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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.

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“Af mayn tatns dakh” Performed by Beyle Schaechter-Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 10, 2018 by yiddishsong
Af mayn tatns dakh (On My Father’s Roof)
Performed by Beyle Schaechter-Gottesman (BSG)
recorded by Itzik Gottesman, Bronx 1991.

Commentary by Itzik Gottesman

From 1947 to 1951 Beyle Schaechter-Gottesman (BSG)  lived in displaced persons camps in Vienna. Two of them were Arzberger and Rothschild Hospital where her husband, Jonas Gottesman was the chief physician. She arrived there after two years in Bucharest. Since she was born in Vienna in 1920 (but grew up in Chernovitz) she could legally leave Bucharest at that time, while her husband, mother and brother had to cross into Austria illegally.
DP Beyle Lifsha

In Vienna circa 1949, from left: Lifshe Schaechter-Widman (mother), Beyle Schaechter-Gottesman (daughter), friend Mitsi Weininger.

BSG believed she learned this song in Vienna during this time and wrote down the words in a notebook. In 1991 we found that notebook and I asked her to sing the songs she had written down in it.

The first line of the refrain “Sheyn bikh ikh sheyn, sheyn iz oykh mayn nomen” and text of the second verse are better known with a different melody in a  children’s song. Ruth Rubin includes it in her print collection Jewish Folk Songs and recorded it. More recently it can be heard on the CD “Voices of Ashkenaz”, featuring the singing of Svetlana Kundish and Deborah Strauss.

TRANSLITERATION:

Af mayn tatns dakh hengt a gildener krants
hant oder morgn, vu’zhe darf ikh zorgn?

Sheyn bin ikh sheyn, sheyn iz mayn numen,
Vel ikh nemen a khusndl fun same rabunim.

Bay di rabunim iz di Toyre groys,
ikh vel zan a kalele – a  bliendkie royz.

Sheyn bin ikh sheyn, sheyn iz mayn numen,
Vel ikh nemen a khusndl fun loyter rabunim.

Holtz in der kamer, a vaser in hoz.
Ale mise bukhirim fun shteytele aros.

Sheyn bin ikh sheyn, sheyn iz mayn numen,
Vel ikh nemen a khusndl fun loyter rabunim.

Eyner vet zan maner,  a sheyner, a faner,
Zetst zikh nor nit leybn mir, bist nokh nit mit mane.

Sheyn bin ikh sheyn, sheyn iz mayn numen,
Vel ikh nemen a khusndl fun loyter rabunim.

Got vet dir bashern vesti mane vern,
Vesti zetsn leybn mir, vet keyner dikh nisht shtern.

Sheyn bin ikh sheyn, sheyn iz mayn numen,
Vel ikh nemen a khusndl fun loyter rabunim.

Fli feygele fli,  fli zhe tsi man khusn!
Vet er mir shikn a halbn livyusin.

Sheyn bin ikh sheyn, sheyn iz mayn numen,
Vel ikh nemen a khusndl fun loyter rabunim.

TRANSLATION:

On my father’s roof hangs a golden wreath.
Today or tomorrow: so why should I worry?

Pretty, I am pretty and pretty is my name.
I will only choose a groom from among the rabbis.

For the rabbis the Torah is great:
I will be a bride – a blossoming rose.

Pretty, I am pretty and pretty is my name.
I will only choose a groom from among the rabbis.

Wood in the shed, water in the house
All ugly boys – get out of town.

Pretty, I am pretty and pretty is my name.
I will only choose a groom from among the rabbis.

One will be mine – a handsome  and a fine one.
But don’t sit next to me – you’re not mine yet.

Pretty, I am pretty and pretty is my name.
I will only choose a groom from among the rabbis.

God will destine it for you and become mine.
If you will sit next to me, then no one will bother you.

Pretty, I am pretty and pretty is my name.
I will only choose a groom from among the rabbis.

Fly, birdie, fly, fly to my groom.
And he will send me half of the Leviathan.

Pretty, I am pretty and pretty is my name.
I will only choose a groom from among the rabbis.
BSG1BSG2

“Af a shteyn zitst a reytekh mit a khreyn” Performed by Khave Rosenblatt

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 20, 2017 by yiddishsong

Af a shteyn zitst a reytekh mit a khreyn
On a Stone Sit a Turnip and a Horseradish
performed by Khave Rosenblatt

Text by Eliezer Shteynbarg, music by “Prof. Kohn”.
Recorded in Jerusalem by Beyle Schaechter-Gottesman, 1970s.
Commentary by Itzik Gottesman.

use as picture

Illustration by Arthur Kolnik in Eliezer Steinbarg’s Mayn alef-beys (My Alphabet), Chernovitz, 1921

TRANSLITERATION
(in Khava Rosenblatt’s dialect)

Of a shteyn, of a shteyn
zitst a reytekh mit a khreyn.
Eytekh – beytekh! zugt der reytekh
Vus s’iz der himl azoy reyn?
Eytekh – beytekh! zugt der reytekh
Vus s’iz der himl azoy reyn?

Lomir beyde tontsn geyn.
Lomir beyde tontsn geyn.
Bald gevorn iz a freyd
in gelofn s’kind un keyt.

S’tantst a reytekh mit a khreyn!
Vi zhe loyft men dus nit zeyn?
Meshiakhs tsat hot men gemeynt
in me hot far freyd geveynt.

Eykh bin oykhet dort geveyn
Eykh bin oykhet dort geveyn
tsigeshtipt hob ikh mikh shver
in kh’ob oykh gelozt a trer!

TRANSLATION

On a rock, on a rock
sit a turnip and a horseradish.
I beg of you, says the horseradish:
Why is the sky is so clear ?
I beg of you, says the horseradish:
Why is the sky is so clear ?

Let’s both go dancing!
Let’s both go dancing!
Soon there was such a celebration
and everybody ran over.

A turnip dancing with a horseradish!
How could you not run to see?
The Messiah has come we all thought
and for joy we all cried.

I was also there.
I was also there.
With difficulty I pushed myself through
and I too let fall a tear!

The text of this song is slightly altered from Mayn alef-beys (My Alphabet) by Eliezer Steynbarg (1880 – 1932) published in 1921, Chernovitz, Romania; a classic work of Yiddish children’s literature with illustrations by Arthur Kolnik, Ruven Zelikovitsh (later known as Reuven Rubin) and Solomon Lerner. The original text in Yiddish is attached below.

Khave Rosenblatt was born in a Shatava, a Ukrainian town near Kamenets-Podolsky.  In 1917 the family moved to briefly to Khotin (Khotyn/Chotin) in Bessarabia and then to Chernovitz, Bukovina. There she was a kindergarten teacher in a Hebrew school and emigrated to Israel with her husband and child in 1934. Her husband had been a famous eye doctor in Romania but became a natural healer in Israel saying he would no longer spill blood. He died in 1945. In Israel Khava Rosenblatt worked for the Kupat Kholim, the national health care agency in Israel.

Rosenblatt’s family was very close to the poet laureate of Chernovitz, Eliezer Steynbarg, and she helped proofread the first volume of his Mesholim (Fables) published in Chernovitz in 1933 which appeared posthumously. She recalls that the composer of this song, and others by Steinbarg, was someone named Prof. Kohn.

In the small collection Eliezer Shteynbarg: gezungene lider edited by Hersh Segal, Rekhovot, 1977, the editor writes that except for one song in the collection, none of the composers are known. Attached is the music to this text from that 1977 collection which is similar.

Another song from Mayn Alef-beys – “Der ber” (aka – “Af di aksl mit tsvey kanen”) – was recorded on the Living Traditions CD “Di grine katshke“.

Thanks to Dr. Paul Glasser for assistance with this week’s post.

UfAShteynYID

OfAShteynMUSic

“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

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“Blumke mayn zhiduvke” Performed by Beyle Schaechter-Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 14, 2017 by yiddishsong

Commentary by Itzik Gottesman.

In the late 1970s, Beyle Schaechter-Gotetsman (BSG) made this recording of Mordkhe Gebirtig’s (1877 – 1942) song Blumke mayn zhiduvke, which is based on a Russian folk motif/theme. She sang it into her cassette recorder in preparation for an afternoon program of Gebirtig songs at the Sholem Aleichem Cultural Center in the Bronx. The song, written as a duet, is one of the lesser known of Gebirtig’s songs and, it seems, has only been recorded twice, both relatively recently – by Manfred Lamm in 2006 on the album Mayn traum/Mayn cholem, and by the singers Mariejan van Oort and Jacques Verheijen in 2003 on the album Mayn Fayfele (click here to hear van Oort and Verheijen’s version).

220px-GebirtigMordkhe Gebirtig

“Blumke” was the first name of Gebirtig’s wife (Blume Lindenbaum). The words and music were reprinted in most of the editions of Gebirtig’s songs, but only in the table of contents of the original edition of his volume Mayne lider  (Krakow 1936) does it add the information: “Rusishe folksmotiv; baarbet fun M. Gebirtig” – “Russian folk motif /theme adapted by M. Gebirtig.” (Thanks to Jeff Warschauer and Deborah Strauss for access to that volume).

BSG learned this song in Chernovitz, Romania, in the 1930s and only a few words in her performance are different from Gebirtig’s original text, so we are attaching the original Yiddish text and melody from the NY 1942 edition of Mayne lider. The Yiddish, the transliteration and the translation will be based on BSG’s slightly different lyrics.

The song has some Polish words: zhiduvka – Jewess/Jewish girl, kruvka – little cow, bozhe – O, God.  The song is briefly discussed in the article “The Relations between Jews and Christians as Reflected in the Yiddish Songs by Mordehaj Gebirtig” by Elvira Grozinger, Scripta Judaica Cracoviensia, vol. 8, 2010.

Blumke, mayn zhiduvke
Okh, zay fun Got gezegnt.
Hostu efsher mayne tsigelekh
ergets vu bagegnt?

Kh’hob zey liber Stakhu,
in ergets nit getrofn.
Akh, vet dikh dayn beyzer tatke
haynt derfar bashtrofn.

Oy, vet dikh dayn beyzer tatke
dikh derfar bashtrofn.

Gekholemt fun dir, sertse,
gezen in feld dikh lign.
Plutslung kuk ikh, akh, vu zenen
mayne vayse tsign?

Efsher, liber Stakhu
S’iz andersh nit tsu klern.
Zenen zey in vald farkrokhn –
oy, dort voynen bern!

Bozhe! Okh, mayn Blumke,
vos zol ikh itst baginen.
Nisht gehitn mayne tsigelekh;
dikh gehat in zinen.

Zay keyn nar, mayn Stakhu,
nit far dir iz Blumke.
Liber nem aroys dayn fayfl,
shpil mir oyf a dumke.

Kh’vel mayn tatns kruvke
un alts vos kh’hob farkoyfn.
Lomir beyde, sheyne Blumke,
Ergets vayt antloyfn.

Zay keyn nar, mayn Stakhu,
Nit farkoyf dayn kruvke!
Zukh dir oys in dorf a goyke –
ikh bin a zhiduvke!

Roytlekh shoyn der himl.
Di zun fargeyt, pavolye.
Akh, vu zent ir, mayne tsigelekh,
kumt baveynt mayn dolye.

Blumke, my Jewish girl/Jewess
O, may God  bless you.
Have you, perhaps,
seen somewhere, my little goat?

I have not, dear Stakhu,
seen them anywhere.
Oh, your mean father
will punish you today for this.

I dreamed of you, my dear,
lying in a field.
Suddenly I look – oh,
where are my white goats?

Maybe, my dear Stakhu –
There can be no other way –
they wandered off into the woods
oh no! Bears live there.

My God! dear Blumke,
Where do I begin.
I did not guard my goats,
I was thinking of you.

Don’t be a fool, dear Stakhu.
You are not destined for Blumke.
Take out your flute
and play for me a dumka.*

I will sell my father’s little cow
and sell all that I have.
Let us, pretty Blumke,
Run away somewhere.

Don’t be a fool, my Stakhu.
Don’t sell your little cow.
Find yourself a non-Jewish girl in the village
I am a Jewish girl.

The sky is reddish,
the sun sets slowly.
O, where are you my little goat,
Come lament my fate.

*diminutive of “dumy” – epic ballads sung by Ukrainian kobzars. In the late 19th and early 20th century Slavic classical composers such as Dvorak were inspired to create classical dumka, “a type of instrumental music involving sudden changes from melancholy to exuberance” (Harvard Concise Dictionary of Music, 1978).

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“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

“Ze vi gru” Performed by Beyle Schaechter-Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , on December 15, 2014 by yiddishsong

Ze vi gru (See How Gray)
Performance by Beyle Schaechter-Gottesman
Recorded 2013, Bronx, by Itzik Gottesman

Commentary by Itzik Gottesman

Before we enter the new year, let us do our part to remember that 2014 marked 100 years since World War One and post a song about that time.

In memory of her first yortsayt (memorial anniversary), the 2nd day of Khanike, I am posting the last song that I recorded from my mother, Beyle Schaechter-Gottesman, a few months before she died. At 93 years of age she could still sing well.

DP Beyle LifshaVienna 1948-49. From left: Lifshe Schaechter-Widman, Beyle Schaechter-Gottesman, Mitsi Weininger.

I cannot find the full text for the song, but my mother knows it from Chernovitz, which was Romania when she grew up. We both agreed that it was about WWI but have no other information on the song. Could “in akhtsetn geboygn” refer to something else other than 1918? The rhyme “nayes” (news) and “Ashmoday’es” (Asmodeus’s) is wonderfully original.

As usual, any help finding more lyrics to this unusual song would be appreciated.

(The transliterated Yiddish reflects her dialect; the lyrics written in the Yiddish alphabet are transcribed in standard Yiddish.)

Ze vi gru der himl iz.
Gru vi dayne oygn.
S’iz der Balkan shoyn fun tsar
in akhtsetn geboygn.

See how gray the skies are;
Gray as your eyes.
The Balkan has already, from grief,
bent over in the 18th. [1918?]

Kruen brengen psires un.
Loyter shlekhte nayes.
Kruen brengen psires un.
Psires Ashmodayes.

Crows bring us over news,
just bad news.
Crows bring us over news,
News from (or “of”) Ashmodai. [the devil]

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