Archive for night

“S’iz shvarts in himl” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 30, 2019 by yiddishsong

S’iz shvarts in himl / The Sky is Black by Avrom Goldfaden
Sung by Lifshe Schaechter-Widman.
Recorded by Leybl Kahn, Bronx 1954

Commentary by Itzik Gottesman: 

This song about Rebecca in the Bible is a folklorized version of a song written by Avrom Goldfaden. It appears, text only, in his volume Dos yidele, where it is called “Rivkes toyt” (Rebecca’s Death, see scans below). Before the poem, Goldfaden gives this introduction:

In the midrash it says: When Rebecca died, they had to bury her at night so that Esau would not see and follow her to the burial. For if he did so, she would be cursed for having such a son. Jacob had run away to Horon and Isaac was too old. So no one accompanied her at her funeral. 

rebeccacoro“Rebecca at the Well”, painting by Corot, 1839

The midrash addresses the question – why was Rebecca’s death not mentioned in the Torah?

Goldfaden was a master of creating songs that resonated with Yiddish folklore. Though this song is about Biblical figures, it resembles a typical Yiddish orphan song. The second line “S’iz a pakhed af der gas aroystsugeyn” (It is a fright to go out in the street) is the exact same as the second line in the ballad “Fintser glitshik shpeyt ba der nakht“, the first song ever presented on Yiddish Song of the Week. And the last line “Elnt blaybsti du vi a shteyn” (Alone you remain like a stone) is found in other Yiddish orphan songs. In this case, biblical Jacob is the orphan. LSW, in her slow, emotional and mournful style, sings this song about Biblical characters as if it reflected a contemporary, local tragedy.

Two textual changes worth noting:

1) Instead of Goldfaden’s “A mes, a mes” א מת, א מת  (A corpse, a corpse), Lifshe sings “emes, emes” (true, true) אמת אמת. which just by combining the two words into one word, changes the meaning completely. This reminds us of the Golem legend in which “emes” אמת [truth] was written on the Golem’s forehead, but when he was no longer needed, the rabbi wiped off the first letter, the alef א and the Golem became dead מת

2) LSW sings “miter Rukhl” (mother Rachel) instead of “miter Rivke” (mother Rebecca). This can be explained, I believe, by the fact that the appellation “muter/miter Rukhl” is far more common than “muter Rivke”. I  did a Google Search in Yiddish to compare both and “muter Rukhl” won 453 – 65. The Yiddish folksinger would have found the phrase “muter Rivke” strange to the ear. In addition, the matriarch Rachel also had an unusual burial: she was buried far from home, on the road to Efrat, and therefore all alone, as Rebecca.

In the papers of the YIVO Ethnographic Commission there is a version of the song collected in the 1920s or 1930s, singer, collector and town unknown. There too the singer changed “a mes” to “emes” but sang Rivke not Rukhl.

TRANSLITERATION

S’iz shvarts in himl me zeyt nit kayn shtern.
S’iz a pakhid af der gas aroystsugeyn.
Shvartse volkn gisn heyse trern
un der vint, er bluzt mit eyn geveyn.

Emes, emes, ersht nisht lang geshtorbn.
Etlekhe mentshn geyen trit ba trit.
Me trugt deym toytn, ersht a frishn korbn:
indzer miter Rukhl, ver ken zi nit?

Yankl iz dekh fin der heym antlofn.
Er shluft dekh dort af deym altn shteyn.
Shtey of di yusem! Di host dekh shoyn keyn mame nisht.
Elnt blabsti du vi a shteyn.

TRANSLATION

The sky is black, no stars can be seen.
It’s a fright to go out in the street.
Black clouds gush hot tears
and the wind blows with a great cry.

True, true she died not long ago.
Several people walked step by step.
They carry the deceased, a fresh sacrifice:
our mother Rukhl, who doesn’t know her?

Jacob had run away from home.
He sleeps on that old rock.
Wake up you orphan! You no longer have a mother.
You remain alone like a stone.

siz shvarts 1siz shvarts 2

From Goldfadn’s Dos yidele, 1891:

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“Der nakhtvekhter” Performed by Beyle Schaechter-Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , on July 30, 2018 by yiddishsong

Der nakhtvekhterThe Night Watchman
Words by Avrom Reyzen, performance by Beyle Schaechter-Gottesman
Recorded by Itzik Gottesman, 1980s Bronx

Commentary by Itzik Gottesman.

Beyle Schaechter Gottesman (BSG) remembers learning this song in Jewish school in Chernovitz, Romania in the 1930s. She attended two schools: the Morgnroyt, a Bundist (socialist) school, every day after Romanian public school. On Sundays she attended the Yidisher shul-fareyn which was more left. She remembers learning Nakhtvekhter  at the Morgnroyt school.

Nightwatchman 4 The words are by Avrom Reyzen (1876 – 1953), a beloved Yiddish writer whose poetry was often turned into song.  In Reisin’s volume of selected poetry (Di lider, 1951) he placed this poem among his earliest, so we can assume it was written around the turn of the century.  We are attaching a scan of the words as they appear in that volume. BSG’s version varies slightly.  When she repeats the last two lines of each verse, she corrects herself twice when she felt she had sung those lines incorrectly the first time.

I have not found any recordings yet. Paul Lamkoff composed a different melody to the poem and it can be heard at the Milken Archive of Jewish Music.


Der nakhtvekhter

Shpeyt di nakht iz kalt in fintster.
Neypldik in nas.
In di hayzer ruen ale
shtil un toyt in gas
In di hayzer ruen ale
toyt in shtim in gas.

Elnt shlept zikh nokh der vekhter
of der gas arim.
in di shtile hayzer kikt er
troyerik in shtim.
In di shtile hayzer kikt er
troyerik in shtim.

Dort in veykhn varem betl
shluft zikh azoy git.
Oy, vi voltn mayne beyner
Dort zikh oysrerit.
Oy, vi voltn mayne beyner
Dort zikh oysrerit.

In er klugt zikh farn himl –
zey mayn troyer tsi!
Ikh aleyn hob gornisht, hit ikh
yenems shluf un ri.
Ikh aleyn hob gornisht, hit ikh
yenems gits un ri.

The Night Watchman

Late at night, it’s cold and dark,
foggy and wet.
In the houses all are resting
Silent and dead on the street.
In the houses all are resting
dead and silent on the street.

Alone, the watchman drags himself
along the street.
He looks into the quiet houses
sadly and silently.
He looks into the quiet houses
sadly and silently.

There in a soft warm bed
one sleeps so well.
Oh, how my bones would
love to rest there.
Oh, how my bones would
love to rest there.

And he laments to the heavens –
witness my sorrow!
I myself have nothing, so I guard
another’s sleep and rest.
I myself have nothing, so I watch
another’s goods and rest.

nakhtvekhter

“Di levune shaynt in der fintsterer nakht” Performed by Lifshe Schaechter-Widman

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

Di levune shaynt in der fintsterer nakht
The moon shines in the dark night

Sung by Lifshe Schaechter-Widman
Recorded by Leybl Kahn, Bronx 1954

Commentary by Itzik Gottesman

LifsheAndFeterWidman

Lifshe Schaechter-Widman with her 2nd husband, Isaac Widman,
approximately at the time of the recording of this song, 1950s. 

This lyrical love song from the man’s perspective contrasts with the ballads in Lifshe Schaechter Widman’s repertoire which have a single narrative plot. The three verses barely relate to each other other than the two lines about sending letters that connect the second and third verse, and the reptition of the woman’s name Libele. As in most lyrical songs, the song emphasizes the emotion rather than the storyline. The lines about swimming in a deep river would usually signal an upcoming tragedy but nothing is made of it.

TRANSLITERATION

Di levune shaynt in der fintsterer nakht.
Libele zitst dort baym fentster un trakht.
Es dakht zikh ir az Itzikl geyt
in nayem mantl ungetin.

Gebudn hob ikh mikh in a takhele.
Dus takhlele iz geveyzn tif.
Veyn nit, veyn nit Libele,
ikh vel dir shikn briv.

Brivelekh vel ikh dir shikn.
Brivelekh vesti leynen.
Az ikh vel mekh dermanen in dan tayer zis punim,
klugn vel ikh in veynen.

TRANSLATION

The moon shines in the dark night.
Libele sits there at the window and thinks.
She imagines that Itzikl is coming
dressed in a new coat.

I was bathing in a river;
the river was deep.
Don’t cry, don’t cry Libele,
I will send you letters.

Letters I will send you
Letters you will read.
And when I think of your dear, sweet face,
I will lament and cry.
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A Second Melody for “Katshke grin” Performed by Abba Rubin

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

A Second Melody for “Katshke grin”
Performed by Abba Rubin, recorded by Rachel Rubin 1991.

Commentary by Itzik Gottesman.

The Yiddish children’s song “Katshke grin”, also known as “Geyt arum a grine katshke” and “Grine katshke”,  has been recorded but with a different melody. This week we present a previously unknown melody for the song. The singer, Abba Rubin, was recorded by his daughter Rachel Rubin at the same field recording session as the previously posted Burekes af Peysekh in 1991.

greenduck

The words to Katshke grin were written by artist and writer Zuni Maud (1891 – 1956) and printed in Kinder Zhurnal, a monthly Yiddish children’s magazine published by the Sholem Aleichem Folk Institute in NYC, where he often contributed poetry and drawings.

Zuni Maud’s frequent collaborator was artist/writer Yosl Cutler and together they created the first successful Yiddish puppet theater Modicut (1925 – 1933) in NY. According to Edward Portnoy who wrote on the radical Modicut troupe, Mikhl Gelbart and Moyshe Rappaport wrote much of the music for Modicut, so perhaps one of them was the composer of one or both of the melodies.

Mariam Nirenberg sings Grine katshke with another melody on her record Folksongs in the East European Tradition: Mariam Nirenberg (Global Village GV M117).  You can hear Niremberg’s version on iTunes. She only sings one verse and the duck has a red nose, not a broad one as in Rubin’s version. Nirenberg emigrated from her town Czarnawcyce, Poland (Yiddish = Tsharnovtshits) to Canada in 1932.

The song, with Nirenberg’s melody, become more popular recently thanks to the CD recording Di grine katshke/The Green Duck (Living Traditions, 1997).  There it is sung with four verses by Henry Sapoznik.

Thanks for their help for this week’s post go to Abba Rubin, Edward Portnoy and Barbara Kirshenblatt-Gimblett. 

TRANSLITERATION

Katshke grin, breyte noz
un keyner veyst nisht vos iz dos.

Geyt arum a grine katshke,
geyt arum un trakht.
volt zi davenen shakhris
falt shoyn tsu di nakht.

Katshke grin, breyte noz
un keyner veyst nisht vos iz dos.

Geyt arum a grine katshke
geyt arum un kayt.
Volt zi brokn lokshn
hot zi nit keyn tsayt.

Katshke grin, breyte noz
un keyner veyst nisht vos iz dos.

Geyt arum a grine katshke
mit a breyter noz.
Volt zi shmekn tabak
hot zi nisht mit vos.

Kashke grin, breyte noz
un keyner veyst nisht vos iz dos.

TRANSLATION

Green duck, wide nose,
and no one knows what this is.

A green duck wanders,
wanders and thinks:
She would pray the morning prayers
but night has just fallen.

Green duck, wide nose,
and no one knows what this is.

A green duck wanders,
wanders and chews.
She would cut up the noodles,
but she doesn’t have the time.

Green duck, wide nose,
and no one knows what this is.

A green duck wanders,
with a wide nose.
She would smell tobacco,
but she doesn’t have with what.

Green duck, wide nose,
and no one knows what this is.

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“Rokhl mevako al boneho” Performed by Esther Korshin

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 21, 2017 by yiddishsong

Commentary by Itzik Gottesman.

In this week’s blogpost, Esther Korshin sings a version of Rokhl mevako al boneho [Rachel Weeps for Her Children] by Elyokem Zunser, first published in 1871.  It was contributed by her granddaughter Jennifer E. Herring. Herring’s neighbor – cantor, singer and musicologist Janet Leuchter – heard about the recording and contacted us. The recording was made in 1946. Herring writes the following about the singer:

“Esther Yampolsky Korshin was born on 12/28/1886 in Ekaterinoslav (now Dnipropetrovsk), Ukraine.  Her father was a cantor, as was her brother Israel. She idolized her father. Her husband was Louis (Lev) Korsinsky, a cobbler. Esther left Russia in 1903 with her one-year-old daughter Etta. She left illegally because Louis was escaping the draft for the Sino-Russian War. Her name was changed to Korshin at Ellis Island. Children Jack, Nathan and Sylvia were born in the US. She knew Russian, Yiddish, English; read in Russian & English. Always bettering herself. No formal education. She spent six months auditing the tutoring of a Russian child in whose home she was a domestic. To earn money she did piecework sewing at home. Neighbors would gather to hear her sing. “

Esther Korshin c. 1930Esther Yampolsky Korshin, 1930, courtesy of Jennifer Herring

Zunser’s song is inspired by the Prophet Jeremiah’s words (Jeremiah 31:14) “Rachel weeps for her chidren” רחל מבכה על בניה  which has been understood as the biblical matriarch Rachel lamenting over the tragic fate of the the Jews throughout history. Zunser applies this view to his own times, and the troubles that Jews were facing at the end of the 19th century.

Korshin sings all five verses of the original text, 16 lines each. We have transcribed and translated the text of the singer’s version. We included the original line of text from Zunser’s printed version in brackets when it differed significantly. Korshin stays remarkably true to Zunser’s words. It is a remarkable performance.

Since Esther Korshin’s father and brother were cantors, it seems reasonable to assume that they had learned this moving song for performances and she learned it from them.

There are not many Zunser songs on popular recordings. The only record dedicated to his songs, a 1963 Folkways recording “Selected Songs of Eliakum Zunser” by Nathaniel Entin, which includes this song, does not capture the spirit of a folk performance. This is the third Zunzer field recording on the blog Yiddish Song of the Week.

In addition to the transcription, translation and yiddish transcription of Korshin’s version we are attaching scans of the original music, and words as found in  Eliakum Tsunzers verk: Kritishe oysgabe  2 volumes  (YIVO, NY 1964) Mordkhe Schaechter, editor.

1)
Di zin hot ungevizn in mayrev-zayt
mit ir royte shtraln, zi nemt opsheyd.
In di nakht mit ir fintserkayt
hot ungetun di erd in ayn shvarts kleyd.
Di velt mit ire layt shvaygn shtim
Es shvaygn shtim, say berg, say tol.
In di levune geyt zikh gants shtil arim
Fin di shtern hert men oykh kayn kol.
Nor a shtime di shtilkayt tseshlugt.
A kol fun a fru veynt un klugt.
In ir yumer un fil geveyn
kenen di kreftn oysgeyn.
Mit ir fidele shpil ikh zikh tsi.
A troyerike melodi
Zi shrayt nebekh fun ir getselt.
“Farvuglt bin ikh fin der velt.”

2)
Ayn kirtse tsayt hob ikh nakhes gehat.
Ven Got hot aykh in ayer land geshtitst.
Der mizbeyekh iz geveyn mit karbunes zat.
Di kruvim mit di fliglen hobn aykh bashitst.
Duvids kinder in der kroyn gekleydt.
Der koyen-godl in zayn kostyum.
In di sanhedrin vi ayn geflantser beyt,
in der beys-hamikdosh vi a frilingsblum.
Dray mol a yur in der tsayt.
Gekimen fin nuvnt, fin vayt.
Der brengt karbunes fun shlakht.
Un der hot bikurim gebrakht.
Di Leviyim hobn geshpilt.
Der yid hot zikh heylik gefilt.
Di gasn mit freylekhkayt zat
Oy dan hob ikh nakhes gehat.

3)
Ober tsiyon hot ongevoyrn ir fargenign.
Ir mayontik farshpilt in kon.
Dos ort beys-lekhim vi mayne beyner lign,
geyt in aveyles ungetun.
Di barg levunen, di giter-fraynd,
Oy, vos far a fis treytn oyf dir haynt?
Di barg Moriyo, di heylik ort
A Makhmedaner metshet shteyt yetst dort!
Di gasn zaynen shoyn pist.
Di veygn zaynen farvist.
In Karmel kayn blumen blit.
Di turems zey glantsn shoyn nit.
Di kohanim vos hobn geshtitst.
Di leviyim vi zaynen zey itst?
Vi’z ayer kroyn ayer rakh?
In vus iz gevorn fin aykh?

4)
Ikh kik of yerushelayim fin mayrev-zayt
Dortn ze ikh mayne kinder vi koyln shvarts.
Zey shparn on dem kop af der darer hant
In veynen az ez farklemt dos harts.
Es iz nishtu in yerushelayim kayn beyn, kayn shteyn
Vos iz nit geveyn nas fin mayn kinds geveyn,
Mayn kind tsi drikn iz a kindershpil
vi me treft im un – dort iz der tsil.
Fin Moldaviye her ikh ayn geshrey
Mayn kind shrayt dort “oy vey”
Fin Rumenyen shrayt er “nit git”
nor fargist men vi vaser zayn blit.
Fin daytshland shrayt er “S’iz shlekht”
Vayl dortn bakimt er kayn rekht.
Fin oystralyen baveynt er di erd.
Dort kikt men af im vi oyf ayn ferd.

5)
In himl di toyznter shtern
baveynen oykh mayn kinds geveyn.
un di boymer, zey gisn trern
di feygelekh zey entfern mit ayn geveyn.
Ober dos harts fun dem faynd iz farshteynt.
Dos umglik hot im zayn harts farshpart.
Der shlekhter akhzer zeyt vi men veynt
[original – der krokodel, der akhzer, treft oykh er veynt]
in zayn harts iz im vi ayzn hart…
A! Got entfer shoyn mir!
zug di vi lang nokh iz der shir
tsu laydn, a dor nokh a dor?
Tsures bay tsvey toyznt yor.
Ir shtern, zogt mir, oyb ir veyst.
tsi di host shoyn farlorn mayn treyst?
oy, neyn, ikh shpir shoyn, ikh shpir!
Az mayn Got vet nokh helfn mir.
[original – “Akh Got entfer shoyn mir.]

Spoken in English at the end of the recording: “Recorded by Esther Korshin, on April 10, 1946 at the age of 59”

1)
The sun appeared in the west
with her red rays, she bids farewell.
And the night and her darkness
dressed the earth in a black dress.
The world and her people are silent.
Still are the mountains and the valleys,
and the moon quietly moves around
and no call from the stars is also heard.
But a voice breaks the silence
a voice of a woman who cries and laments.
In her sorrow and cries
you could lose all your strength.
With her fiddle she accompanies herself
with a sad melody.
She cried from her grave –
“The world has discarded me”.

2)
“For a brief time I had pleasure
when God aided you in your land.
The alter was full of sacrifices.
The cherubs with their wings protected you.
David’s children wore the crown.
The High Priest in his garments.
And the Sanhedrin was like a planted bed of flowers
and the Holy Temple was like a spring flower.
Three times a year at a certain time
They came from near and far.
This one brings sacrifices to battle
And that one brings the first fruits.
The Levites were playing,
the Jew felt the holiness
The streets overflowed with joy.
O, then did I have such pleasure!

3)
But Zion lost her joy.
Her treasure gambled away.
The place Bethlehem where my bones lie,
wear the clothes of mourning.
You moutain Lebanon, my dear friend,
whose feet tread on you today?
You mountain Moriah, you holy place,
A Moslem mosque now stands there!
The streets are abandoned
The paths are all destroyed
On Carmel no flowers bloom.
The towers no longer shine.
The Kohamim who were a support,
The Levites – where are they now?
Where is your crown, your kingdom?
What has become of you?

4)
I look at Jerusalem from the western wall
There I see my children, black as coal.
They rest their heads on their emaciated hands
and cry till it pains your heart.
In Jersusalem there’s no bone, no stone
that did not get wet from my child’s tears.
It’s become like a children’s game to oppress my child –
Wherever you find him – that is the goal.
From Moldova I hear a scream
My child there yells out  “oy vey!”
From Romania he yells “no good”
and his blood is spilled like water.
From Germany he yells “It’s bad!”
For there he has no righs.
In Australia he laments the earth
He is looked down upon as if he were a horse.

5)
In heaven the thousand stars
also lament my child’s cries.
And the trees they pour with tears
and the birds answer with weeping.
But the heart of the enemy has turned to stone
This tragedy has caged in his heart.
The evil monster sees how we cry
[Original – the crocodile, the monster, also cries]
In his heart it is as hard as iron.
Oh God answer me now!
Say how long can this go on?
To suffer generation after generation,
Sorrows for two thousand years!
You stars, tell me if you know.
Has my comfort been lost among you?
Oh, no, I feel it now, I feel it –
That my God will yet help me
[original – O God answer me now]

Spoken in English after the song:
“Recorded by Esther Korshin, on April 10, 1946 at the age of 59”wordsA1wordsa2

WordsB

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“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.

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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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