviv, is Grodek in Polish and Horodok in Ukrainian.

Here is a clip of Michael Alpert singing  the song, with Pete Rushefsky on tsimbl, Jake Shulman-Ment on violin and Ethel Raim singing at the Smithsonian Folkife Festival in Washington D.C.,  2013:

TRANSLITERATION

Fort a yid keyn Nay-zavalek,
direkt bizn in Grudek.
Fort a yid tsu zayn rebn – Reb Tsudek.
Tsudek iz a yid, a lamden.
Er hot a boykh a tsentn,
Un s’iz bakant, az er ken shpiln
of ale instrumentn.

Shpilt er zikh derbay (2x)

Fort a yid keyn Nay-zavalek
direkt bizn in Grudek.
Oy vey z’mir tatenyu!
Fort a yid keyn Nay-Zavalek
direkt bizn in Grudek.
Oy vey z’mir tatenyu!

Un Reb Tsudek, er zol lebn,
hot gehat a gutn shabes.
Tsudek hot gekhapt shirayem,
mit beyde labes.
Aheymgebrakht hot er zayn vaybl
a zhmenye meyern-tsimes.
Un dertsu, oy vey iz mir,
a tsimbl un strines.

“Hiltay vus iz dus!” (2x)

Oy hot zi getsimblt Tsudek
fun Zavalek bizn in Grudek.
Oy vey z’mir tatenyu!
Oy hot zi getsimblt Tsudek
fun Zavalek bizn in Grudek.
Oy vey z’mir tatenyu!

TRANSLATION

A man travels to Nay-Zavalek,
directly until Grudek.
The man is traveling to his rabbi,
Mister Tsudek.
Tsudek is a learned man,
and has a belly that weighs ten tons.
And everyone knows that he can play
on all the instruments.

So he plays as he travels –

A man travels to Nay-Zavalek
directly until Grudek,
Oh my, dear God!
A man travels to Nay-Zavalek
directly until Grudek,
Oh my, dear God!

And Reb Tsudek, may he be well,
had a good Sabbath.
Tsudek caught the Rebbe’s holy leftovers
with both paws [large, rough hands].
For his wife he brought home
a handful of carrot – tsimmes,
and in addition – oh no! –
a tsimbl with no strings.

Scoundrel! what is this? (2x)

Boy did she thrash Tsudek
from Zavalek until Grudek
Oh my, dear God.
Boy did she thrash Tsudek
from Zavalek unti Grudek
Oh my, dear God

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“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.

Lomir Yiddish

“Es hot geshneyet un geregnt” Performed by Esther Gold

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 25, 2018 by yiddishsong

Es hot geshneyet un geregnt (Dos borvese meydele)
It was Snowing and Raining (The Barefoot Girl)
text by Morris Rosenfeld, sung by Esther Gold
Recorded by Dr. Diane Gold in 1983 in Massachusetts

Commentary by Itzik Gottesman

This week’s recording  was sent to me by Joe (Yosl) Kurland, Yiddish singer, songwriter, teacher  based in Western Massachusetts. It was recorded by the singer’s granddaughter Diane Gold so that Kurland could sing it at the bar-mitsve of her three sons.

As one can tell from this moving performance, the song meant a lot to Esther Gold since she had learned it from her father in New York City at the turn of the 20th century. Esther Gold (1900 – 1984) was born in Bryansk, Russia (southwest of Moscow) and came to New York in 1906.

gold pic 1Esther Gold (center) with parents & brothers 

Kurland realized that she sang the song to the same melody as David Edelshtadt’s song In kamf (Mir zaynen gehast un getribn) and combined the two at the bar-mitsves.

The text is by the great “sweatshop poet” Morris Rosenfeld and can be found in Volume II of his Shriftn (Writings). We are attaching the poem from that 1912 publication where it is called Tsu a borvose meydl – To a Barefoot Girl.

The original poem has twelve verses, Esther Gold sings nine. I have transcribed the words as Gold sings them which are incredibly accurate compared to the original. On occasion I have put in brackets the original word or phrase as found in Rosenfeld’s poem if different. The singer forgets one line in verse eight and I have put the original text in its place.

Significantly, the order of the last three verses differs from Rosenfeld’s. She ends the poem with the verse that suggests the barefoot girl could become a prostitute. A very powerful ending indeed. But the poet placed that verse third from the end, and concludes with Gold’s verse seven in which he worries about his own child.

Esther husband babyEsther Gold with her husband Isador (“Izzie”) and son H. Carl (“Chaim”) Gold (Carl is Diane Gold’s father).

Diane Gold writes about her grandmother, Esther Gold and about the song:

Our Grandma Esther was born in Bryansk (Russia), the daughter of Dina and Elhanan (Harris) Scheinin, and young sister to Eddie (Aaron) and Joe. I believe there was another sibling who died in childhood. Her grandmother came from Starodub and her grandfather came from Kriemenchuck (Kremenchuk, Ukraine). The birthdate she was given when they arrived at Ellis Island in 1906 was January 1, 1900. She died on December 28, 1984.

Harris, who was a fine tailor in Russia, came by ship to NYC in 1906, a little earlier in the year than Dina (a midwife) and the children. My father Carl, who grew up in the same household as his grandfather, remembers Harris as a gentle man with high principals who insisted that Carl never put his hands behind his back, as it was important not to be hiding things from people. Harris insisted on looking for fine tailoring work and according to the family was injured demonstrating against sweated labor and even against union leaders who were in league with the bosses. Not surprisingly he had trouble finding work, and this made for tensions and sadness in the family. He banned Esther from working in garment factories.

Esther learned the Borvese meydl song as a girl by his side at home, and I imagine him singing to her as he sewed and pressed clothing. The words of this song were real to him, I am certain. He worried about the fate of his children, and children who were even worse off than his immediate family. I am not surprised, given his politics and background that the version of the song he shared with Esther was put to the tune of In Kamf. 

The siblings worked as children and teenagers.  Dina berated Joe for selling newspapers and chewing gum, but took the money. As a teenager Esther, who must have been a gay flapper with a love of show tunes, got a job splicing film at Universal Studios in New York, where she met our grandfather Isador Gold, who was a photographer in Europe in WWI and did some of the first silent film newsreels. Living under the magnifying glass of the demanding and bewildered older generation, that marriage sadly fell apart and my dad grew up without a father, with his mom in his grandparents’ household. For a while Esther kept the books (and I think the accounts) for our great-uncle Joe, who eventually flourished financially in the New York cement business. Then, from when I was little, I remember Esther was a “salesgirl” in the girl’s department at B. Altman’s, living alone after her parents died in her rent controlled apartment at 110 Post Avenue. She only moved to be with us in Newington, Connecticut in the last years of her life, with no savings or pension after years of work, after she became blind. She was a petit determined intelligent loving grandma harboring memories damping her capacity for joy, which bubbled up when she talked about her girlfriends, when she dressed us in the finest clothes from Altman’s, when she kvelled at our accomplishments or when she sang.

Thanks to Joe (Yosl) Kurland, and Dr. Diane Gold and family.

TRANSLITERATION

1) Es hot dort geshneyt un geregnt
un geyendik shnel durkhn gas.
A meydele hob ikh bagegnt
halb naket un borves un nas.

2) Zi hot mit di nakete fislekh
gepatsht dem fargosenem bruk.
Un epes azoy vi fardrislekh
geshaynt hot ir kindisher kuk.

3) Kleyn meydele zog mir vu geystu?
Durkh regn, durkh shney un durkh kelt?
Zog mir mayn kind tsi farshteystu
vi iberik du bist oyf der velt?

4) Di velt velkhe lozt dir do zukhn
a lebn durkh elnt un leyd.
Un vil dayne fis nit bashukhn
nit haltn dayn guf in ayn [a] kleyd.

5) Zog, zaynen dir fremd di gefiln?
Tsi falt gor nit ayn der gedank,
ven du zolst zikh itstert farkiln
dan falstu avek un bist krank.

6) Ver vet dir damols kurirn?
Ver vet far dir epes ton?
Di velt velkhe lozt dir farfrirn,
Der Got velkher kukt [dir] nit on?

7) Derfar muz ikh veynen un klogn.
Es ken eykh zayn mit mayn kind
ven mir (mikh) zoln tsores dershlogn,
un ir zol farvarfn der vint.

8) Derfar muz ikh veynen un klogn.
Derfar heyb ikh uf a geshrey.
Derfar (nor, yo, volt ikh dikh kishn)
Tsu helfn tsu shtiln mayn (dayn) vey.

9) Dayn borveskeyt, kind, dayne trern
dayn geyn un nit visn a vu.
veys ikh, vos es ken vern
fun meydlekh, azelkhe vi du.

TRANSLATION

1) It was snowing and raining,
and while walking down the street,
I encountered a girl
half naked, barefoot and wet.

2) With her bare feet
she slapped the pavings stones.
And, in what looked like regret,
her childlike appearance shone.

3) Little girl, tell me where you’re going
in this rain, through the snow and cold
Tell me my child, do you understand
how superfluous you are in this world?

4) The world that lets you search here
for a lonely suffering life.
And does not want to shoe your feet
and not clothe your body in a dress.

5) Tell me, do you have these feelings
or does it not occur to you,
that if you were to catch cold here,
you’d be struck down and be sick.

6) Who would then heal you?
Who would do something for you?
The world that lets you freeze?
The God who does not even look at you?

7) Therefore I must cry and lament:
it could also happen to my child;
when sorrows would depress me,
and the wind would blow her far away.

8) Therefore I must weep and lament;
Therefore I raise up a cry.
Therefore, yes,  [I would kiss you ]
to help you quiet my [your] pain.

9) You being barefoot, child, your tears,
your wandering not knowing where;
I know what could become
of girls such as you.

Gold1

gold2

gold3

gold4

Below is Tsu a borvose meydl – To a Barefoot Girl, from Shriftn (Writings), Vol. II, pp. 143-145 by Morris Rosenfeld (1912, New York):

mrosenfeld1mrosenfeld2.jpeg<img class="alignnone size-full wp-image-4273" src="https://yiddishsong.files.wordpress.com/2018/10/mrosenfeld3-e1540485244566.jpeg&quot; alt="mrosenfeld3" width="564" height="186" /

“Eyns un tsvey” Performed by May (Menye) Schechter

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on October 10, 2018 by yiddishsong

Eyns un tsvey / One and Two
Performance by May (Menye) Schechter
Recorded by Itzik Gottesman, Circle Lodge Camp, Hopewell Junction, NY, 1985

Commentary by Itzik Gottesman

To welcome the beginning of the school year we present a Yiddish children’s song written and composed in New York but sung by the children in Eastern Europe Jewish schools as well.

The singer May Schechter (Yiddish name “Menye”)  was born in August 1920 in Soroki (Yiddish- Soroke), Bessarabia, then Romania. She died this year, February 2018.

may schechter picMay (Menye) Schechter 1920-2018

In an interview I conducted with her in 1986 at Circle Lodge, the Workmen’s Circle camp in Hopewell Junction, NY, Schechter explained that the children in Soroki performed this song as part of Zishe Weinper’s (Vaynper) children’s operetta Der bafrayter (The One Who Was Liberated). Der bafrayter was published by Farlag Matones in 1925, NY. We are attaching the Yiddish words and music (composed by N. Zaslavsky/Zaslawsky) as it appeared there. Yosl Kotler did wonderful illustrations for the publication.

befrayter pic
Picture of Der Bafrayter by Yosl Kotler

May Schechter’s daughter, Naomi Schechter, wrote  about her mother:

She liked to say “I came in singing and I’m going to go out singing” and she was able to do that almost to the end, sharing Russian songs with her caretaker Luba and Yiddish and other songs with me. She also loved to dance. She had many talents including being a world class seamstress able to make couture suits, drapery and just about anything, carrying on the tailoring tradition of her family…

May Schechter’s husband was Ben Schechter, the long time manager of the Folksbiene Yiddish theater in NY.

The poet Zishe Weinper (1893 – 1957) came to America in 1913. He was a central figure in the Yiddish left and a number of his poems appealed to composers, among them “Toybn” and “A pastekhl, a troymer”. His song Zingendik, music by Paul Lamkoff, was another American Yiddish children’s song that became popular in Eastern Europe.

The composer Nathan Zaslavsky (1885 – 1965) immigrated to the US in 1900 and composed a number of other Yiddish songs. Sarah Gorby recorded this song twice we are attaching the MP3 of the version on:  Sarah Gorby – Yiddish et Judeo-Espagnole (Arton Records).

One verse of the  song was also recorded by Masha Benye and Workmen Circle school children on the LP Lomir zingen lider far yidishe kinder. Since May Schechter and Sarah Gorby both came from Bessarabia one has to wonder whether the play Der bafrayter was especially popular there.

Special thanks to Naomi Schechter for this week’s post, as well as Lorin Sklamberg and the YIVO Sound Archive.

TRANSLITERATION

Eyns un tsvey, eyns un tsvey
eyns un tsvey iz dray.
Zun bahelt undzer velt.
Leybn iz keday.

Zum, zum, zum?
Zum, zum, zum?
freygt ba mir a flig.
Tra-la-la, tra-la-la
entfer ikh tsurik.

Tsvey un tsvey, tsvey un tsvey
tsvey un tsvey iz fir.
Vintl bluz afn gruz,
bluzt es oykh af mir.

Tri-li-li, tri-li-li
zingt a vaserfal.
Blyasket blendt, glit un brent.
Iber im a shtral.

Fir un fir, fir un fir
fir un fir iz akht.
Af a kark fun a barg
hot zikh ver tselakht.

Kha-kha-kha, kha-kha-kha
ver zhe lakht es dort?
Kha-kha-kha, kha, kha, kha
Me hert dort nisht keyn vort.

Finf un finf, finef un finf
finef un finf iz tsen.
kling klang klingt
Foygl zingt.
Vazt mir, vos er ken.

Foygl flit, taykhl tsit
Ikh tsi oykh mit zey.
Eyns un eyns, eyns un eyns.
Eyns un eyns iz tsvey.

TRANSLATION

One and two, one and two
one and two is three.
Sun light up our world,
It’s worth living.

Zum, zum, zum, zum, zum, zum?
A fly asks me.
Tra-la-la, tra-la-la
Is my reply.

Two and two, two and two
two and two is four.
Breeze blows on the grass
and so too it blows on me.

Tri-li-li, tri-li-li
sings a waterfall.
Shines and dazzles, glows and burns
A beam of light above.

Four and four, four and four
four and four is eight.
On the neck of a hill
someone was laughing.

Ha-ha-ha, ha-ha-ha
who is laughing there?
Ha-ha-ha, ha-ha-ha
Not a word is heard.

Five and five, five and five
Five and five is ten.
Kling-klang rings, the bird sings
Shows me what he can do.

Bird sings, river attracts,
and I am drawn to them.
One and one, one and one
One and two is three.

eyns1

eyns2
eynsmusic

“In mayn hartsn brent a fayer” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 5, 2018 by yiddishsong

In mayn hartsn brent a fayer / A fire burns in my heart
Sung by Lifshe Schaechter-Widman, recorded by Leybl Kahn, 1954 NY

Commentary by Itzik Gottesman

Another lyrical love song sung by Lifshe Schaechter-Widman (LSW) from the Leybl Kahn recordings of 1954.

Katchor1Katchor2Lifshe Schaechter Widman & Leybl Kahn by Ben Katchor

Two similar versions of the song without the melody were collected by Shmuel-Zaynvil Pipe and Oyzer Pipe in Sanok, Galicia and published in the YIVO-bleter volume 11, Jan – May, 1937 in Yidishe folkslider fun Galitsye, page 62. I have mentioned before in this blog that of all the pre-World War Two collections of Yiddish folksong, the Pipe brothers’ Galicia, Poland, collections come closest to LSW’s Bukovina repertory.

Note that LSW sings “malekh- hamus”, which is her dialect form for “malekh-hamoves” (angel of death).

Regarding the comic strip above: the artist Ben Katchor imagined how these 1954 recording sessions might have looked in his advertisement for the cassette Az di furst avek. The strip appeared in the collection Picture Story 2 (NY. 1986, edited by Ben Katchor).

In mayn hartsn brent a fayer / A fire burns in my heart

TRANSLITERATION

In mayn hartsn brent a fayer
nor me zeyt nisht keyn royekh aroys.
Ekh hob gemeynt bist a malekh fin deym himl.
Tsum sof bisti mayn malekh-hamus

Mayne eltern tien mikh freygn,
vus ikh gey azoy arim  betribt.
Vi ken ikh zey mayn shmarts dertseyln,
az ekh hob mekh in dir farlibt.

Az ikh hob mekh in dir farlibt.
hot keyn shum foygl af der velt hot nisht gevist.
Haynt iz a rash in ale gasn,
az indzer libe iz imzist.

Az di libe iz imzist;
Es geyt mir azh un a geveyn.
Far veymen blaybt den di veytik
Az nisht nor bay mir aleyn.

TRANSLATION

A fire burns in my heart
but no smoke can be seen.
I thought you were an angel from heaven,
turns out you’re the angel of death.

My parents ask me
why I go around so sad.
How can I tell them of my pain –
that I have fallen in love with you.

That I have fallen in love with you –
not a bird the world over knew about it.
Today there’s much talk in all the streets
that our love is for naught.

That our love is for naught
keeps me crying.
With whom will stay this pain
if not only with me.

brent1

brent2

brent3

Shmuel-Zaynvil and Oyzer Pipe, Yidishe folkslider fun Galitsye, YIVO-bleter volume 11, Jan – May, 1937:
Pipe-brent

Merke Levine Performs “Mayn harts, mayn harts”

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on June 27, 2018 by yiddishsong

Mayn harts, mayn harts / My heart, my heart
Sung by Merke (Mary) Levine, recorded by Beyle Schaechter-Gottesman
Bronx, July 6, 1991

Commentary by Itzik Gottesman

The singer Merke (Mary) Levine was from Belarus and came to NY after the first world war. She lived in the Bronx and was active in the Yiddish left, and later in life was a board member of the Sholem Aleichem Cultural Center in the Bronx. Her husband Tevye Levine was a teacher in the Arbeter ordn folkshuln.

merkeMerke (Mary) Levine

This love song Mayn harts, mayn harts is found twice in the YIVO Ruth Rubin on-line collection. There it is sung both by Golde Fried and her husband Israel (Sruli) Freed with the same melody and only minor textual differences.

In terms of  Yiddish folksong poetry, what stands out is the line “Mayne gedanken – ahin, aher”, which I translated as “My thoughts – any way you look at it”.  The expression “ahin-aher” or “hin-her” can also mean “after long discussion”, or “to get to the point”

TRANSCRIPTION

Mayn harts, mayn harts veynt in mir.
Ikh darf zikh sheydn itst mit dir.
Mayne gedanken – ahin-aher.
Mit dir tsu sheydn iz mir shver.

Vu forstu mayn zis lebn?
Vu forstu fun mir avek?
Vu vel ikh dir darfn zukhn?
Zog zhe mir in velkhn veg?

Fun yedn shtetele, fun yedn derfele,
a brivele shraybn zolstu mir.
Betn, bet ikh dir mayn zis lebn,
nit fargesn zolstu mir.

TRANSLATION

My heart, my heart cries in me.
I must now part with you.
My thoughts – anyway you look at it: [lit: this way, that way]
to leave you is hard for me.

Where are you traveling my dear love?
Where are you traveling and leaving me?
Where will I have to search for you?
Tell me in which way?

From each town, from each village
you should write me a letter.
I ask of you, my dear love,
please not to forget me.

mayn harts yiddish

“Dus geboyrn finem mentshn” Performed by Frahdl Post

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 4, 2018 by yiddishsong

 Dus geboyrn finem mentshn / The Birth of Man
Sung by Frahdl Post
Recorded by Wolf Younin 1976, Workmen’s Circle Nursing Home, Bronx

Commentary by Itzik Gottesman

Usually on the blog we identify the songs by the first line, but the singer Frahdl Post called this song Dus geboyrn finem mentshn – The Birth of Man – so we will stick with that title. It is an adaptation of the first half of the poem Der malekh (The Angel), a poem by Avraham Goldfaden (1840-1908), a section bearing the subtitle “Di yunge neshome – The Young Soul”. It was first printed in Goldfaden’s poetry collection Dos yidele (Zhitomir 1866). We are attaching in 4 scans the entire poem as it appeared in the 1903 Warsaw edition.

Goldfaden picAvraham Goldfaden

The poem and song are based on the midrash and Jewish folk belief that before birth the soul of the child knows the entire Torah and all about the world. But right before birth the angel flicks his/her finger hitting the lip and the newborn forgets everything as it enters this world. The indentation above our lips, the philtrum, marks where the angel struck the child.

In Goldfaden’s 25-verse poem and Frahdl Post’s 14-verse song, the angel especially points out the evils of money in Jewish society.

Henry Carrey transcribed the song as he heard his grandmother, Frahdl Post, sing it. After listening, I changed some words of his transcription. Some words remain unclear and we indicate alternatives in brackets. I would suggest that one must read Goldfaden’s original poem to make sense of some of the lines in the song.

Post’s northern Ukrainian dialect includes both turning the “oy” to “ey”, (for example “skheyre instead of “skhoyre”), a change we associate with the northeastern Yiddish dialect (Litvish), as well as vowel changes we usually associate with the southeastern Yiddish dialect – “zugn” instead of “zogn”, “arim” instead of “arum”. The transcription reflects the dialect as much as possible.

Needless to say Frahdl Post’s memory in recalling these long songs is very impressive. Thanks for help in this week’s post go to Henry Carrey and David Braun.

TRANSLITERATION

[Ge]shlufn iz ales eyn halbe nakht
kayn shim mentsh hot zikh nit gerirt.
Nor di zilberne levune aleyn
tsvishn di shtern shpatsirt.

Demolt tsit on der shluf mit makht ,
farshlefert di mentshn di oygn,
iz fin dem himl a malakh arup
[Un iz iber di dekher gefloygn.]

Er halt di hent tsugeltulyet tsu zikh;
a yinge neshume getrugn,
“Vi trugsti mikh? Vi shlepsti mikh ?”
heybt im on di neshume tsi zugn .

“Hob nit keyn meyre, neshumele mayns”
Heybt on der malakh tsu reydn,
“Ikh vel dir bazetsn in a hayzl a fayns
Du vest dortn lebn tsufridn [in freydn].”

“Vest onheybn di velt beser farshteyn
Veln mir dir gebn a kameyeh,
Azey aza zakh hostu keyn mol geyzen
Zi heyst mitn nomen matbeye.”

“Mit der matbeye darfstu visn vi azoy tsu bageyn,
Zi iz magnet, zi iz kishef, zi iz gelt.
Zi ken dir gibn di velt tsu zeyn,
Zi ken dir farvistn dayn velt.“

Dortn zitst eyner in zan tsimer
Er trinkt mit im frayntlekh un kvelt,
Zey vi er kikt im [?] same in bekher aran.
Er vil bay im yarshenen zayn gelt.

Dortn shluft eyner in zayn tsimer.
Er shluft zikh git geshmak
Zey vi er shteyt un kritst mit di tseyn
Er vil hobn dem shlisl fun dem gelt.

Dortn firt eyner ganeyvishe skheyre,
Gur farviklt, farshtelt,
Zey vi er hot di skheyre geganvet
Un er vil zi farkeyfn far gelt.

Dortn oyf dem beys-hakvures
In an ofenem keyver oyfgeshtelt,
Zey vi er tsit di takhrikhim arup
Un er vil zey farkeyfn far gelt.

“Okh! neyn, neyn, neyn, neyn, heyliker malakh
Mit aza velt kim ikh nit oys.
Fir zhe mir beser upet aheym,
Ikh ze du kayn gits nit aroys.“

“Shpatsir dir a bisl arim afn brik,
Shpatsir zikh a bisl arim,
Di vest dokh bald darfn kimen karik
Di zolst nit kimen far im [mit keyn grim.][?]”
[Goldfaden: “Zolst kumen aheym on a mum]

Der hun hot gegebn dem ershtn krey,
A kol fun a kimpeturin,
Azey hot men gegeybn bald a geshrey,
“ A yingele! – mit lange yurn.”

[Azoy vi men hot gegeybn dem geshrey.
“Mazl-tov, a yingl geboyrn”]
Der malakh hot gegebn a shnal in der lip
Un iz karik tsum himl farfloygn.

TRANSLATION

Everything is asleep at midnight.
Not a soul was stirring.
Only the silver moon
Went walking among the stars

Sleep covers all with its power
And makes drowsy all of the people’s eyes.
An angel then came down from heaven
And flew over the rooftops.

He holds his hands tucked close to himself
A young soul he was carrying.
“Where are you carrying me? Where are you dragging me?”
The soul starts saying to him.

“Do not fear, my dear little soul”
the angel begins to speak
“I will place you in a good house.
You will live there happily.”

“When you begin to understand the world better,
we will give you a charm.
Such a thing you have never seen:
It is called by the name – coin.”

“With this coin you will have to know what to do.
It’s a magnet; it’s magic, it’s money.
It can help you see the world.
It can destroy your the world.”

There sits someone with his friend in his room.
He drinks with him as friends and enjoys it.
Look how looks right in the goblet .
He wants to inherit his money.

Another sleeps in his room,
He is sound asleep.
See how he stands and grits his teeth;
He wants to have the key to the money.

Over there someone deals with stolen goods,
Completely wrapped up, disguised.
See how he stole that merchandise
And how he wants to sell if for money.

There on the cemetery
In an open grave [a body] is propped up.
See how he pulls the burial shrouds off it
and wants to sell them for money.

“Ah no, no, no, no holy angel
I cannot survive in such a world.
It would be better if you took me home.
No good do I see here.”

“Take a walk around the bridge,
take a little walk around.
You will soon have to come back
So that you don’t appear before him with make-up [?].”
[In Goldfaden’s original – “So that you return with no blemish”]

The rooster gave its first crow
The voice of a midwife,
And thus was given the first scream
A boy! May he live for many years.

As soon as the first yell was given
“Mazl-tov! A boy was born”.
The angle gave it a flick on the lip
And flew back up to heaven.
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Di yunge neshome – The Young Soul, as printed in Goldfaden’s poetry collection Dos yidele (Zhitomir 1866):

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