Archive for sleep

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

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

Commentary by Itzik Gottesman, Ph.D.:

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

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

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

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

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

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

From second file – final verse.

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

TRANSLATION

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

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

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

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

ver-es-vil

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“Arele kumt in vald” Performed by Larisa Pechersky

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on May 4, 2015 by yiddishsong

This week’s blog post – song and commentary – was submitted by Larisa Pechersky, who also performs on the recording.

Thank you for giving me the opportunity to make my grandmother’s name known and maybe remembered by people who often ask me how I know so many Yiddish songs. I always tell them that it’s because of my grandmother. Now, I hope her story, name, and image will be shared with them for the first time. As always, I dedicate all my work in the field of Jewish folklore and education to her blessed memory. Milya on 20th birthday Horki

Milya Shagalova (nee Mikhlya Fle’er / Fleyer), grandmother of Larisa Pechersky in Horki on her 20th birthday

I learned this song from my maternal grandmother when I was a toddler in the late 70s . She lived with my mother and me, and took care of me while my mom worked. All day long, as she worked around the house, she sang hundreds of Yiddish songs and encouraged me to sing along.

She would stop many times during a song to comment and make connections to her life in a Belorussian shtetl, to the experiences of her family and friends, and whatever lessons she wanted me to take away from each song. She often acted out the songs with me and showed me how to express a variety of feelings through a nign without words (just like in this song, Arele, she emphasized how the same nign after each verse can express fear, despair, or relief).

She made each song a window into Jewish life for me, a child growing up in a big city of Leningrad, the cultural capital of the Soviet Union, where forced assimilation was the norm for its more than 150,000 Jews. Assimilation was out of the question for my family, where my grandmother wanted me to know Yiddish and grow up proudly Jewish. Milya and Larisa

Larisa Pechersky (age 3) and her grandmother, Milya Shagalova, at home in Leningrad

My grandmother, Milya Shagalova (nee Mikhlya Fle’er / Fleyer), was born in 1914 in Propoysk, a shtetl in Mogilievske Guberniye, Belorussia. In the post-revolution years, her father, Zalmen, received a warning that he was to be arrested, stripped of his possessions, and exiled for owning four cows and employing one housekeeper. To avoid this fate, the family fled to Horki, a larger shtetl in the region, his birthplace.

As the third daughter in a family with no sons at the time, little Mikhlya was sent to a traditional all-boys kheyder to study. She told me compassionate stories of the cruel pranks the boys did to the poor old rebbe that she, as the only girl, felt so bad about. Later, she graduated from a seven-year school, where all of the subjects were taught in Yiddish. She wanted to continue on to the Jewish (Yiddish) teachers’ college, but it was no longer possible.

In 1934, as a newlywed, she moved to Leningrad with her husband Naum (Nokhom-Abram), where they lived  their whole life afterwards. Despite knowing Russian as well as if it were their native tongue, they always spoke Yiddish at home and with many friends, never missed a Jewish concert or event, and subscribed to Jewish periodicals when it was still possible.

During World War II, my grandma miraculously survived the horrific siege of Leningrad with my three-month old mom, but lost her five-year old son, who was with his grandparents in Horki for the summer, during which the Nazis invaded it and killed 7,500 Jews, including the boy, his four grandparents, and 38 more of our relatives.

My grandpa Naum, who came back from the front without a leg, learned of his son’s initial rescue, swift betrayal, and killing from his former neighbors. My grandma’s lament and guilt that she “sent her own child to death with her own hands” by letting him travel to Belorussia before the war “nobody expected to happen” was one of the stories that she would tell me often. Milya with Larisa

Larisa and Milya on summer vacation in Ukraine

When the Perestroika had just begun, the very first signs of the Jewish renewal were two concerts of Jewish music at the end of 1988 in Leningrad. My grandma did not miss them despite her poor health and the two of us went together. She felt that they “added seven more years of life” to her. This is how highly she regarded Jewish songs.

To my greatest regret, she passed away in January 1989 before I went to synagogue for the first time and matriculated at the newly created Jewish University that same year. I never recorded any of her songs, but kept hundreds of them in my memory. I still remember some ballads, just partially, and feel terrible that I can’t recall all the words or find them published anywhere.

When my friends and I started a Jewish school in Leningrad, I dedicated my work to giving my students the same as what my grandmother gave me – teaching them every and any thing Jewish through our amazing multi-layered Yiddish songs. Researching Yiddish musical folklore became my profession, passion, and a tribute to my grandma’s bravery and real heroism in passing our musical tradition to new generations amid the tribulations she lived through.

Arele kumt in vald (Arele Comes to the Woods)

This is how I remember learning the words as a child. I understand they sound not totally grammatically correct, but this is how I sang it as a kid.

Most of the time, we sang the second and third verses in the reverse order. The line in question meant Arele wasn’t taken aback; didn’t fear (I don’t remember the Yiddish word). When it was sung as the second verse, it made his attempt to escape appear to be futile given the next stanza (he thought he could run away, but now he can clearly see the dire situation – the mouth, the paws, etc). This way the time between his climbing up the tree, crying in despair, and eventual rescue was much longer and more terrifying in his eyes.

This was the order of the verses my grandma usually used. Switching the verses makes his actions appear more brave (he didn’t lose his head despite realizing all the details of the dangerous situation beforehand). Also, we sang it a bit slower, in a more storytelling manner, than I did in this recording.The English transliteration reflects the Yiddish dialect more than the Yiddish transcription.

Arele kumt in vald,
Dreyt zikh ‘hin un ‘her.
Ven er dremlt bald
kumt a greyser ber!

Der ber mit lapes greyse!
G’valt, dos iz nit gut!
Fun eygn trern heyse,
Ot iz sheyn kaput!

Arele is nit flit [foyl?]
Eyfn beym er kletert.
Un der ber mit ofn mul,
G’valt, nito keyn reter!

A reter iz ba sholem,
A greyser nes getrofn!
Geven iz dos a kholem,
Ven Arel iz geshlofn!

Arele comes to the woods,
wanders here and there.
When he slumbers, right away comes
a great big bear.

The bear with giant paws!
Help, this is not good.
From his eyes hot tears stream.
Now all is kaput.

Arele is not lazy
and on the tree he climbs.
And the bear with an open mouth
Help, there is no rescue!

A rescue did come in peace;
a great miracle happened.
This was all a dream
while Arele was sleeping.

arele1 arele2

“Shluf mayn kind in a gliklekhn shluf” Performed by Lifshe Schaechter-Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , on December 9, 2014 by yiddishsong

Shluf mayn kind in a gliklekhn shluf
Performance by Lifshe Schaechter-Widman (LSW)
Recorded by Leybl Kahn, Bronx, NY, 1954

Commentary by Itzik Gottesman

This song smells, tastes and sounds like an Avrom Goldfaden (1840 – 1908) song from one of his plays, but I cannot find the original text yet. The sentimentality, the lament of the Jew in the Diaspora – all are in the style of the “father of the modern Yiddish theater”. Goldfaden had a talent for composing a memorable lullaby, as in Rozhinkes mit mandlen and as we see here. LSW sings this powerfully with her slow, emotional style.

schaechter familyChernovitz,Romania 1937: from left – Beyle Schaechter-Gottesman, cousin Lusye (Gottesman) Buxbaum, brother Mordkhe Schaechter, mother Lifshe Schaechter-Widman (Beyle’s mother), father Binyumin Schaechter, grandmother Taube Gottesman.

As usual, the transliteration reflects LSW’s Yiddish dialect more accurately than the words in Yiddish.

Shluf mayn kind in a gliklekhn shluf.
Shulf, inter mayn lid.
Di bist nokh tsi ying tsi erfiln dayn shtruf.
Derfar vayl di bist a yid.

Sleep my child, sleep happily.
Sleep under my song. 
You are still too young to complete (carry out) your punishment.
Because you are a Jew.

Shluf zhe kindele, shluf
di vest nokh derfiln dayn shtruf.
Shluf zhe kindele, shluf
di vest nokh derfiln dayn shtruf.

Sleep my little child sleep.
You will yet complete your punishment.
Sleep my little child, sleep.
You will yet complete your punishment.

Di vest geyn af der velt dayn broyt  fardinen.
Di vest geyn un vest vern mid.
Di vest farsheltn dem tug fin dayn geboyrn
Derfar vayl di trugst dem numen yid.

You will travel the world to earn your bread.
You will go and become tired.
You will curse the day of your birth,
Because you carry the name Jew.

Shluf zhe yingele, shluf
di vest nokh derfiln dayn shtruf.
Shluf zhe yingele, shluf
di vest nokh derfiln dayn shtruf.

Sleep my little boy sleep.
You will yet complete your punishment.
Sleep my little boy, sleep.
You will yet complete your punishment.

Oy libe mentshn ikh beyt aykh zeyer
tsu zingen dus lid, rifts mekh nit mer.
Vayl tsi zingen dus lid bin ikh shoyn mid.
Vayl ikh bin oykh a yid.

Oh dear people I beg of you,
if you want to sing this song, call me no longer.
Because I have grown tired of singing this song.
Because I too am a Jew.

Shluf zhe yingele shluf
di vest nokh derfiln dayn shtruf.
Shluf zhe yingele, shluf
di vest nokh derfiln dayn shtruf.

Sleep my little boy sleep.
You will yet complete your punishment.
Sleep my little boy, sleep. 
You will yet complete your punishment. 

shluf1shluf2shluf3

“Lid fun der frantzeyzisher revolutsye” Performed by Nitsa Rantz

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 8, 2012 by yiddishsong

Commentary by Itzik Gottesman

This song by Nitsa Rantz was recorded at the same concert as Rantz’s song Mayn shifl that we had earlier posted in in our blog, at the club Tonic on Manhattan’s Lower East Side in 2009. Rantz is accompanied by Jeff Warschauer on guitar.

Nitsa Rantz in Paris, Late 1940s

In their column “Lider demonen zikh lider” [Readers remember songs] in the Yiddish Forward newspaper, Feb. 7th 1992, page 15. Chana and Joseph Mlotek printed the words of Nitsa Rantz’s version of this song.

The columnists note that Rantz called the song “Viglid fun der frantzeyzisher revolutsye” [Lullaby of the French Revolution], and that they had found a printed version in a Workmen’s Circle songbook, 1934.

A version was sung during the Holocaust in the Vilna ghetto and was printed in Shmerke Katcherginski’s collection “Lider fun getos un lagern”, 1948. The singer Rokhl Relis called it “Dos lid fun umbakantn partisan”. Instead of the guillotine, the father is killed in a gas chamber.

Beyle Schaechter-Gottesman sings a similar version to Rantz’s, and there is enough difference in the text to make it worthwhile to post it on the Yiddish Song of the blog at some point. A beautiful version is found in the Stonehill collection at YIVO, sung by an as yet unidentified man, (Reel 9).

Shlof shoyn kind mayns vider ruik ayn.
Shtil es flit shoyn di levone-shayn.
Fun der vaytns finklen shtern,
Kuk nisht kind af mayne trern.
Shlof shoyn kind mayns vider ruik ayn.

Sleep my child once more quietly.
Quietly the moonlight flies .
From the distance stars are twinkling.
Child do not look at my tears.
Sleep my child once more quietly.

Es vet der tate mer nisht kumen.
Im hot men fun undz genumen.
Iber di gasn im geshlept,
af dem eshafod gekept.
Blaybn mir dokh eynzam kind aleyn.

Your father will no longer come.
They took him away from us.
They dragged him through the streets,
on the guillotine they cut his head.
So we remain lonely, my child.

Reder geyen in fabrikn,
menstshn geyen underdrikn.
Dort ahin iz er gegangen,
vu es raysn zikh di klangen.
Vu di shteyner zenen royt baflekt.

Wheels turn in the factory,
the people go oppressed.
There is where he went,
where the noises wildly sound,
where the stones are stained red.

Unter der fon hoykh gehoybn,
hot er mit a tifn gloybn,
az er muz bafrayen shklafen,
firn zey tsu a naym hafn,
Tsu a groyser, sheyner, nayer velt.

Under the flag raised high,
with a firm belief
that he must free the slaves,
take them to a new harbor,
to a great, beautiful new world.

“Mayn shifl” Performed by Nitsa Ranz

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , on January 31, 2011 by yiddishsong

Commentary by Itzik Gottesman

Nitsa Ranz was born in Poland in 1922 and emigrated to America in 1950. Mayn shifl (My Cradle) was recorded at an event that I produced called Generations of Yiddish Song: A Concert of Mostly Unaccompanied Rarely Heard Yiddish Songs at the club Tonic on New York City’s Lower East Side on January 9th, 2001.

The other singers that day were Michael Alpert, Janet Leuchter, Beyle Schaechter-Gottesman, Paula Teitelbuam, Joshua Waletzky, and Jeff Warschauer. Ranz had a unique singing style, and though the song turned out to be American in origin, as I later found out when I discovered the song sheet (see below),  she sings with much of the traditional style in her voice.


The poet of the song, Leah Kapilowitz Hofman (1898 – 1952), was a pioneer of Yiddish children’s poetry in the US. Mayn shifl can be found in her collection In kinderland, published in 1919 in New York. The song’s music was set by composer Pinchos Jassinowsky (1886-1954), who wrote the music to several well-known Yiddish songs including Der kremer (words by A. Liessin).

Az di mame leygt mikh shlofn
in mayn vigele,
vigt zi mikh un zingt a lidl
 fun a tsigele.

When my mother puts me to sleep,
in my cradle,
she sings me a song as she cradles,
about a little goat.

Vert mayn vigele a shifl;
for ikh vayt avek.
Oyfn groysn yam, un ken nit
kumen tsu kayn breg.

My cradle becomes a ship,
so I travel far away.
On the big ocean, I cannot
come to a a shore.

Un di khvalyes oyfn vaser
loyfn mit geshrey;
hoybt zikh af mayn kleyne shifl
glaykh ariber zey.

And the waves on the water
crash with a shriek;
but my little ship
lifts right over them.

Kumen yam-fish bald tsu shvimen,
 vinken zey tsu mir;
Az ikh zol tsu zeyer palats
nemen a shpatsir. 

Sharks soon come a‘ swimming
and wink to me;
that I should take a walk
to their palace.

Flit mayn shifl oyfn vaser,
firt mikh tsu a land,
vu es zitst mayn gute mame,
mit a bukh in hant.

My boat flies on the water,
takes me to a land,
where my good mother sits,
with a book in her hand.

Shtel ikh op mayn kleyne shifl
shtayg fun ir aroys
Bin ikh vider lebn mamen
zetst zikh af ir shoys

So I stop my little ship
and I disembark
Again I am near my mother
and sit in her lap.

“Ven ikh volt gehot dem keysers oytsres” Performed by Ita Taub

Posted in Main Collection with tags , , , , , , , , , , , , , , on December 7, 2010 by yiddishsong

Notes by Itzik Gottesman

This recording of Ita Taub was done in our dining room in our Bronx home in the 1980s after a meal, as you can hear from the clanging of dishes. For biographical information on Taub see the earlier post on “Oy vey mame.”

Ven ikh volt gehot dem keysers oytsres (If I were to have the Emperor’s Treasures) was written by Mikhl Gordon (1823 – 1890). According to Chana and Joseph Mlotek in their Yiddish-language work Perl fun der yidisher poezye, 1974 (now available in English), this song was originally called “Shlof mayn kind” and included in his first collection printed in 1868.

Mikhl Gordon

The Mloteks also say that Isa Kremer performed the song often and popularized it, though I cannot find a recording of her singing it. The Freedman Jewish Sound Archive lists two recent recordings of the song with the title “Az ikh volt gehat dem keysers oytsres.”

I have not seen Gordon’s work so I am not sure how many verses are in his original but a third verse is included in some recordings and collections such as Z. Kisselgof’s Lider-zamlbuch, Berlin 1914, that concern the father going to hell. That verse adds a little bittersweet humor to the song, and it’s interesting that with a woman singer such as Ita Taub the verse is dropped. As Taub sings it, the song only relates directly to the mother and child relationship.

Taub’s interpretation is truly moving and culminates in that great dramatic last line “Let enter the Tsadik’s mother!”

Ven ikh volt gehot dem keysers oytsres
mit zayn gantser melikhe.
Volt es nit geveyn bay mir nikhe,
vi di bist bay mir nikhe. 

If I were to have the Emperor‘s treasures
and his entire land.
It would not be as pleasing to me,
as you are pleasing to me.

Mayn kind, mayn kroyn
Ven ikh derzey deyekh
Vayst zikh dokh mir oys,
az di gontse velt iz mayn.

My child, my crown.
When I see you
It seems to me
That the whole world is mine.

Shluf mayn kind, shluf mayn kind,
zolst nor leybn un zayn zezint.
Ay-lu -lu -lu, Ay-lu- lu-lu

Sleep may child, sleep my child.
You should only live and be healthy,
Ay-lu-lu.

Ven ikh vel amol darfn
af yener velt geyen,
veln toyern funem gin-eydn
far mir ofn shteyen.

When I will have to
go to the other world,
the gates of Heaven
will stand open for me.

Vayl di mayn kind
vet zayn a frimer un a giter.
Vet me zugn af yener velt –
„Lozst arayn dem tsadiks miter!‟

Because you my child,
will be observant and good,
So in the other world they will say –
„Let enter the Tsaddik‘s mother!‟

Shluf mayn kind, shluf, mayn kind,
zolst nor leybn un zayn gezint,
Ay-lu-lu-lu, Ay-lu-lu-lu

Sleep may child, sleep my child.
You should only live and be healthy,
Ay-lu-lu.