Archive for wedding canopy

“Kale lebn, kale lebn” A Badkhn Parody Performed by Dora Libson

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on February 24, 2021 by yiddishsong

Kale lebn, kale lebn
A badkhn parody sung by Dora Libson
Recorded by Lionel Libson, 1977

Transcribed by Eliezer Niborski, English translation by Itzik Gottesman.

Kale-lebמ, kale-lebn
Kale-lebn, kale-lebn,
Meyn darfsti veynen un shrayen.
Az zolst hobn aza velt azoy zis
vi borsht fun klayen.
Un zolst darfn geyn borgn un layen.
Un zolst keyn mol nit aroys
funem rov un funem dayen.

Dear bride, dear bride,
You should cry and scream some more.
You should have a world so sweet
as borsht made with bran.
You should rely on borrowing and lending.
And may you never get out from 
the rabbi and his assistant.

Oy, a ber un a shver un a shlimazelnitse 
zenen dokh oykhet darbay.
A ber hot a langn veydl 
un a shver hot lib a sheyn meydl.
Un az a shlimezalnitse geyt in mark – 
fardripet zi dus kleydl.

Oy, a bear and a father-in-law and an unlucky woman
are also present. 
A bear has a long tail,
and a father-in-law loves a pretty girl.
And when an unlucky woman goes to market
she spatters her dress

Oy, a bukher un a meydl un a shlimezalnitse
zenen dokh oykhet darbay.
A bukher az er geyt avek heyst men zikh im nit (h)aylen.
un a meydl, az zi geyt avek heyst men zikh ir nit zamen.
Un az me shikt a shlimezalnitse nokh fleysh 
brengt zi plyamen.

Oy, a young man and girl and an unlucky woman
are present as well. 
A young men when he leaves is told not to hurry
and a girl, when she leaves is told not to wait.
And when you send an unlucky woman to buy meat
she comes back with stains. 

כּלה־לעבן, כּלה־לעבן
,מיין דאַרפֿסטו וויינען און שרײַען
אַז זאָלסט האָבן אַ וועלט אַזוי זיס
.ווי באָרשט פֿון קלײַען
,זאָלסט דאַרפֿן גיין באָרגן און לײַען
און זאָלסט קיין מאָל ניט אַרויס
.פֿונעם רבֿ און פֿונעם דיין

אוי, אַ בער און אַ שווער און אַ שלימזלניצע
.זענען דאָך אויכעט דערבײַ
אַ בער האָט אַ לאַנגן וויידל
.און אַ שווער האָט ליב אַ שיין מיידל
–און אַ שלימזלניצע גייט אין מאַרק
.פֿאַרדריפּעט זי דאָס קליידל

אוי, אַ בחור און אַ מיידל און אַ שלימזלניצע
.זענען אויכעט דערבײַ
אַ בחור, אַז ער גייט אַוועק, הייסט מען זיך אים ניט אײַלן, [אַרויסגערעדט „הײַלן”]
,און אַ מיידל, אַז זי גייט אַוועק, הייסט מען זיך איר ניט זאַמען
,און אַז מע שיקט אַ שלימזלניצע נאָך פֿלייש
… ברענגט זי פּליאַמען 
[“וואַריאַנט־מערצאָל פֿון „פּליאַמע“ = „פֿלעק]

Commentary by Itzik Gottesman

In the spirit of Purim this week, we present a parody of a badkhn’s bazetsns.  Before the ceremony of veiling the bride, the wedding entertainer, the badkhn, used to address the bride, reminding her of the youth that she leaves behind and how to lead an observant Jewish life with her husband. Sometimes the rhymes would be a stretch, almost non-sensical  and that is at the heart of the parodies.

I believe the repeated lines in our parody “…are also present” are mocking the lines of the badkhn when he reminds the bride that although her parents or grandparents may have died, they are with her today at this happy occassion. 

The badkhn parodies are usually of the bazetsns, the seating, and the badekns, the veiling; two emotional moments before the marriage under the khupe/canopy. The bazetsns is strickly a women’s ceremony, except for the badkhn, and a time of much weeping. I have added below two pages from Hayyim Schauss’s work The Lifetime of a Jew (1976) in which he discusses these moments at the wedding. Schauss was a Litvak from Lithuania so much of what he describes is particularly true of his region. It is worth reading.

This is a link to a “real” badekns, not a parody, as sung by Majer Bogdanski, born 1912 in Piotrkow-Tribunalsky, Poland, from the CD Yiddish songs / Yiddishe liders:

One can also see the badkhn perform in such Yiddish films “Yidl mitn fidl” “Uncle Moses” and “The Dybbuk”. The badkhn tradition has made a comeback in today’s Hasidic world and many examples can be found on YouTube. As far as I can tell, they have become mainly comics, and do not paricipate in other wedding ceremonies.

To get a feel for the type of music that might be played at the bazetsn, here is violinist Jutta Bogen playing an example (from Pete- this one has the structue of a Romanian doina):

Many such bazetsnbadekn parodies were recorded on 78 RPMs in the 1910s- 1930s, and even later. Here is Henri Gerro’s Kolomeyer badchn. The badkhones parody begins at 1:00.  

Further reading on the badkhn:

1) Article by Joel Rosenberg “Badkhones in Life and Cinema” on the website In geveb
2) “Badkhonim” in the YIVO Encyclopedia by Jean Baumgarten.
3) Book: הבדחן (in Hebrew) by Ariela Krasney

Special thanks this week to Eliezer Niborski who transcribed the recording. 

Excerpt from Hayyim Schauss’s work The Lifetime of a Jew (1976):

¨Me geyt shoyn tsi der khipe” Performed by Lifshe Schaechter Widman

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 14, 2020 by yiddishsong

Me geyt shoyn tsi der khipe / They’re Already Walking to the Khupe!
Sung by Lifshe Schaechter-Widman, recorded by Leybl Kahn 1954 NYC.

Commentary by Itzik Gottesman

Though Lifshe Schaechter Widman (LSW) introduces the song by saying it used to be sung on the way to the khupe (wedding canopy), it is a song mocking the wedding, not a part of the ceremony by any means.

Screenshot 2020-08-14 at 5.10.13 PMImage of a Wedding Procession by Isaak Ashknaziy, 1893

The melody to this song was probably inspired by the klezmer tune known as the “Odesser Bulgar” found in Kammen collection “Dance Folio No.1 #18. (Thanks to Michael Alpert for pointing this out). Here is a link to the Alexandria Kleztet from the D.C. area and their version of the Odesser Bulgar:

In addition to LSW’s, two other texts to this song can be found in the Shmuel Zanvel Pipe song collection Folklore Research Centre Studies, Volume 2, Jerusalem, 1971, (edited by Meir and Dov Noy). They have been scanned and attached. The first version is in the body of the text and includes the melody. The second is in the end notes and includes different words and a second section of the melody as Meir Noy, also a Galitsyaner from Kolomyia (Yid = Kolomey) remembered it. LSW’s melody also has a second section or the begining of one.

The image of the fiddle “speaking” at the wedding (in essence warning the young couple) reminds one of the Itzik Manger poem “Der badkhn”, music by Henekh Kon.

Nor vos zogt der fidl, zog fidele zog!
¨Di sheynkayt iz sheyn, nor sheynkeyt fargeyt.¨
Azoy zogt der fidl un vos zogt di fleyt?

What does the fiddle say, tell us fiddle!”
“Beauty is nice, but beauty fades.”
So says the fiddle and what says the flute?

The only word in LSW’s version that is still not clear is “sekl” or “seke”; a word not found in the Yiddish dictionaries but “seke” does also appear in the second version in the notes of the Pipe collection. Michael Alpert suggests it could be a klezmer term for the sekund; the rhythmic and harmonic fiddle in klezmer music.

The word “opgeklogt”, pronounced by LSW as “u’geklugt” is open to interpretation, but I believe she means “good riddance, the parents have suffered enough”. In Pipe’s versions the line is “A yingl hot a meydl ongeklogt” which has a completely different meaning, but also open to interpretation.

Special thanks for helping with the blog post this week: Eliezer Niborski who transcribed LSW’s version, Michael Alpert, Josh Waletzky, Mark Slobin, Pete Rushefsky.

TRANSLITERATION AND TRANSLATION

LSW speaks: “A lid vus me fleyg zingen az me geyt tsi der khipe in Galitsye, in Bukovina.”
A song that used to be sung on the way to the khupe [marriage canopy] in Galicia and Bukovina.

[Un] Me geyt shoyn tsi der khipe, me geyt!
Me trasket un me fliasket, s’iz a freyd!
Herts nor vus der fidl zugt:
“A bukher mit a moyd u’geklugt” [opgeklugt]

[And] They’s already walking to the khupe!
People are banging and celebrating, what a joy!
Listen to what the fiddle says:
“Good riddance to the bride and groom”

Un dort der bas mit der sekl (seke?):
Niech będzie na długo i na wieki’ [Polish]

And there the bass and the sekund (fiddle)
[Polish]: May it be for long and forever.

Un aykh makhuteyniste – git-morgn!
Ir hot shoyn frishe zorgn:
Me bayt di rayneshlekh af kronen.
Me zikht a voynung vi tse voynen.

And you my mother-in-law – good morning!
You have fresh worries:
You have to exchange the Rhenish for Kronen [currency]
and find a place to live.

REPEAT FIRST VERSE

Screenshot 2020-08-14 at 3.47.42 PM

Screenshot 2020-08-14 at 3.47.59 PM

Instrumental klezmer version of the melody  found in J. & J. Kammenś collection Dance Folio No.1, #18:

Screenshot 2020-08-14 at 4.03.18 PM

Version found in Shmuel Zanvel Pipeś song collection Folklore Research Centre Studies, Volme 2, Jerusalem, 1971, (edited by Meir and Dov Noy):

Screenshot 2020-08-14 at 4.04.06 PMScreenshot 2020-08-14 at 4.04.26 PM

“A Badekns/Veiling the Bride” Performed by M.M. Shaffir

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 7, 2019 by yiddishsong

A badekns/Veiling the Bride
Sung and composed by M.M. Shaffir, recorded in the Bronx, 1974

Commentary by Itzik Gottesman

In his Yiddish poetry collections, the Montreal poet M. M. Shaffir occasionally included folksongs, rhymes and jokes that he remembered from his home town in Romania, Suceava (“Shots” in Yiddish). This original badekns, words and music, was printed in his collection of Yiddish poetry Ikh kum aheym, and follows very closely the traditional badekns that the badkhn (wedding entertainer) would deliver at the veiling of the bride. The printed pages with the Yiddish words and music are attached as pdfs.

ShafirBildM.M. Shaffir, photo by Itzik Gottesman

Shaffir did not clearly indicate that the music is his composition and not a traditional tune remembered from Suceava, but since he did compose other melodies for his poetry, I am leaning toward crediting him as composer the music as original.

Shaffir’s badekns, as is typical of the genre, addresses mainly the bride, then al the women, telling her of her wonderful future and how a pious religious Jewish life will assure her a place in heaven.

Listening to Shaffir sing this song in the Bronx are Beyle and Jonas Gottesman, the Yiddish writer Vera Hacken and her husband, the composer Emanuel Hacken.

Because the song is longer than usual, we are alternating transliteration with translation.

TRANSLITERATION/TRANSLATION

Kalenyu, tsat tsi der khipe geyn –
bam khusn hosti deym zibetn kheyn.
Gefin azoy kheyn oykh ba Got un ba lat.
Az dan shem zol zikh trugn noent un vat.

Dear bride, time to go to the khupe.
The groom is enamored of you.
May God and all people see this charm,
so your reputation, will be heard near and far.

A shem-tov iz beser fun gutn eyl,
vi s’vert in di heylike sfurim dertseylt.
Far vur, er iz shener fin alerley tsir,
un er hit fin shlekhts deym erlekhns tir.

A good name is better than good oil,
as it is written in the holy books.
Indeed, it is more beautiful than all kinds of ornaments.
and protects from evil the honest one’s door

Nushim tsidkuniyes, beydns tsad –
aykh kimt hant der ershter vivat.
kalenyu, kik tsa di babes aher –
zey, vi zey shmeykhlen un lozn a trer.

Pious women on both sides –
you deserve the first praise.
Bride, look over to the grandmothers –
see how they smile and drop a tear.

Shtel zikh, kale, ba zey in rey,
un her mayne shloyshe dvurim tsvey –
az dort, vi mitsves hobn an ort,
iz shulem-bayes oykh do dort.

Bride, stand with them in row,
and hear my few words –
– there where mitsves find a place,
there is also peace at home.

Mitsves brengen di brukhe in hoyz,
in trabn fin dort deym dales aroys.
Zey bentshn mit gite doyres dus pur
in mit khayim- arikhim, gezinte yur.

Mitsves (good deeds/fulfillment of God’s commandments) bring blessings to the home,
and drive out poverty from there.
They bless the pair with good generations
and with a long and healthy life.

Fin mitsves hot men i du deym skhar,
un i s’iz af yener velt git derfar.
Vayl mitsves un maynsim toyvim nor
nemt mit der mentsh iber hindert yur.

From mitsves you receive both here a reward,
and in the word to come it will be good.
Because mitsves and good deeds
lasts for someone a hundred years.

Fin intern kisey-hakuved afir,
fin hinter a zilberner lekhtiker tir,
kimt di neshume arup of der erd,
aran inem gif, val azoy iz bashert.

From under God’s throne,
from behind a silver, illuminated door,
comes the soul down to earth,
and into the body for which he is destined.

Zi darf zikh du mitshen a lebn vist
un nisht vern farzindikt, nisht vern farrist,
un kimen tsirik far Got tsi geyn –
azoy vi geboyrn, tsikhtik un reyn.

It [the soul] must suffer here a life long
and not sin, not be torn away.
and return to God
the way it was born – pure and clean.

In gan-eydn shteyen shtiln gegreyt
in shan fin der shkhine, mit vasn geshpreyt,
batsirt un bahungen mit gildene tsikh –
in rifn di reyne neshumes tse zikh.

In paradise two chairs are prepared,
in the light of the shekhine, covered with white,
decorated and hung with a golden cover.
and call for the pure souls to come.

Un der vus hot af der zindiker erd
mitsves getin un gits geklert –
der zitst in gan-eydn oybn un
in bigdey-sheynkeyt ungetun.

And he who on this sinful earth
did mitsves and good deeds,
he sits in heaven at the head of the table,
and dressed in beautiful clothes.

In zkhis fin dan tsitkis, kalenyu kroyn,
zol zikh ekn der gulus bald un shoyn –
me zol zoykhe zan take gor in gikh
tsu hern dem shoyfer shel moshiakh.

Because of your piousness, dear bride,
may the exile soon end.
May we deserve right away
to hear the Messiah’s shofar.

Melukhim un surim zoln varfn fin shrek
tsin indzere tsures zol nemen an ek.
in Got zol mit zan rekhter hant
indz firn tsirik in heylikn land.

Let angels and seraphim shutter from fear,
our troubles should come to an end.
and God should with his right hand,
lead us back to the Holy Land.

Ikh heyb of mit a tfile dem bekher mit van
az halevay zol es nokh beyomeyni zan.
in ir, khusn-kale, in ir groys un kleyn –
zugt mir nokh af a kol un in eynem: “omeyn”

With a prayer I raise the goblet of wine,
that this should happen even in our own time.
And you, bride and groom, and you big and small,
say with me out aloud and together – “amen”
badekns music

badekns yid 1badekns yid 2

“Ikh tu dir a brivele shraybn” performed by Harry Ary

Posted in Main Collection with tags , , , , , , , , , , , , , , , , , , on April 22, 2011 by yiddishsong

Commentary by Benjy Fox-Rosen

A powerful song lamenting the horrors of war. A soldier lies wounded in the hospital and writes to his mother and fiancé.

This recording is from Ruth Rubin’s field recordings courtesy of Lorin Sklamberg and the YIVO Sound Archive. It was recorded in 1955 in Montreal. The singer is named Harry Ary, he is the same singer who sings “In Droysen iz Finster” from Ruth Rubin’s “Jewish Life: The Old Country” LP of field recordings. I love his delivery and especially the very slight differences between each verse. He may be my favorite male singer on that record.

Note the difference in the opening phrase on the first, and later verses; at the beginning of the second and third verses, he sings a sharp fourth instead of the natural fourth.

On the second and third verses, when he repeats the last two lines, I especially like the different way that he treats, “mayn harts” and “mayn kale.” The variations have very much the same shape, but are sung varied slightly each time. Also his final cadences at the end of each verse are of particular interest to me, for he sings almost a quarter tone sharper than a flat second (in the mode), and this is of course intentional. This difference in tuning is often overlooked in transcriptions and re-interpretations of folk sources, however these controlled variations in pitch are what make this singer particularly interesting.


I will write you a letter Mamenyu,
And Mamenyu, I write of my health,
Oy, my hand was amputated,
And in both eyes, Mamenyu, I am blind.

I lie in the hospital, wounded,
And the doctors stand around me,
My heart is gushing with blood,
My dear Mamenyu is not near me.

I write a letter to my bride,
And I write of her alone,
That she should rip up the engagement,
And go with someone else to the khupe.
(translation by Benjy Fox-Rosen)

Itzik Gottesman writes: Below is the version of the song from “Yidishe folks-lider” edited by Moyshe Beregovski and Itzik Feffer, Kiev 1939, page 119. The melody is essentially the same, and the words vary only slightly. However one textual change should be noted: in the Beregovski-Feffer version the singers says in the second line of the third verse “I write to you only about myself” which is the opposite of Harry Ary’s version.”