Archive for Ruth Rubin

“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

tsudek1

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“Ikh bin a tsigaynerl a kleyner” Performed by Beyle Schaechter-Gottesman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on November 29, 2018 by yiddishsong

Ikh bin a tsigaynerl a kleyner / I am a Small Gypsy (Rom) Lad
Pre-war version from Chernovitz, Romania.
Sung by Beyle Schaechter-Gottesman [BSG]
Recorded by Itzik Gottesman at the Sholem Aleichem Cultural Center, Bronx 1980s.

Commentary by Itzik Gottesman

The more popular song version of this poem by Itzik Manger (1901 – 1969) was composed by Hertz Rubin (1911 – 1958) and has been recorded by at least thirteen artists. According to Chana and Yosl Mlotek in Songs of Generations, the singer Masha Benya received that version from Manger’s widow Genia Manger after the second world war in NY.

MangerItzik Manger in his Chernovitz days, 1920s

But this earlier version has a different melody, and slightly different words without the “Ekh du fidele du mayn” refrain. BSG learned this song in Chernovitz, which was Romania between the world wars and is now in the Ukraine.

Manger’s lyrics carry a number of commonly-held negative stereotypes about Romany (Gypsy) culture. However, considering the time in which he was writing, through first-person narration, Manger creates a sympathetic window into the challenges faced by Roma including poverty, oppression, and a sense of otherness as a minority community. The ever-wandering Manger, no doubt, felt like a kindred spirit.

In the Ruth Rubin Legacy: Archive of Yiddish Folksongs at YIVO, Sore Kessler sings this Chernovitz version and explains she learned it from the Yiddish poet M. M. Shaffir in Montreal. Shaffir was also from the Bukovina region (not Bessarabia as Kessler says in her spoken introduction), and a friend of BSG. Some of Kessler’s text differs and she sings a verse that BSG does not:

Shtendik zaynen mir af vegn,
mir af vegn.
Say bay nakht,
un say in regn.

Always are we travelling,
travelling [on the roads.]
Both at night
and in the rain.

Accordionist Mishka Zignaoff (who was a Yiddish-speaking Russian Rom musician based in New York) recorded the melody as Galitzianer khosid (Galician Hasid) in a medley with the famous Reb Dovidl’s nign.

I am posting this song to mark Beyle Schaechter-Gottesman’s 5th yortsayt (1920 – 2013) which falls on the second candle of khanike.

BeyleItzikTapes2Beyle and Itzik Gottesman looking over Yiddish field recordings, 1970s.

TRANSLITERATION

BSG Spoken: [Itzik Manger] iz geveyn maner a landsman, un hot geredt Yidish vi ekh. Vel ikh zingen in durem-yidish azoy vi er hot geredt. “Ikh bin a tsiganerl a kleyner” un di lider vus ikh zing zenen a bisele, tsi mul, andersh vi ir zingt zey, val ikh ken zey nokh fun der heym.

1) Ikh bin a tsigaynerl a kleyner, gur a kleyner
ober vi ir zeyt a sheyner.
Tra-la-la-la-la-la-la

Ikh veys nisht vi ikh bin geboyrn, bin geboyrn.
Di mame hot mikh in steppe farloyrn
Tra-la-la-la-la-la-la-la

Tra-la-la-la-la-la-la-la
Tra-la-la-la-la-la-la-la

2) Dem tatn hot men oyfgehongen, oyfgehongen
Vayl er iz ganvenen gegangen
Tra-la-la-la-la-la-la-la

Burves, hingerik un freylekh, ober freylekh
Fil ikh zikh vi a ben-meylekh.
Tra-la-la-la-la-la-la-la

Tra-la-la-la-la-la-la-la
Tra-la-la-la-la-la-la-la

3) In mayn lidl kent ir hern, kent ir hern
Mayn tatns zifts, mayn mames trern.
Tra-La-la-la-la-la-la-la-la-la

S’kost in gantsn nor a drayer, nor eyn drayer.
S’iz mayn veytik gurnisht tayer.
Trala-la-la-la-la-la-la

Tra-la-la-la-la-la-la-la
Tra-la-la-la-la-la-la-la

TRANSLATION

BSG Spoken: “[Itzik Manger] was from the same city as me and spoke Yiddish as I do. So I will sing in the southern Yiddish that he spoke.  “Ikh bin a tsiganerl a kleyner” and the other songs that I will sing are a little different than the way you sing them because I learned them form home.”

I’m a small Gypsy lad, a very small Gypsy lad,
But as you see good-looking.
Tra-la-la-la-la-la-la-la

I don’t know where I was born, was born.
My mother lost me somewhere in the Steppes.
Tra-la-la-la-la-la-la

Refrain: Tra-la-la-la-la-la-la

They hanged my father, hanged my father
Because he went thieving.
Tra-la-la-la-la-la-la

Barefoot, hungry and merry, always merry.
I feel like a prince.
Tra-la-la-la-la-la-la

Refrain: Tra-la-la-la-la-la-la

In my song you can hear, can hear
My father’s sigh, my mother’s tears.
Tra-la-la-la-la-la-la

It will only cost you three kopecks.
My suffering doesn’t cost much at all.
Tra-la-la-la-la-la-la
tsigaynerl 1

tsigaynerl 2

tsigaynerl3

“Farmutshet in fintserer tfise” Performed by Leo Summergrad

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , on November 21, 2018 by yiddishsong

Farmutshet in fintserer tfise / Exhausted In a Dark Jail
Sung by Leo Summergrad, recorded by Summergrad in 1959

Commentary by Itizk Gottesman

Upon hearing a previous post Es hot geshneyet un geregnt sung by Esther Gold, Yiddish singer, song lover and collector Leo Summergrad wrote to say that the melody is similar not only to In kampf by David Edelshtadt but also to the song Farmutshet in fintserer tfise. I asked him to send his recording of the song to the Yiddish Song of the Week.

RussianPrison

Russian Prison, circa 1890

Farmutshet in fintserer tfise is a Yiddish translation of a popular Russian poem Замучен тяжелой неволей by Gregori Machtet (1852 – 1901). Here is a choral version of the original Russian song:

In Albert Bitter’s song collection Zing-A-Lid (NY, 1940, 1941) he has printed the words and melody and noted that it is a translation from Russian. In a Yiddish song collection of the 1890s Lieder Magazin (NYC)  it is already noted that the source of the music for Edelshtadt’s In kamf is the Russian song.

The Yiddish translator is “A. Kovner” which I assume to be a pseudonym.  In the on-line Ruth Rubin Legacy: Archive of Yiddish Folksongs at YIVO,  Naomi Feder sings the first two verses of Farmutshet in fintserer tfise. I could not find any studio recording of the song.

Leo Summergrad writes about this recording:

I probably learned the song in Mitl Shul, which was also before the war.  I don’t recall the when and how, but we put on plays honoring Naphtali Botwin and Hirsh Leckert.  Perhaps it was part of the plays.

As to the recordings:  I’ve had a love affair with Yiddish music since I was a very young child.  My mother and father both sang beautifully and did so all the time.  My uncle was the lead tenor in the Oscar Julius quartet.  A big regret is that I never recorded my parents when I had the opportunity.

In 1959 I bought a quality reel to reel tape recorder, which I still have, for the sole purpose of memorializing some of the songs I love.  Over a period of months, I did so.  On the recording I say, “These are a few of my favorites”.  I then record two hours of songs.  As technology improved, I converted the reels to cassettes and later to CDs.  פארמוטשעט אין פינסטערע טוויסעס appears on volume 1, under “Songs of Struggle”.

About the same time, I started collecting Yiddish recordings and song books.  I currently have about 700 recordings from 27 different countries and more than 60 books.  Information about the recordings and songs, of which there are about 2300, are in data bases that I developed.

Over the years, I have made about a dozen more recordings, many of which were of programs that a friend and I put on at various locations over a number of years.

Thanks this week to Leo Summergrad for sending us his stirring recording. 

TRANSCRIPTION

Farmutshet in fintserer tfise,
in kamf far der arbeter-makht.
Bagegnt dem toyt hostu heldish,
bist erlekh gefaln in shlakht.

Neyn, sine hot bloyz undz nor gevorgn,
getribn in shlakht hot undz mut.
Baym keyver mir hobn geshvoyrn
batsoln dem faynt far dayn blut.

Far undz iz nor eyn veg nor dayner,
vi du zayn in tfise farshmakht.
A lebn nor shtraykn nor kemfn,
un faln vi du far der zakh.

TRANSLATION

Exhausted in a dark prison,
in struggle for the workers’ power,
you met your death like a hero
and died honestly.

No, hatred has only strangled us.
Our courage drove us into battle.
At the grave we swore
to make the enemy pay for your blood.

For us there is only one way – yours,
As you, to be suffering in prison.
A life of only strikes and struggles,
and to die as you for the cause.
jail lyrics.jpeg

“Erev-Yonkiper nokhn halbn tog” Performed by Yankl Goldman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on September 14, 2018 by yiddishsong

Erev-Yonkiper nokhn halbn tog / On the Eve of Yom-kippur, In the Afternoon
Sung by Yankl Goldman
From the Ruth Rubin Legacy Archive of  Yiddish Folksongs, YIVO Institute, NYC

Commentary by Itzik Gottesman

Untitled drawingThis is a variation of the most common nineteenth century Yiddish murder ballad which often begins with “Tsvelef a zeyger”. But this version is unusual because the performer Yankl Goldman says before he sings that the boyfriend/suitor is a non-Jew and this is the reason why her parents reject him.

Other than the name “Panilevitsh”, there is no indication in the song itself that he is not Jewish. The version follows very closely to many other versions in which all the characters are Jewish.

Thanks to sound archivist Lorin Sklamberg and the YIVO Sound Archives for the recording. 

TRANSLITERATION

Spoken by Yankl Goldman: “A libeslid vos me hot gezungen nukh a tragishn tsufal ven der gelibter hot ermordet zayn gelibte tsulib dem vos di eltern hobn nisht tsigelozn, az zi zol khasene hobn mit em vayl er iz nisht geven keyn yid.”

Un di lid geyt azey –
Erev-yonkiper in halbn tog
ven ale meydlekh tien fun di arbet geyn.
Dort dreyt zikh arum Panalevitsh.
Git er Dvoyrelen oyskukn.

Azoy vi er hot zi derzeyn,
zi geblibn far zayn[e] oygn shteyn.
“Un itst iz gekumen di libe tsayt
Di zolst mir zogn yo tsi neyn.”

Tsi libst mikh yo, tsi di libst mikh nit
mayne eltern zey viln dikh nit.
Oy, mayne eltern tien mir shtern,
Ikh zol far dir a kale vern.

Azoy vi er hot dos derhert
Es hot im shtark fardrosn
aroysgenumen hot er deym revolver
un hot Dvoyrelen dershosn.

[Ruth Rubin: “Oy!”]

Azoy vi er hot ir dershosn.
Iz zi gefaln af a groysn shteyn.
Troyerik iz di mayse, ober lebn –
lebt zi shoyn nisht meyn.

TRANSLATION

Spoken by Yankl Goldman: “A love song that was sung after a tragedy, when the lover killed his beloved, because her parents would not allow her to marry a non-Jew.”

On the eve of Yom-kippur, in the afternoon
when the girls leave work,
Panalevitsh is hanging out,
waiting impatiently for Dvoyre.

As soon as he saw her
she stopped right before his eyes.
“And now has come the right time
for you to tell me – yes or no”.

“What does it matter if
you love or don’t love me
my parents do not want you.
Oy, my parents have ruined
my becoming your bride.”

As soon as he heard this
he was very chagrined.
He took out a revolver
and shot Dvoyre dead.

[Ruth Rubin says in background “oy!”.]

When he shot her
she fell upon a large stone.
Sad is the story, but
she lives no more.

Screenshot 2018-09-12 at 4.33.20 PM

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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

“In Odes af a shteyn” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , on May 15, 2018 by yiddishsong

In Odes af a shteyn / In Odessa on a Stone
A song about the 1905 Kiev Pogrom
Sung by Lifshe Schaechter-Widman
Recorded in 1960s Bronx by Beyle Schaechter-Gottesman

Commentary by Itzik Gottesman

In Odes af a shteyn is a variant of the previously posted pogrom ballad In Kiever gas. Lifshe Schaechter-Widman (LSW) tells us in her spoken introduction to this song that she learned it from a survivor of the Kiev pogrom of 1905 (October 31 – November 2, 1905) who came to her Bukovina town, Zvinyetchke. Lifshe was then 12 years old.

So the earlier version, In Kiever gas, which was sung soon after the 1881 Kiev pogrom, was reused for the second Kiev pogrom which took place almost 25 years later.

kiev-1905-pogrom-1

1905 Kiev Pogrom

In Ruth Rubin’s archive a “Mr. Auslander” sings In Ades af der gas, a combination of the two versions:

And here is another performance of the song by LSW from her 1954 recording session with Leybl Kahn. (The first few seconds have been cut off). Some of the lyrics are different in that earlier recording:

The featured LSW version that we have transcribed (the sound recording presented at the top of this posting) is from the 1960s and recorded by Beyle Schaechter-Gottesman in the Bronx. Though this version is shorter than Braginski’s, it also contains, as do almost all the versions, the rhyme katsapes (derogatory term for Russians) and lapes and the appeal to God in the last verse “to take her away from this world.”

Thanks to Lorin Sklamberg and YIVO Sound Archives for help with this week’s blog post.

TRANSCRIPTION

SPOKEN by LSW: Nokh di Kiever pogromen inem yare [yor] finef, fir, finef,  zenen gekimen tsi loyfn fin Kiev tsi indz mentshn, hot eyner mikh oysgelernt dus lidl.

In Odes af a shteyn, zitst a meydele aleyn.
Zi zitst in zi veynt.
Zi zitst in zi veynt, ir harts iz farshteynt.
A neduve bay yeydn zi beyt.

Di Kiever katsapes mit zeyere lapes
hobn getin mayn faters hoyz tsebrekhn.
Dus hoyz tsebrokhn, deym tatn geshtokhn.
Di mame iz far shrek imgekimen.

Vi groys iz mayn shand oystsushtrekn di hant
un tsu beytn bay laytn gelt, un tsi beytn bay laytn gelt.
Oy, Got derbarem, shtrek oys dayn arem.
un nem mekh shoyn tsi fin der velt.

TRANSLATION

In Odessa on a rock, sits a girl alone.
She sits and she weeps.
She sits and weeps, her heart has turned to stone.
For alms from everyone she begs.

The Kiev “lousy Russians” and their paws,
Did destroy my father’s house.
The house destroyed, my father stabbed.
My mother died of fright.

How great is my shame to hold out my hand
and to beg for money from people,
and to beg for money from people.
O, God have mercy, and stretch out your arm,
and take me away from this world.  

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“Ver s’hot nor in blat gelezn: Der Bialystoker pogrom” Performed by Frahdl Post

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on April 18, 2018 by yiddishsong

Ver s’hot nor in blat gelezn: Der Bialystoker pogrom
Whoever has Read the Newspaper: The Bialystok Pogrom

Performance by Frahdl Post, Recorded by Wolf Younin 1970s.

This week’s song was submitted by Henry Carrey. The singer Frahdl Post is his grandmother, the mother of a previously featured singer, Leah Post Carrey (aka Leyke Post). Frahdl was born in Zhitomir, Ukraine in 1881 and died at the Workmen’s Circle Home for the Aged in the Bronx in 1976.

Carrey writes:

“Frahdl Herman Postalov, a/k/a Fannie Post, grew up in Zhitomir, Ukraine in a lower middle-class home, one of four sisters and two brothers. Her father Dovid-Hersh Herman had a shop where grain was sold. His wife, Rivke Kolofsky worked in the shop.

FrahdlPost

Frahdl Post

As a young girl, she always like to sing and dance and took part in amateur theatricals. Performing ran in the family. Her father was  a part-time cantor with a pleasant voice and Frahdl and her brother Pinye teamed up to perform at local parties. She told us that she learned her vast repertoire of many-versed songs by going to a store with friends every day where newly written songs would be purchased and then shared by the girls. She also used to stand in the street outside the local jail and learn revolutionary songs from the prisoners who could be heard through the windows. She remembered attending revolutionary meetings in the woods, and singing all the revolutionary songs, although she herself was not an activist.

One day she went to a fortune-teller who told her that her future husband was waiting at home. When she got home, she saw my grandfather, Shloyme, who had been boarding with her aunt. In 1907 they married and within a year her husband Shloyme was off to America to seek his fortune leaving a pregnant wife. Frahdl and my mother Leyke left to join him about four years later in 1913.

Eventually she got to Halifax, Nova Scotia but was denied entry to the US because she had a highly contagious disease called trachoma. Fortunately, she was somehow allowed into Canada instead of being sent back to Europe  as was customary. After four months of treatment in Montreal , Frahdl was cured and they left for Boston, where my grandfather had settled. Frahdl had two more children Rose and Hymie in the next three years.

During the 1920’s, Shloyme decided to move from Boston and start a tire business for Model-T’s in Arlington – a suburb of Boston where there were only three other Jewish families. However, my grandmother still took the tram into the West End of Boston to buy most of her food.  Understandably , the children  were influenced by the non-Jews around them and once brought a “Chanukah Bush” home and put up stockings on the mantel. My grandmother threw the tree out and filled the stockings with coal and onions from “Sente Closet”.  My mother, Leyke, who even at a young age was a singer, had been secretly singing with the Methodist choir. One day the minister came to the door to ask my grandmother’s permission to allow my mother to sing in church on Christmas Eve. That was the last straw for my grandmother and they moved back to the West End.

My grandmother always sang around the house both the Yiddish and Ukrainian folksongs she had learned in Zhitomir and the new Yiddish theater songs she heard from other people or later on the radio and on recordings. All the children learned the songs and Leyke incorporated them into her repertoire when she became a professional singer.”

Commentary by Itzik Gottesman:

The song Ver s’hot nor in blat gelezn describes the Bialystok pogrom which occurred on June 1, 1906. Two hundred Jews were killed and seven hundred wounded – a particularly violent pogrom.

A number of verses are similar to other pogrom songs. The same song but only five verses long, with a reference to a pogrom in Odessa (1871? 1881? 1905?) is heard on Ruth Rubin’s Folkways album The Old Country and is printed in the YIVO collection Yiddish Folksongs from the Ruth Rubin Archive sung by Mr. Persky of Montreal. We have attached two scans of the song as it appears in the book, words and melody.

Click here for a previous posting about another song about pogroms (including Bialystok).

There it is noted that “The song is folklorized from a poem by Abraham Goldfaden, Di holoveshke (The Ember). I find only the third verse of Goldfaden’s poem to be adapted in this song. Three scans of Goldfaden’s original poem are attached as they appear in the 1891 edition of Dos yidele. In Post’s version it is the fifth verse.

In the Frahdl Post recording, the 10th verse ends abruptly before the song’s conclusion. Fortunately, Henry Carrey was able to add the last verse (and an alternate line) based on other recordings of his grandmother, so the transcription and translation include this final verse but it is cut off in the audio recording.

Wolf Younin (1908 – 1984), who recorded this song, was a well-known Yiddish poet, lyricist (Pozharne komande, Zing shtil, Der yid, der shmid, Ober morgn) and journalist. His column Shprakhvinkl included much Jewish folklore. Younin’s NY Times obituary is available here:

Thanks to Henry Carrey for this week’s post. The transliteration is based on his version. I changed some words to reflect her dialect.

TRANSLITERATION

Ver s’hot nor di blat geleyzn
Fun der barimter shtot Bialistok
Vos far an imglik dort iz geveyzn
In eyne tsvey dray teg.

Plitsling, hot men oysgeshrign,
“Shlugt di yidn vi vat ir kent! “
Shteyner in di fenster hobn genumen flien.
A pogrom hot zikh oysgerisn in eyn moment.

Blit gist zikh shoyn  in ale gasn,
In se shpritst zikh shoyn oyf di vent.
Yidn hot men geharget, oysgeshlugn.
Mit zeyer blit hot men gemult di vent.

Dort shteyt a kale oyf di harte shteyner,
Ungetun in ir vays khipe-kleyd
Un leybn ir shteyt a  merder eyner
un er halt dem khalef in der hant gegreyt.

Dort ligt a froy , a yinge,  a sheyne,
farvorfn, farshmitst ligt zi oyfn mist.
Leybn ir ligt a kind a kleyne;
zi tit ir zoygn ir toyte kalte brist.

Vi zey zaynen nor in shtub arayngekimen,
un zey hobn di mentshn git gekent.
Vus iz geveyn in shtib hobn zey tsebrokhn.
Di mentshn upgeshnitn hobn zey di hent.

Vi zey zaynen nor in shtub arayngekimen,
Mit ayn tuml, mit a groysn rash.
Vus iz geven in shtub hobn zey tsebrokhn,
Kleyne kinder arupgevorfn funem dritn antash.

Ver s’iz  baym umglik nisht geveyzn
Un er hot dem tsorn nisht gezeyn.
Mentshn hobn geshrign “Oy vey un vind is mir”.
Aroysgelozt hobn zey a groys geveyn.

Vi men hot zey in hospital arayngebrakht,
Keyner hot zey gor nisht derkent.
Mentshn hobn geshrign “ Oy, vey un vind is mir”.
Zey hobn gebrokhn mit di hent.

Oy, du Got, [Recording ends at this point ]

Oy, du Got du bist a guter,
Far vo’zhe kukstu nisht fun himl arop ?
Vi mir laydn shver un biter
[Or alternate line: Batrakht zhe nor dem yidishn tuml]|
Farvos dayne yidn, zey kumen op.

TRANSLATION

Who has not read in the papers
Of the well-known city Bialystok
Of the tragedy that befell it.
in a matter of three days.

Suddenly someone cried out
“Beat the Jews as much as you can!”
Stones thrown at windows started flying
A pogrom erupted in one moment.

Blood already flows in all the streets
And is spurting already on the walls.
Jews were killed and beaten
With their blood the walls were painted.

There stands a bride on the hard stones
Dressed in her white bridal gown.
Next to her stands a murderer
And he holds the knife ready in his hand.

There lies a woman, young and beautiful
Abandoned, tortured, she lay on the garbage,
And next to her lies a small child
She nurses it from her dead, cold breast.

As soon as they entered the house
And they knew the people well,
Whatever was in the house they broke
The people’s hands they cut off.

As soon as they came into the house
With  noise and violence
Whatever was in the house they broke;
Small children were thrown down from the third floor.

Whoever was not at this tragedy
Did not see this great anger.
People yelled “O woe is me”
Letting out a great cry.

When they brought them to the hospital
No one could recognize them.
People cried out “Woe is me”
And wrung their hands .

Oy God [recording ends here but should continue with…]

Oy God you are good
why don’t you look down from heaven?
How we suffer hard and bitter
[alternate line: “Look upon this Jewish chaos”
Why your Jews are so punished.

bialystok yid1bialystok yid2bialystok yid3

Ver es hot in blat gelezn (From YIVO publication Yiddish Folksongs from the Ruth Rubin Archive):

bialystok lyrics

ruth rubin post 2

Abraham Goldfaden’s poem Di holoveshke (The Ember), published in Dos yidele (1891)

ember1

ember2

ember3

ember4

ember5