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Final Homepage for ERK
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New York City's Yiddish Theater Museum
AMERICA'S YIDDISH THEATER AND ITS MUSEUM
After 1926
Until 1926
After 1926
American Landing Page audio
Yiddish Theater Until 1926
Literary Theater Troupes and Miniature Theater
Visionaries of the Yiddish Avant-Garde
Artifacts on the First Days of <em>The Dybbuk</em>
1919: A Banner Year for Yiddish Theater in Poland
Audio for American Yiddish Theater
Sample Dybbuk audio
A gitn Pirem alekh
1948
Aran, aran, lozt mikh aran
Arayn, arayn, lozt mikh arayn
Also recorded in 1962 (song 7)
1967
Megiles Ester (reading)
The informant recites from the Book of Esther, as he recalls it from his home town in Bessarabia. Source: Leyzer Axelbank’s tape
1958
Purim shpilers
The informant, born in Ivia, Lithuania, recalls the Purimshpilers and the Purimshpil songs of her home town. (See Ruth Rubin’s article in Yiddish Folklore No. 3)
1948
Aran, aran, lozt mikh aran
Arayn, arayn, lozt mikh arayn
Recorded again in 1967 (song 11)
1962
Ruvn, du bist der ferter zun fun Yankev
This old lady tells and sings or intones from her own recollection of the Mekhires-Yoysef shpil. Source: Allan Warshawsky’s tape.
1961
Ikh bin payats fun der gantsener velt
From Mekhires-Yoysef shpil. Source: Allan Warshawsky’s tape.
1961
Haynt iz Purim, brider
1956
Haynt iz Purim, brider
1956
Yakhne-Dvoshe fort in shtot
Homen-tashn
1961
Gebrakht shalekh-mones
Includes all the holidays. Dropout towards beginning of song.
1956
In toyznt-akht hundert, nayn-un-nayntsikstn yor
Tape song order as per version on LC tape/log Song duplicated from NLI website
1955
Oy gevald, Yidn, hot rakhmones!
Tape song order as per version on LC tape/log
1962
Oyf dem hoykhn har hazeysim
Tape song order as per version on LC tape/log
1962
Vos toyg mir Nokhem Sokolov?
Tape song order as per version on LC tape/log
1962
Bak mir nit kayn bulkelekh
Yoshke fort avek
Tape song order as per version on LC tape/log
1967
Tates, mames, kinderlekh
Barikadn
Kaczerginsky describes the background of this song. Tape song order as per version on LC tape/log
1948
Klogt mit mir mit (fragment)
Tape song order as per version on LC tape/log
1962
In Ades af der gas
Ballad of Odessa pogrom Tape song order as per version on LC tape/log
1966
Mir zenen gekimen kayn Yerusholayim
Zionist Tape song order as per version on LC tape/log
1964
Shtromen blut un taykhn trern
About progrom in Kishinev, 1903 Tape song order as per version on LC tape/log
1956
Klogt un veynt ir Yidishe kinder
Ballad about Dreyfus. Tape song order as per version on LC tape/log
1956
Dolarn, dolarn
Current in World War I post war years in Europe Tape song order as per version on LC tape/log
1955
Ver es hot in blat gelezn
About 1871 pogrom in Odessa Tape song order as per version on LC tape/log
1955
Yidn, bney rakhmonim
About Czarist oppression again Jews Tape song order as per version on LC tape/log
1955
Vos in Frankraykh iz geshen (fragment)
Dreyfusl mayn kind
About Dreyfus Tape song order as per version on LC tape/log
1955
Di hoykhe moyern
1967
Shvester un brider
The interrogator in No. 16 is Wolf Younin.
1947
Oyf di beymer...
1947
Se yogt un es traybt
S’loyfn, s’yogn shvartse volkn
Numbers 12-14 were songs which Bessie Dux remembered from her childhood in a home frequented (in New York City) by anarchist-workers.
1964
Nekhtn hot er gefirt...
Numbers 12-14 were songs which Bessie Dux remembered from her childhood in a home frequented (in New York City) by anarchist-workers.
1964
Ot azoy neyt a shnayder
Numbers 12-14 were songs which Bessie Dux remembered from her childhood in a home frequented (in New York City) by anarchist-workers.
1964
Di shvartse makhshoves
1962
Mir hobn oysgeharget ale straykers
1962
Di mashines klapn
1948
Vos shloft ir, ir shlefer
1948
A redele iz di gore velt
1948
Dayn foters reyd, her tsu mayn kind
1948
Der arbeter hot di elektre derklert
1948
Dort in vinkl in nasn keler
1948
Der zeyger hot tsvelef geshlogn (fragment)
Hersh Lekert
1948
Ven Hershke iz fun shtub aroysgegangen (fragment)
Hersh Lekert
1948
Rusland, du groyse medine
1956
Tsukunft yugnt khor Memoirs Complete III
Avrohom Slucki continues with memories and sings a song which he sane in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And then Yene lider velkhe klingen. Moshe Perenson continues with Du fregst mikh, mayn fraynd, and concludes with a few remarks about a current work on Yiddish theatre in Europe which he is preparing with an editorial committee (in Yiddish) in new York (published 1968).
1967
Du fregst mikh, mayn fraynd
Avrohom Slucki continues with memories and sings a song which he sane in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And then Yene lider velkhe klingen. Moshe Perenson continues with Du fregst mikh, mayn fraynd, and concludes with a few remarks about a current work on Yiddish theatre in Europe which he is preparing with an editorial committee (in Yiddish) in new York (published 1968).
1967
Yene lider velkhe klingen
Avrohom Slucki continues with memories and sings a song which he sane in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And then Yene lider velkhe klingen. Moshe Perenson continues with Du fregst mikh, mayn fraynd, and concludes with a few remarks about a current work on Yiddish theatre in Europe which he is preparing with an editorial committee (in Yiddish) in new York (published 1968).
1967
Di beryozkele
Avrohom Slucki continues with memories and sings a song which he sane in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And then Yene lider velkhe klingen. Moshe Perenson continues with Du fregst mikh, mayn fraynd, and concludes with a few remarks about a current work on Yiddish theatre in Europe which he is preparing with an editorial committee (in Yiddish) in new York (published 1968).
1967
Neyn, neyn, neyn, mer zing ikh nisht
Avrohom Slucki continues with memories and sings a song which he sang in the chorus: Neyn, neyn, neyn mer zing ikh nisht. He tries to remember fragments of some of the other parts of this presentation. He then sings David Einhorn’s Di beryozkele. And then Yene lider velkhe klingen. Moshe Perenson continues with Du fregst mikh, mayn fraynd, and concludes with a few remarks about a current work on Yiddish theatre in Europe which he is preparing with an editorial committee (in Yiddish) in new York (published 1968).
1967
Tsukunft yugnt khor Memoirs Complete II
1967
Es hert zikh a mekhtike ruf umetum
Tsu dem zig
1967
Di shtib iz klayn, di shtib iz alt
Der kranker shnayder
1967
Heylik iz di natur
Arbeter-shvue
1967
Tsukunft yugnt khor Memoirs Complete I
Tsukunft yugnt khor Memoirs, Warsaw, Poland, 1920s-1933. Moshe Perenson and Avrohom Slucki recall the composer Yosef Glatshteyn, who trained the singers in this chorus. Moshe Perenson stresses certain aspects of this youth chorus and also his work with dramatic groups, etc. The general tone of this talk is sparked by inspiration and warm memories. Their enthusiasm of the years of their youth permeates their words. Perenson concludes with a few vivid comments about the gala national jamboree of Jewish working youth from all over Poland, in 1933, in the Tsirk- where Moyshe Broderson’s poetic creation “Der iberbrukh” (built on historical episodes of the Jewish working class movement in Poland) was presented. The sports organization Der morgnshtern was also part of this huge gala performance. Avrohom Slucki then adds some of his own memories and sings the songs which his young 12 year old brother (at the time), Elye-Leyb Slucki, sang at that particular gala performance, O, di velt vet vern yinger, etc. (Text Morris Winchevsky). Slucki concludes with additional memories, which he continues on the next tape. Information from LC tape log. No log in RG 620 tape box.
1967
O, di velt vet vern yinger
Di tsukunft
Tsukunft yugnt khor Memoirs, Warsaw, Poland, 1920s-1933. Moshe Perenson and Avrohom Slucki recall the composer Yosef Glatshteyn, who trained the singers in this chorus. Moshe Perenson stresses certain aspects of this youth chorus and also his work with dramatic groups, etc. The general tone of this talk is sparked by inspiration and warm memories. Their enthusiasm of the years of their youth permeates their words. Perenson concludes with a few vivid comments about the gala national jamboree of Jewish working youth from all over Poland, in 1933, in the Tsirk- where Moyshe Broderson’s poetic creation “Der iberbrukh” (built on historical episodes of the Jewish working class movement in Poland) was presented. The sports organization Der morgnshtern was also part of this huge gala performance. Avrohom Slucki then adds some of his own memories and sings the songs which his young 12 year old brother (at the time), Elye-Leyb Slucki, sang at that particular gala performance, O, di velt vet vern yinger, etc. (Text Morris Winchevsky). Slucki concludes with additional memories, which he continues on the next tape. Information from LC tape log. No log in RG 620 tape box.
1967
O’Brien
The song by Philip Ney, created by him in the 1920s and some comments about it, etc.
1960
V’adonoy poka esoro
The song by Philip Ney, created by him in the 1920s and some comments about it, etc.
1964
O’Brien
The song by Philip Ney, created by him in the 1920s and some comments about it, etc.
1964
O’Brien
The song by Philip Ney, created by him in the 1920s and some comments about it, etc.
1948
O’Brien
The song by Philip Ney, created by him in the 1920s and some comments about it, etc.
1948
Khad gadyo (Makarover - two variants)
Informant omitted verses 9-12
1967
Ekhod mi yoydea (Makarover)
Informant omitted verses 9-12
1967
Adir hu (Makarover)
1967
Ki loy noe (Makarover)
1967
Rab Eliezer oymer (Makarover)
1967
Vehi Sheomdo (Makarover)
1967
Kidesh (Makarover)
1967
Khad gadyo (Bessarabia)
1967
Ekhod mi yoydea (Bessarabia)
1967
Ekhod mi yoydea (Koydenover)
1967
Adir hu (Koydenover)
1967
Adir bimlukho (Koydenover)
1967
Kidesh (Koydenover)
1967
Adir hu (Koydenover)
1947
Vehi sheomdo (Koydenover)
1947
Adir bimlukho (Koydenover)
1947
Khasal sidur pesakh (Koydenover)
1947
Eliyohhu hanovi (three variants)
1948
Khad gadyo
(13th stanza only) (repeat of No. 7?)
1948
Adir bimlukho
1948
Avadim hayinu
1964
Khad gadyo (fragment)
1960
Ekhod mi yoydea (Bessarabia)
1960
Ekhod mi yoydea (Koydenover)
1960
Adir hu (Koydenover)
1960
Adir bimlukho (Koydenover)
1960
Khasal sidur pesakh (Koydenover)
1960
Vehi sheomdo
(first phrase cut off…)
1960
Kidesh (Koydenover)
1960
Ekhod mi yoydea (Bessarabia)
13th stanza only
1948
Khad gadyo (Bessarabia)
1948
Vekoreyv pezureynu
1951
Oy, ekhod mi yoydea (Koydenover)
1947
Es kumt der friling
1947
Geshetst un geakht
Here's more about this song: <a href="http://www.yiddishpennysongs.com/2015/04/der-amerikaner-seder-american-seder-as.html">http://www.yiddishpennysongs.com/2015/04/der-amerikaner-seder-american-seder-as.html</a> <br />Additional information provided by Jane Peppler
1956
Khad gadyo
1961
Interview with David Ellin (complete, part II)
Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
In himl shvimt a volkndl (A maysele)
Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Ay-lye-lyu-lyu (Nor a mame)
Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Di mame kokht verenikes
Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Zog Maran
(Text: A. Liesin - Tune: Bugatsh) Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Ikh tu dir a brivele shraybn
Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
S’krikht fun d’rerd a grezele.
(Text: Esther Shumiatsher - tune: Lazar Weiner) Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Shoyn tsvey-dray yor mir shpiln shoyn a libe
Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Shoyn avek der nekhtn
(Text attributed to Dr. Khayim Zhitlovsky) Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Ikh gey aroys oyfn ganikl
Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Yam lid
(Yiddish translation by Bialik) (Tune: Shneyer) Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Chabad nign
Note: David Ellin also sang a group of Passover songs from the Haggadah, attributed to the Makarover Nusakh, See Tape No. 85.
1967
Interview with David Ellin (complete, part I)
[from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist, Yisroel Rabinovitsh. The introductory remarks are read by Ruth Rubin from Z. Reizin’s Leksikon fun der Yidisher Literatur. This is followed by David’s remarks about his father and his home environment as a child. He also remarks about his father and his home Note: The extraneous noises are unfortunately traffic sounds of the New York streets…
1967
Fragments from Amol in a tsayt
(Fragments of Lazar Weiner’s cantata Amol in a tsayt (Legend of Toil), text by Goichberg) [from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist, Yisroel Rabinovitsh. The introductory remarks are read by Ruth Rubin from Z. Reizin’s Leksikon fun der Yidisher Literatur. This is followed by David’s remarks about his father and his home environment as a child. He also remarks about his father and his home Note: The extraneous noises are unfortunately traffic sounds of the New York streets…
1967
Hey, tsigelekh
(Text and Tune: Mordkhe Gebirtig) [from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist, Yisroel Rabinovitsh. The introductory remarks are read by Ruth Rubin from Z. Reizin’s Leksikon fun der Yidisher Literatur. This is followed by David’s remarks about his father and his home environment as a child. He also remarks about his father and his home Note: The extraneous noises are unfortunately traffic sounds of the New York streets…
1967
(David speaks about his mother)
[from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist, Yisroel Rabinovitsh. The introductory remarks are read by Ruth Rubin from Z. Reizin’s Leksikon fun der Yidisher Literatur. This is followed by David’s remarks about his father and his home environment as a child. He also remarks about his father and his home Note: The extraneous noises are unfortunately traffic sounds of the New York streets…
1967
Chassidic NIGGUN
[from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist, Yisroel Rabinovitsh. The introductory remarks are read by Ruth Rubin from Z. Reizin’s Leksikon fun der Yidisher Literatur. This is followed by David’s remarks about his father and his home environment as a child. He also remarks about his father and his home Note: The extraneous noises are unfortunately traffic sounds of the New York streets…
1967
Zhabes un babes, tuen in droysn zitsn
[from LOC box logs] This kind of recording, is done with the thought in mind, of emphasizing the importance of the “intellectual” as carrier of folksong and art song. Born in Montreal 42 years ago, David’s father was the eminent Jewish musicologist, Yisroel Rabinovitsh. The introductory remarks are read by Ruth Rubin from Z. Reizin’s Leksikon fun der Yidisher Literatur. This is followed by David’s remarks about his father and his home environment as a child. He also remarks about his father and his home Note: The extraneous noises are unfortunately traffic sounds of the New York streets…
1967
Oyfgegan iz undzer broyt
1948
Kegn gold fun zun
1948
Shlof mayn zun
1962
S’hot gefregt mikh haynt mayn kind
1956
Mashines klapn
1955
Dzhankoye
1964
S’hot gelebt mit undz a khaver
1955
A briv tsu kalininen
1955
Memleket
1955
Shlof mayn kind
1962
Yoshke, Yoshke, shpan dem loshik
1962
Shlof mayn tokhter, sheyne, fayne
1962
Mir fayern dem ektyabr yontev
1962
Mitvokh nokhn buker
1962
Kh’bin a bokher a hultay
Song collected from Yankl Zipper, born in Poland. Collected in 1927 in manuscript form and later learned by Ruth Rubin.
1962
A gut morgn aykh Reb Nisl
Song collected from B. Kazdan, born in Babroisk, Belarus. Collected in 1927 in manuscript form and later learned by Ruth Rubin.
1962
Lomir oyszingen a lidl
1961
Korenem broyt
1954
Kegn gold fun zun
1954
Az men fort keyn Sevastopol
1954
A libes kind iz Neymele
Not listed in Ruth Rubin’s tape log - on tape song comes between tracks 8 and 9. Song moved to end of playlist to maintain song order. Poem published in Leyb Naydus’ Lirik - Ershte band, Yekaterinoslav (Dnipro), 1915. Melody published in Bina Steinberg’s Undzer gezang, Tel-Aviv, 1984.
1961
Oyf di felder fraye, breyte
[Note on typewritten tape log in box:] *born in EuropeAmong the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Kum tsu mir mayn meydl
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Dovidl, mayn zun
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Kh’hob gevolt far mayn tokhter a shidekh
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Ikh hob fargesn on der mamen
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Es brent di arbet
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Dortn oyf di vegn
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Mir zaynen nokh derveyle kleyne kinder
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Vos makhstu feygele
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Lomir oyszingen a lid
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Gekoyft hot mame shimelen
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Hob ikh mir a meydele
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1955
Kh’bin a geyer arum hoyz
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1961
Un az der friling kumt shoyn on
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1961
Ver bagert?
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1961
Bin ikh mir a meydele sheyn
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1961
Arbet iz bay undz freyd
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1961
Mir zaynen shmidn mit undzer hamer
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1961
Kum aroys tsu mir mayn libste
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. Volume level low.
1961
Hot zikh a zunele tseshaynt
[Note on typewritten tape log in box:] *born in Europe Among the songs created in the USSR there are both anonymous ones and authored songs. I have tried to separate out some of the singers: into those who were born in Europe (*), those who were born and brought up in the USSR and those who were born in the United States. Those born and brought up in the USSR include in their repertoire, songs created for the Jewish children in their own secular schools, during the 20s and 30s. (**) Dora Wasserman, for instance, was talented dramatically and she recalls song from productions and operettas too. While Ina Ship, remembers the songs from the schools. [Audio problem on one track.
1961
Zol zayn az ikh boy in der luft mayne shleser
[Comments by the informant after song, in English] [Note in typewritten tape log inside box:] Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner.
1964
Shtil, di nakht iz oysgeshternt
[Note in typewritten tape log inside box:] Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner.
1948
Ikh blondzhe in geto -- Friling
([Spoken introduction by informant in Yiddish before song, & comments in middle and at end by informant & by Ruth Rubin.] Note in typewritten tape log inside box:]) Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner.
1948
A mames nign
[Note in typewritten tape log inside box:] Accordion accompaniment. Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner. Audio problem on one track.
1961
Farvos iz der himl geven azoy loyter
[Note in typewritten tape log inside box:] Accordion accompaniment. Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner. Audio problem on one track.
1961
Yisrolik
[Note in typewritten tape log inside box:] Accordion accompaniment. Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner. Audio problem on one track.
1961
Shtil, di nakht iz oysgeshternt
[Note in typewritten tape log inside box:] Accordion accompaniment. Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner. Audio problem on one track.
1961
S’dremln feygl oyf di tsvaygn
[Note in typewritten tape log inside box:] Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner. Audio problem on one track.
1958
Undzer lid iz ful mit troyer -- Yugnt himen
[Note in typewritten tape log inside box:] Nos. 1, 2, 3, 4, 5, 7, 8, 9, are to be found in Kaczerginsky’s collection [“Lider fun di getos un lagern,” published in New York in 1948] . Kaczerginsky gives, not only the tunes and texts of the songs, but all the facts he was able to gather about the singers, the circumstances, etc. Nos. 3, 4, 5, 6 are sung by Mr. Horowitz and his young daughter Rokhele. They are Jewish actors, but render the songs in a natural “folk” manner. Audio problem on one track.
1955
Fun getos osventshim
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1948
Hot zikh mir di shikh tserisn
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1948
Aroys iz in Vilne a nayer bafel
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc. Volume level very low
1955
Yisrolik
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1955
Ver zogt az a libe shpiln
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1955
Es forn gasn un tramvayen
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1955
Ikh vander in geto
Friling
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1955
Di zelbe gasn un tramvayen
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1948
Kh’hob derlebt a shvartse tsayt
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1955
Zog nit keyn mol
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1954
S’dremlen feygl oyf di tsvaygn
[Note in typewritten tape log inside box:] Nos. 2, 3, 5, 7, 8, 9, 10, 11 are to be found in Kaczerginsky’s collection: “Lider fun di getos un lagern,” published in New York in 1948. This remarkable collection, attests to the living importance of these songs, as they were obviously retained by the singers above, which include people who actually survived the German occupation, and others who learned the songs from them. In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc.
1954
Yeder ruft mikh Zhamele
[Note in typewritten tape log inside box:] In 1948 I was still gathering material on “home-made” recordings, which were later transferred to tape. This accounts for undue noises, etc. [Audio problem on one track. Bleed from other side of tape?]
1955
Al tal v’al motor
Hebrew text: Chave Shapiro [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Stan’ Yizrael…
Russian
Text L. Yaffe? [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Mir shvern (fragment)
Yiddish (Poale Zion Hymn) [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Tsion, tsion (Fragment)
[Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.] MT: Tape Listing in Box and Tape listing from LC are slightly different, LC track listing appears to be updated.
1964
Shom bimkoym arozim
Hebrew version of the Yiddish Zionist hymn: Dort vu di tseder. [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Yalda, yaldati
Hebrew translated from the Yiddish folksong “Du meydele du sheyns,” by Sillman [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Bo-i na yaldoti
Mr. Frank claims it is based on the Ukranian conversation song he just sang. [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Yagdo tebe khoditi
(Ukranian) [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Comments on E. Zunser and his song Di sokhe
[Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Khushu, akhim, khushu
Text: Sillman [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
S’u tsiono noys badegel…
Tune: from a Ukrainian march, sung before 1890? [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Shemesh oviv…
Text: Mordkhe Tsvi Mane [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Sh’Khav Herodim Ben-li Yakir
Text: Lyuboshitsky - Tune was later used to a Yiddish pogrom song. See Tape 49, no. 9 [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.]
1964
Aleym Haderekh
Text: Elyokum Zunser [Note on typewritten tape log inside box:] Moshe Frank, journalist. Age 67. Born in White Russia. Speaks of the Zionist movement and his memories relating to the First Aliyah (before World War I). (Unfortunately the noise of New York traffic and sirens interfered at times) [note: Obviously Moshe Frank sings his songs in Ashkenazic Hebrew - which was natural for his particular environment in White Russia.] MT: Tape Listing in Box and Tape listing from LC are slightly different, LC track listing appears to be updated.
1964
A mol iz geven a dyed mit a babe
The dyed mit a babe had a lot of children. The left them alone in the house and told the children to hide themselves One on the table, one under it One on the chair, one under it One on the oven, one under it A bear knocked on the door and said, children, open up, open up. The children refused. He gave a knock on the door and entered and ate up all the children. The dyed mit a babe came back from the forest they caught him, fooled him, and opened him up and took out all the children And they put in stones and bones, wood and spots, pins and needles, sewed up his stomach and let him go. The bear went around and cried, “stones and bones, wood and spots are in my stomach.” The children grew up, put on tidy clothes, and let them go. [Error in typewritten tape log inside box. This is correct title of track 5 as listened to on 7/16/12.]
1958
A mol iz geven a vilder man
Recited in rhymed Yiddish (rough translation) A wild man had 12 wives. The first milked the cows The 2nd set the cup (?) The 3rd laid wood in the oven. The 4th made yeast bread. The 5th swept the house. The 6th threw out the garbage. The 7th set the table. The 8th carried chickens and fish. The 9th went down to the cellar. The 10th tapped __?__ and wine. The 11th made the bed. The 12th came and laid down. [Error in typewritten tape log inside box. This is correct title of track 4 as listened to on 7/16/12.]
1958
A maysele mi a briderl mit a shvesterl
in 3/4 meter. Moshe & Sorele’s mother went to the market, but didn’t come back right away. The children went into the forest and got lost. A big, black bear suddenly approached and asked them what are you doing here in the forest? Aren’t you afraid that I’m going to eat you up? They said, dear bear, don’t touch us, our mother will reward you with a cookie with poppy seeds. The bear went away, but the children remained. A wolf suddenly appeared - it had sharp teeth. It asked them what are you doing here in the forest? Aren’t you afraid that I’m going to eat you up? They said, dear wolf, don’t touch us, our mother will reward you with a cookie with poppy seeds. The wolf went away, but the children remained. A storm came up in the woods. The children cried - oh dear mother, we don’t want to be alone. An angel suddenly arrived and accompanied them home. [Error in typewritten tape log inside box. This is correct title of track 3 as listened to on 7/16/12.]
1957
A mayse mit a khelemer keyser in goldene shikh
[Error in tape log. This is correct title of second track listened to on 7/16/12] The Chelmers once had a king, but he couldn’t receive honor, because no one knew who he was: he wore regular leather shoes. The Chelmers met and decided that the king should wear golden shoes
all the women of the town donated their jewelry and the goldsmith made golden shoes out of it. But there was a great mud, and the golden shoes were covered in it
so the king couldn’t receive the honor due him. Another meeting. The Chelmers decided to have the shoemaker make leather shoes the king could wear over his golden ones. But then - the gold didn’t shine out so the king couldn’t receive the honor due him. Another meeting. Have the shoemaker make holes on all sides of the shoes so that the gold would shine through. Except that the holes let in the mud, and the golden shoes were covered in it
so the king couldn’t receive the honor due him. Another meeting. Stop up the holes with straw. Except that the straw obscured the golden shoes, too
so the king couldn’t receive the honor due him. Another meeting. Decided it was that the king should carry the golden shoes - holding them out in front of everyone - so everyone knew he was king - and walk with leather ones. Then everyone knew he was king and could give him the honor he was due. [Sound problem on one track: bleed from reverse side?]
1957
A graf fun Ungarn
Russian poem, on the 1849 struggle against the Russians - and the end of the Habsburgs. On October 13 about 50 were executed. (Song 3 on this tape is a Yiddish version of this poem) From additional tape, “73B” with song #3 and Anna Berkowitz’s performance of A graf fun Ungarn (see Tape 4)
1962
Belayu pokrivala
Russian poem, on the 1849 struggle against the Russians - and the end of the Habsburgs. On October 13 about 50 were executed. (Song 3 on this tape is a Yiddish version of this poem) From additional tape, “73B” with song #3 and Anna Berkowitz’s performance of A graf fun Ungarn (see Tape 4)
1962
Ver hot geshribn dem pagerey?
[Note in typewritten tape log in box]: Parody on Itzik Manger’s “Rabeynu Tam,” sung by a Chilean, visiting here. Sung at a house party. [of several men and women with fine singing voices who join in the chorus and parts of the verses and are having a merry time!]
1948
Erets Yisroel, mayn tayer land
The informant was a member of Hashomer Hatzair in Europe before she came to the U.S. and continued in “the movement” here.
1964
Hey, hey, yunger khaluts
Created by the singer, who sings the song in Yiddish, English and Hebrew. Informant runs a youth camp in New Hampshire and wrote the song for it. This is an example of “non-professional” composition of songs, which still crops up from time to time.
1962
Du burzhuazner tsionist (fragment)
1948
Oyf dem barg dem har-hazeysim
1948
Bin ikh mir a kholitsl
1948
Avu bistu geven?
1948
Es vet zayn sheyn un fayn
1947
Tate-mame kinderlekh
From Teddi Schwartz’s tape. Based on Shmerke Kaczerginskiy’s song "Tates mames kinderlekh boyen barikadn" (see tape 54 song 6)
1961
Oyfn veg shteyt a boym
1956
Oyfn veg shteyt a boym
1956
Oy, Tsiyoyn, Tsiyoyn
1956
Oyfn veg shteyt a boym
1956
Bin ikh mir a kholitsl
1956
Fun Klasave biz Zakharye
1961
Ikh muz zikh fun aykh ale sheydn
1955
Zog mir mayn shvester
1955
Zog mir mayn shvester
1955
Shpits boydem
Conversation on Yiddish accents, dialects, etc. follows with Daniel Lipkovitsh and Sholem and Yehudis Wasilewsky.
1964
Giter Pirim alekh
1964
Shpits boydem
1964
Shlof mayn kind
Jesse Shanok’s tape
1962
Shlof mayn feygele
Teddi Schwartz’s tape
1961
Intern kinds vigele
L. Axebank’s tape
1957
Hey-lyu-lyu
1957
Shlof mayn kind
1957
Shlof mayn kind, shlof keseyder
1957
Amol iz geven a mayse
1956
Shlof mayn kind
1956
Shlof-zhe mayn feygele
1956
Shlof mayn kind
1956
Unter Esterls vigele
1956
Oy, unter mayn kinds vigele
1956
Unter Yankeles vigele
1955
Unter Yankeles vigele
Similar to the versions sang by <a href="https://exhibitions.yivo.org/items/show/5476">Ruth Rubin</a> and <a href="https://exhibitions.yivo.org/items/show/5493">Feygl Yudin</a>.
1955
Ay-lye-lyu-lye shlof
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Er hot mir tsugezogt tsu nemen
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Shlof mayn oytserl (fragment)
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Shlof, kind mayns, shlof
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
A, a, lyu-lyu
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Shlof, shlof, shlof shoyn Itsikl
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Ay-lye-lyu-lye-lyu-lye (Nor a mame)
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Ay-lye-lyu-lye Pinele
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Shlof mayn kind
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Shlof mayn kind
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1961
Shlof mayn kind
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1961
Shlof mayn kind, s’iz on sakones
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1947
Makh tsu di eygelekh, mayn tayer kind
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
Comment from Itzik Gottesman: This song is by 19th century Yiddish writer Yoel Linetsky and appears in his book "Der beyzer marshelik" http://www.yivoencyclopedia.org/article.aspx/Linetski_Yitskhok_Yoyel
1949
Yakh azoy lebn
Beginning of song cut off. “When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Ven ikh volt geven a shnayderl
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1955
Unter Yankeles vigele
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1961
Shlof mayn kind
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1961
Er hot mir tsugezogt tsu nemen
See also <a href="https://exhibitions.yivo.org/items/show/5490">Yankl Zipper's version</a>, with lyrics and transcriptions.<a href="https://exhibitions.yivo.org/items/show/5490%20"></a> <br /><br />“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1961
Shlof Dvoyrele, shlof
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1961
Rozhinkes mit mandlen
“When I was collecting in Montréal in 1955 and 1956, the Université de Montréal, assisted me with some recording apparatus and tapes. I thought the tapes were blank, but it turned out that they had been used by the linguistics department. Consequently, previous sounds are audible ‘under’ my own recording.”
1961
Shlof mayn kind
1961
Zolst azoy lebn un zayn gezind
1961
Amol iz geven a mayse
1961
Shlof mayn kind
(Melodic variant... Ann Kline)
1964
Es kumt a kozele di vayse
1964
Ikh vig dir in multer
1955
Shlof mayn kind
(Uneven in first stanza)
1963
Di vest zayn an oysher, Zhamele
Variant of: Du vest zayn a gvir, mayn Zhamele
1962
Shlof mayn kind
1955
A, a, lyu, lyu
1955
Aylye, lyulye, shlof
1957
Shlof, shlof, shlof
1957
Ay shlof-zhe, mayn kind
1949
Aylye, lyulye
1962
A, a, kindele
1948
Shlof mayn lyalke (fragment)
1948
Der malekhl der giter
1948
Ikh gedenk vi es volt nekhtn gevezn
An original song, which Berish Katz said he wrote, during our “taping” acquaintance. (song and fiddle tune). Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, had compiled. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Geyresh Rusland
Fiddle tune only. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Yidishe frayhaytn un tsores
Fiddle tune of song #159 [in Moyshele Stam’s notebook. See note below.] Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Droshe geshank
Fiddle tune of song #146 [in Moyshele Stam’s notebook. See note below.] Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Luksus
Fiddle tune of song #109 in Moyshele Stam’s notebook. [See note below] Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Dos toyrele
Fiddle tune only. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Di eltern alts gertner
Tune followed by song. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. Katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Am kodoysh
Chant of the sexton. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. Katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Oydo loeyl levav khoyker
Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badkhen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. Katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Yoymom
Fiddle and comment. Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. Katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Five fiddle tunes
Five fiddle tunes, traditional to a marriage ceremony in Glina Berish Katz was brought to me by the journalist and poet, Wolf Younin, New York, in 1947. His songs and fiddle tunes were first taken down by me on a record-cutting machine and later transferred to tape. Katz had a little book which contained the texts of the songs his uncle MOYSHELE STAM or MOYSHELE fun GLYNA, HAD COMPILED. Younin’s voice is heard once or twice, questioning Mr. Katz. Although I tried numerous times to obtain the texts of the songs from Mr. Younin (who retained the little book), he refused to let me have them. The numbers referred to relate to the songs as they were numbered in the little notebook. Mr. Katz gave his own comments but rarely sang a song
he preferred to do the melody on his fiddle. The tunes, Mr. Katz said, dated from the early 80s to the beginning of the 20th century and he first heard them from his uncle, the badchen [sic] MOYSHELE STAM in Glina in Galicia, a little town near Lemberg. Mr. Katz used the following English words in his comments: before, title, first, melody, “en-kurashirt” (encouraged!) 41099
1947
Remeniscence of Uncle Khaim, etc.
1964
The Story of the Freeds
1964
The Story of Simkhe Prempe
1964
In Kamanets iz man knasmol gevezn
1963
Fraytik tsi-nakht
1962
Indzer unfang fun indzer libe
1956
A brivele vel ikh dir mamenyu shraybn
1955
Ikh gey in gas un ikh fal
Recording is missing first line of first stanza.
1947
Forn, forstu fun mir avek
1949
Kum, lomir beyde a libe shpiln (Romanian variant)
1955
Kum, lomir beyde a libe shpiln
1955
Dem ershtn tog fun der mobilizatsye
1955
Oy, lomir beyde a libe shpiln
1955
Ikh bin gegangen tsum ban bagleytn (fragment)
1955
Oyf di grine felder, velder
1955
Shvartser foygl fli geshvind
1955
Mentshn hert zikh ayn mit kop
1955
Kayn esn un kayn trinken, mame, nemt mikh nit
1955
Ven m’hot mikh in der prisustve gebrakht
1955
Oy, forn forstu fun mir avek
1955
Dire-gelt
[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1962
Mit a nodl, on a nodl
Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1962
Zuntik bulbes
Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1962
Oy, vyo, vyo
[Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1963
Gey ikh mir in fabrik
Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1963
Ot azoy neyt a shnayder
Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1948
Zaritski hot tsen kinder
Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1948
Tog azoy vi nakht
[Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1948
Eyder ikh leyg mikh shlofn
[Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1948
In droysn geyt a drobinker regn
Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1948
Kh’bin geforn keyn Ades
Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1948
Zuntik bulbes
Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1956
Tsu danken un tsu loybn
{Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1955
Ikh shtey oyf gants fri
[Note from black hardbound catalog:] Fragment. Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1955
Ikh zog der baleboste
Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1955
Proletarke shvester mayne
[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1955
Uha, ikh libe dir (Eyn un tsvantsik, tsvey un tsvantsik)
Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1955
Dire-gelt
[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1962
Zuntik bulbe
[[Is this the same as A. S. Zachar aka “Lerer” Zachar ??] Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1961
A gantse vokh
[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1961
A gantse vokh
[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given. 41319
1955
Kh’bin geforn keyn Ades
[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1955
Vi azoy s’iz nisht git tsi geyn
[Note from black hardbound catalog:] Whenever noises are heard on the tape, they are either from traffic noises which intruded themselves into the area where taping was taking place, or the noises of restlessness and fidgeting on the part of the group, which was present. Taping in groups stimulated the memory. Hearing the singers, the response would often be, “That’s not the way I sang it.” And their variants would be given.
1948
Brider, mir hobn geshlosn
1955
Khanele iz fun der arbet gegangen
1955
Vos shloft ir, ir shlefer?
1948
Der arbeter hot di elektere derklert
(Fragment)
1948
Dayn futers reyd
1948
Un ir muzt dokh ale visn
1948
Trogt aroys di royt-heylike fone
1948
Dort in vinkl in nasn keler
1948
In gazaltsenem yam fun di mentshlekhe trern
1948
In der kuznye
1948
Laytishe mazoles tuen oyfn vaser shvimen
1962
Lomir ale zingen a zemerl
1962
Genug dir shoyn tsu veynen
(fragment -- Allan Warshawsky’s tape)
1961
Brider, mir hobn geshlosn
1948
In droysn iz fintster
1948
Di mashines klapn
1948
In der shtubnye ba dem fayer
Version of “In der kuznye” (Mixed language?)
1964
Ver akert un ver fitert?
1964
Der gezaltsener yam mit di
41901 Ruth Rubin tape was digitized.
1964
Umet un benkshaft un enlikhes
1947
Zenen mir beyde shpatsirn
1962
Tif in veldele
1962
In droysn iz a triber tog
1962
Sheyn bistu lyubtshe
[Note from black hardbound catalog:] Fragment - at a house party.
1961
Papir iz dokh vays
1948
Di fayerdike libe
1948
Oy sheltn shelt ikh dem tog fun mayn geboyrn
1948
Oy a libe iz an umglik
1948
Di sheyne roze zitst in gortn
1948
Trayb di veln shneler, taykh
1948
Yetst gey ikh mir shpatsirn
1948
Shvarts, shvarts, shvarts
1948
Vi bistu geven
[Note from black hardbound catalog:] Accompanies self on mandolin.
1948
In mizrekh zayt hoybt shoyn on tsu togn.
1948
Fun yener zayt yam vakst a beymele
[Note from black hardbound catalog:] Unfinished. Fragments are included as clues to many songs. Teddi Schwartz’s tape -- poor recording.
[From blue index, RG 620, box 30] : Taken from Teddi Schwartz' tape, Camp Solomon, Lake Charles, N.Y.]
1061
In a groyser blote hostu mikh arayngefirt
1958
Ikh hob geboyt a moyer
19
1958
Mayn mame flegt mir shtendik zogn neyn
1958
In dem vald dem grinem
[Note from Ruth Rubin tape box log] (Daniel said this Neapolitan tune was picked up from organ grinder on the streets of Warsaw) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
Hert zikh ayn, libe mentshn
[Note from Ruth Rubin tape box log] (Beggar’s song, sung here by Ruth Rubin) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Ver zent ir liber yid?
[Note from Ruth Rubin tape box log] (Street vendor’s song) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
Handl, handl, handl
[Note from Ruth Rubin tape box log] (Old clothes ventor street-cry) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
An es un a trink
[Note from Ruth Rubin tape box log] (Watermelon street-cry) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
Ikh bin geven a kleyner yat
[Note from Ruth Rubin tape box log] (Underworld song) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
Sholem Wasilievsky discusses Moyshe Linder
[Note from Ruth Rubin tape box log] (Underworld song) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966?
Tsvey vokhn far erev peysekh
[Note from Ruth Rubin tape box log] (Ballad about a well-known underworld character, Moyshe Linder. Shoelm Wasilievsky adds a few facts about Linder, which he had read in a book). [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966?
Concerning Moyshe Linder
[Note from Ruth Rubin tape box log] (Ballad about a well-known underworld character, Moyshe Linder. Sholem Wasilievsky adds a few facts about Linder, which he had read in a book). [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966?
Ana Maryana
asdfasdf
asdfasdf
[Note from Ruth Rubin tape box log] (Dancing children’s ring game) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
asdf
1966
An eybike farbindung
[Note from Ruth Rubin tape box log] (Ballad) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
Shnel loyfn di reder
[Note from Ruth Rubin tape box log] (Protest song based on text by D. Edelshtat) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
Shoyn, shoyn, shoyn, di megst shoyn geyn
[Note from Ruth Rubin tape box log] (Ballad) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
Kol mekadesh shviyi
[Note from Ruth Rubin tape box log] (A Zmiro “Kol mekadesh shviyi”, sung to the tune of a Mazurka) [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Mazurka - excerpt from an operetta
1966
Interview continues
[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
1966
Un du akerst, un du zeyst
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1956
In der shmide bay dem fayerl
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community. 41903 Ruth Rubin tape was digitized.
1956
Un du akerst un du zeyst
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1956
Un du akerst un du zeyst
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1955
Un du akerst un du zeyst
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1955
Un du akerst un du zeyst
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1955
Papa, ikh freg bay dir
(fragment) [Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1955
Du vest zayn a gvir, mayn Zhamele
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1955
Es loyfn un es yogn shvartse volkns
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1948
In an enger shtibele
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1955
In Engeland iz do a shtot Lester
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1955
Farmutshet in fintsterer tfise
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1961
Dort in vinkl, in nasn keler
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1961
A loyb un gezang der mi un der arbet
(Literary origin?) [Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1961
Fintster, glitshik iz oyfn gas
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1948
Ikh gey iber felder
[Note in the LOC tape box} In this category of song, which spans the last quarter of the 19th century and into the 20th, there are a number of songs of literary origin. The poems of David Edelshtat, Morris Winchevsky, Morris Rosenfeld, A. Litvin and others, were popular in both the American-Yiddish-speaking community and the East European Yiddish-speaking community. However, variants were created more in the East European community.
1948
Ikh hob keynem nit geshosn
[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1964
Oy, der reve mit dem pop
[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1964
Mit eyn hant hostu undz gegebn di konstitutzie
(fragment) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1964
Heylik iz di natur
(Revolutionary Hymn) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1948
Brokhe fun Minsk recalls some of the incidents of her youth during the revolutionary movement in Russia
[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1948
Veyn nit bruder
(Borukh Shulman) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1950
Oy, orem un elnt
[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1948
Mir vern ershosn, erhangen
[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1948
Di shrit fun tiranen
[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1948
Es dremlt in turme
[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1948
Es royshn, es yogn shvartse volkn
(From Lazer Axelbank’s wire recorder) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1958
In Gezaltsenem yam
(From Lazer Axelbank’s wire recorder) (Melody only of Sh. Anski’s “In Gezaltsenem Yam”) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1958
Fintster, kalt un nas
(From Lazer Axelbank’s wire recorder. The whole family is singing this song.) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1958
Du host ge-akert un gezeyt
(location note Public Libary, N.Y.C. Tremont Branch) [Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1957
S’loyfn, s’yogn shvartse volkn
[Note in LOC Ruth Rubin Catalog, not in either tape box or YIVO black book] Note: Some of these songs (as others in this collection) have been retained in the memory of the singers for as long as 50 years. Consequently, the contamination of “Anglicism” (or Americanisms) in their spoken language as well as their song literature is a natural phenomenon. This “contamination” is not due to creating variants to the songs…in most cases…
1956
Oy, ver es zogt az a libe iz a glik
[See: tape 36, No. 11] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Ikh hob gefirt a libe
[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Shtey ikh baym taykhale eyner aleyn
[Daniel learned this from a friend in “Crotona Park”, Bronx N.Y. He thought it had been written by one Yoysee Bank] [track note from YIVO (white tape box) Daniel said he learned this from a friend in “Crotona Park” Crotona Park is in the Bronx, N.Y. This is therefore not a song he recalls from the “old home”, but which he picked up here. Daniel said this song was written by one Yoysee Bank] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he racalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Es dremlt in shtetele - comment
[Daniel thought the song had been written by one Segalovitsh] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
A frestele falt oyf di sheynike blumen
[Romance] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Di velt hot bay mir kayn shim vert
[Di velt hot bay mir keyn shum vert]
[a song by a man convicted to death] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Der sheyner tog, der liber tog
[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
O kum shoyn shtiler ovnt - in Russian
[a fragment sung by Ruth Rubin, followed by the Russian version sung by Yehudis Wasilewsky]
[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
O kum shoyn shtiler ovnt
[a fragment sung by Ruth Rubin, followed by the Russian version sung by Yehudis Wasilewsky] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Ongelodn mit al dos gits
[from Goldfaden’s “Shulamis”] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Tsi kent ir kinder di brokhes ale?
[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Di ershte nakht fin peysekh tsim seyder - sung
[track note from YIVO (white tape box) First, Sholem Wasiliewsky recites the poem, then Yehudis Wasiliewsky sings the song. I seem to recall a variant of this, which I collected in Montreal from a certain Mr. Mamelok] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Di ershte nakht fin peysekh tsim seyder - recitation
[First, Sholem Wasiliewsky recites the poem, then Yehudis Wasiliewsky sings the song. I seem to recall a variant of this, which I collected in Montreal from a certain Mr. Mamelok] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Azoy vi m’hot mikh khasene gemakht (Hot a yid a vaybele)
[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Di zun iz shoyn fargangen (Der fodem)
[track note from LOC tape Mark Warshawsky’s “Der Fodim”] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Der taykh brent
[Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Khosn-kale mazltov
[Inspired by organ-grinders] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Di zolst nisht hern vos dayn mamenyu vet dikh tsimblen
Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Vey iz tsi di daytshn
[Religious Jews taunting Maskilim] [Note from black hardbound catalog for tape 36:] A talk with Daniel Lipkovitsh, Sholem Wasiliewsky, Yehudis Wasiliewsky (his friends). As the conversation progressed Daniel touched upon many types of YIDDISH SONGS (folk and authored) he recalled from his childhood and youth in Warsaw. As he remembered them, he sang them. They are listed in the order of their occurrence on the tape. (taped 1964-1966)
Er zol zayn a beyter far zayne khsidim
[note from RG 620 black book Anti-Chassidic song, obviously written by a Maskil]
1965
Volt ikh gehat gilderne fligl
[note from RG 620 black book Chassidic] (first phrase was unfortunately cut off)
1965
Reb Nakhman Bratslev hot geheysn
[note from RG 620 black book Chassidic-modern]
1965
Kayn Kotsk fort men nisht
(Chassidic song which Dr. Stupp learned from a delegate from Mexico, aon the ship returning from the Zionist Congress, held in Italy in 1946)
1965
Mit a nodl, on a nodl
1965
In droysn geyt a regn
[note from RG 620 black book work song]
1965
Vi s’iz gekimen di heylike teg
[note from LOC tape log similar theme {to track 7, “Of dem beys oylem”, song about a dead mother and her orphaned child}]
1963
Oyf dem beys-oylem
[note from LOC tape log song about a dead mother and her orphaned child]
1963
Min hameytser
[note from RG 620 black book Popular song?]
1948
Feygelekh sheyninke
[note from RG 620 black book Literary origin?]
1961
Der himl fartsornt
[note from RG 620 black book Literary origin?]
1965
Vi azoy s’iz nisht git tsi geyn
(work song)
1948
Hob ikh mir a shpan
(work song)
1948
A shnayder bin ikh oykhet
(work song)
1948
Maryamtele kim tontsn
1964
Dort baym taykhl
1962
Geyen mir shpatsirn
1962
Bin ikh mir gegangen fishelekh koyfn
1957
Kh’hob dokh dir gezogt
1957
Shloymke mit Dovidn (fragment)
1958
Dokter, felsher
From Lazar Axeblank’s wire recording
1958
Hert mikh oys a sheynem lidl
1956
In a groysn dorf
1956
Iber felder, iber velder
1955
A kadril
6/1/1955
1955
A kadril
3/1/1955
1955
Fishelekh in taykh
1955
Sheyn bistu meydele
1955
Hey du, du, ruk zikh tsu
1955
Hey, hober un korn (fragment)
1955
Ikh gey un gey un gey
1949
Hot zikh mir di zip tsezipt
1949
Ye geforn, nit geforn
1955
Ikh-e gey un ikh-e gey un ikh-e fa-val
1949
Lomir zikh iberbetn
1955
Der khosn hot mir geshikt a zeyger
1955
Oy, vos ikh hob gevolt
1955
In droysn iz a zaverukhe
1948
Vos kokhet men zikh in treyater
Anti-Hasidic satire?
1948
Ikh ken a meydele an antik
Theatrical?
1948
Vi es iz gekumen shabes tsum esn
1948
Ikh hob zikh gebovet
1948
Ikh bin farlibt
With guitar
1948
Oy gevald, a ganef
From L. Axelbank’s wire recorder
1958
Hot a yid a vaybele
1956
Hob ikh a kapote
1956
Hob ikh mir a vaybele Klare
theatrical
1955
Zol ikh zikh farshraybn
1955
Her tsu mayn vayb Sorele (fragment)
1947
Bay mayn balebos
1949
Di shayle
Literary origin?
1955
Veyst ir vos ikh bin?
1955
Bay mayn rebe iz gevezn
1955
Oy gevald, vu nemt men?
1955
Kh’vel mikh nisht lozn
1948
Hob ikh mir a mantl
1948
Russian Song
1964
Oy Abram
1964
Slavic shepherd song
1964
Kruzhok
1964
Rondo
1964
Memories of father, etc.
1964
Tsvishn undz beydn iz a taykh a groyser
[In tape log inside tape box, this is number 17; in black hardbound catalog with running item numbers, this is number 16. Item number matches hardbound catalog, but song number does not.]
1956
Sheyn bin ikh a mol geven
[In tape log inside tape box, this is number 16; in black hardbound catalog with running item numbers, this is number 15. Item number matches hardbound catalog, but song number does not.]
1956
Oy, kum nor aher, mayn tayer zis-lebn
[In tape log inside tape box, this is number 15; in black hardbound catalog with running item numbers, this is number 14. Item number matches hardbound catalog, but song number does not.]
1956
Ikh volt lib gehat mit dir tsu redn
[In tape log inside tape box, this is number 14; in black hardbound catalog with running item numbers, this is number 13. Item number matches hardbound catalog, but song number does not.]
1956
Mayn harts mayn harts veynt in mir
[In tape log inside tape box, this is number 13; in black hardbound catalog with running item numbers, this is number 12. Item number matches hardbound catalog, but song number does not.]
1956
Oy avu bistu geven?
[In tape log inside tape box, this is number 12; in black hardbound catalog with running item numbers, this is number 11. Item number matches hardbound catalog, but song number does not.]
1956
Gey ikh mir shpatsirn
[In tape log inside tape box, this is number 11; in black hardbound catalog with running item numbers, this is number 10. Item number matches hardbound catalog, but song number does not.]]
1956
Mamenyu, lyubenyu, kroynele, hartsele
[In tape log inside tape box, this is number 10; in black hardbound catalog with running item numbers, this is number 9. Item number matches hardbound catalog, but song number does not.]
1956
Oyfn oyvn zitst a meydl
[In tape log inside tape box, this is number 9; in black hardbound catalog with running item numbers, this is number 8. Item number matches hardbound catalog, but song number does not.]]
1962
Vi a sheyne blum
[In tape log inside tape box, this is number 8; in black hardbound catalog with running item numbers, this is number 7. Item number matches hardbound catalog, but song number does not.]
1962
Ver se zogt az a libe iz keyn feler
[In tape log inside tape box, this is number 7; in black hardbound catalog with running item numbers, this is number 6. Item number matches hardbound catalog, but song number does not.]
1962
Ikh kum aroys oyfn ganikl
[This song is missinig from black hardbound catalog & therefore does not have an item number. In tape log tape box, numbers have been changed by hand, so this is number 6.]
1955
Fintster un glitshik
1955
Shtendik zits ikh mir un trakht
1955
Ikh es nit, ikh trink nit
1955
In droysn iz a triber tog
1955
Un ver es zogt az di libe iz a glik
1955
Meydele sheyne
1958
Oy hostu mikh emes lib
1958
Shtey ikh mir bay mayn tatn oyf der tir
1958
In droysn geyt a regn
1958
Klip-klap in goldn tir
[Note in typed tape log in box:] New York Public Library.
1957
Dort baym taykhl
[Note in typed tape log in box:] Mrs. Lapin learned both song (#9 and #10 on Tape 30) from my songbook collections. It is interesting to note the folkloric changes she has made in both. Obviously, she is fond of both songs, and sings them with feeling. #9 [Zits ikh mir...] appears in my “Oak” book; #10 [Dort baym taykhl] is in the “Treasury.”
1955
Zits ikh mir oyfn benkele
[Note in typed tape log in box:] Mrs. Lapin learned both song (#9 and #10 on Tape 30) from my songbook collections. It is interesting to note the folkloric changes she has made in both. Obviously, she is fond of both songs, and sings them with feeling. #9 [Zits ikh mir...] appears in my “Oak” book; #10 [Dort baym taykhl] is in the “Treasury.”
1955
Genug shoyn tsu lakhn
1955
In a zumer nakht
1956
Ikh shver dir benemones
1956
Ikh fir a libe
1956
Oy dortn, dortn ibern vaser
1956
Papir iz vays un tint iz shvarts
1956
In droysn iz a zaverukhe
1955
Di sheyne roze
1955
Papir iz dokh vays
[Note on typewritten tape log in tape box:] During a group session, the singer was prompted by other members of the group
1955
Oy a nakht a sheyne
1955
Oy a nakht a sheyne
1955
Dayne oygn zaynen sheyn
1955
Oy mamenyu, mamenyu, a gutinke nakht
1955
Mit dayne tsvey flam-fayerdike oygn
1955
Tsvelf shlogt dokh shoyn der zeyger
[Note on typewritten tape log in tape box:] Age 81. from Freda Raucher’s tape. Her voice is heard on tape.
1967
Zits ikh mir in shtibele
1958
Kh’hob zikh gekoyft a baytshl kreln
[Note on typewritten tape log in tape box:] Possibly of literary origin.This recording was not on the original tape edit but was found on the LC duplicate. LS
1955
Ay, tsi gedenksti
1948
Di sheyne royze zitst in gortn
1955
Di royz vakst in gortn
1955
Di fayerdike libe
1955
Vos-zhe toyg mir mayn sheyner vayngortn?
1955
Vi a sheyne blum
1955
In droysn iz fintster
1955
Az ekh gay mit dir
1955
Ikh zits un shpil mir oyf mayn gitare
[Note on typewritten tape log in tape box:] Fragment.
1955
Vos vistu miter hobn?
1955
Di mame iz gagangen in mark arayn
1955
Ikh ze shoyn aroys, lyube mayne
1948
Ikh shtey mir un kler
[Note on typewritten tape log in tape box:] Home for the Aged.
1949
Ikh zits un shpil mir oyf der gitare
[Note on typewritten tape log in tape box:] Fragment.
1955
Vos hostu mir opgeton?
1955
In droysn iz a triber tog
[Handwritten note on typewritten tape log in tape box:] [Illegible ?? ] Treasury
1962
Oy lomir beyde a libe shpiln
[Handwritten note on typewritten tape log in tape box:] Feygl
1962
Oy sheltn shelt ikh dem tog fun mayn geboyrn
[Handwritten note on typewritten tape log in tape box:] Feygl
1957
Forn forstu fun mir avek
[Handwritten note on typewritten tape log in tape box:] F+B
1957
Tif in veldele
[Handwritten note on typewritten tape log in tape box:] F+B
1957
Zits ikh mir oyfn benkele
[Handwritten note on typewritten tape log in tape box:] F+B
1957
Ikh zits un shpil mir oyf der gitare
[Handwritten note on typewritten tape log in tape box:] F+B
1957
Vos hostu mir opgeton?
[Handwritten note on typewritten tape log in tape box:] F+B
1957
Oyf dem yam veyet a vintele
[Handwritten note on typewritten tape log in tape box:] from Oak
1957
Ale vaserlekh flisn avek
[Handwritten note on typewritten tape log in tape box:] from Oak
1957
In droysn iz fintster
[Handwritten note on typewritten tape log in tape box:] from Ari
1957
Ven es dremlt dos shtetl di lodns farmakht
[Handwritten note on typewritten tape log in tape box:] from ?
1957
Vi azoy kon ikh lustik zayn?
[Handwritten note on typewritten tape log in tape box:] in Treasury.
1957
Mekhires Yoysef and comments
[Note on typewritten tape log in tape box:] Purimshpil. Fragments from M’KHIRES YOYSEF, recalled by Anne Kline, from listening to her mother at work, when she was only 5 years old, in Poland. Although she recalls only fragments here and there, her feelings about these memories are very interesting.
Az ikh bin a kleyn kind geven
1963
Shteyt nor oyf mentshn gants fri
[Note on typewritten tape log in tape box:] He says his father, who was a badkhn, sang this song.
1963
Veyst ir vos ikh bin?
[Typewritten log inside tape box gives informant’s name as: “Lerer” Zachar.]
1955
Gevald-zhe brider, vos shloft ir?
[Note on typewritten tape log in tape box:] Allan Warshawsky’s tape
1961
Oy, dayn galitsyen iz arayn der fonye
[Note on typewritten tape log in tape box:] Topical.
1962
Got hot bashafn mentsh oyf der velt
1962
Raboysay, raboysay
1962
Zol ikh vern a rov?
1962
Ver vet dikh mayn kind vashn un tsirn?
1962
An es un a trink! (Street cries)
1962
Heyse bubelekh (Street cries)
[Note on typewritten tape log in tape box:] Poland.
1962
Papshoyes heyse (Street cries)
1947
Limunada, kamu nada? (Street cries)
1957
Draytsn, vayber (Street cries)
[Note on typewritten tape log in tape box:] Bessarabia.
1957
Hayse arbes (Street cries)
1957
Papirosi (Street Cries)
1957
A bayshpil ken ikh aykh mentshn gebn
[Note in typewritten tape log in tape box:] Home for the Aged.[Handwritten note on typewritten tape log in tape box:] Zunzer p. 224 s [or p. 224 5 ??]
1948
Ikh alter man
1948
Zey shpiln vifil zey viln
[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
Der alter man
[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
Tsu dayn bar-mitsve
[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
Zog mir sheyn meydl
Taped at Educational Alliance Camp, Patterson, N. Y.
[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY.
Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc.
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
Vos iz mir azoy fintster mayn velt
[Note in typewritten tape log in box:] Akore lid. “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
Oy, hert zikh ayn, mayne libe mentshn
[Note in typewritten tape log in box:] Betler lid. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
"Ethnomusicologist Ruth Rubin collected and translated this street singer’s tune in 1955 from Yankl Zipper, who had immigrated to Montreal and remembered it in Lithuanian Yiddish dialect from pre-WWII Europe. As noted by collection editors Chana Mlotek & Mark Slobin, a very similar supplicant melody is a central motif in the widely famous 1936 film Yidl mitn fidl [Yidl with the Fiddle], starring American-born Yiddish actress Molly Picon and made on location in Poland. It seems quite likely that the mendicant movie theme inspired a real-life busker’s song." (From Eve Sicular)
1955
Az men vet dir fregn, yingele
[[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Oy, nakhes fun kinder
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Uma lekhayim, uma leze?
[Note in typewritten tape log in box:] Betler lid. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Bay dem krankn yingls betl
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
A bayshpil, ken ikh aykh mentshn gebn
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Az okh un vey iz tsu dayne yorn
[Note in typewritten tape log in box:] Shmad lid. “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1961
A veltele a kleyns
[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
A gutn ovnt Brayne
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1961
Es iz shoyn fintster...
[Note in typewritten tape log in box:] A ballad about “Mother Rebecca’s Death” [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1948
Az di mashine iz in gantsn
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1948
Az du vest zogn lekho dodi
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1949
Vos rayst ir dem goyses?
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1949
A kind iz dos a goldene
[Note in typeritten tape log in box:] Satire. [[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
In beys-medresh
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Glik iz faranen
[Note in typewritten tape log in box:] Popular? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
In Sahara
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
A rebe zogt toyre
[Note in typewritten tape log in box:] Folklore satire. [Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
A beymele
[Note in typewritten tape log in box:] Zunser? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
A frilings tog
[Note in typewritten tape log in box:] Literary origin? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Bay eyn zayt vaser shtey ikh
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Yugnt, yugnt
1955
Oy, giter brider
[Note in typewritten tape log in box:] Satirical.
1964
Fraytik in der fri
[Note in typewritten tape log in box:]Folklore.
1948
Bay mayn balebos
1962
Vos iz dos shenste...
1962
Funem sheynem vortsl aroys
1962
Her oys, du meydele
1962
Ven di volst
[Note from typewritten tape log in box:] German fragment, relates to [Tape 20 Songs] 1 & 5 here.
1950
Nem aroys a ber fun vald
1962
Meydele du sheyns
1956
Du meydele du sheyne
Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.
1948
Her oys, du meydele
Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.
1948
Nem aroys a ber fun vald
1948
Oy, vay iz tse miyer
1962
A kadril
Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.
1953
Hot zikh mir di zip tsezipt
1948
Royte kershelkh raysn mir
1948
Shayn, biste, shayn
1962
Shayn bisti lyubtshe
1962
Eyns, tsvey, dray, fir...
1948
Ayn trombelayn polke
1948
Ikh hob geboyt a moyer
[Note from typewritten tape log in box:] From Jesse’s tape collection.
1961
Az ikh vel zogn likras doydi [sic]*
aka Az ikh vel zingen lekho doydi
1964
Shoyn nishto der nekhtn
1962
Eyn kol vayn
[Note from typewritten tape log in box:] At a house party. Someone was playing the piano slightly.
1948
Ven der shatkhn iz gekumen tsu dem zeydn
[Handwritten note on typewritten tape log in box:] Di mashke. [Typewritten note in black hardbound catalog:] Text: Velvl Zbarzher (actually Mikhl Gordon)
1962
Lomir alemen bagrisn
1961
Lomir ale in eynem
1961
Oy, di fleshl
1948
Gey ikh mir mit gikhe trit
[Note on typewritten tape log in box:] Taped during a class session in folksong collection. First stanza was distorted. Song begins on refrain.
1948
Sholem aleykhem
1948
Mashke lomir trinken brider
1948
Bin ikh a sheyn bokher
[Note on typewritten tape log in box:] From Jesse’s tape.
1961
Lekhayim rebenyu
1956
Sholem aleykhem
1956
Hostu Beyle gutn mid?
1956
Eyle toyldes Noyekh
1956
Az okh un vey iz tsu mayne yorn
[Note in typewritten tape log in box:] Shmad lid. “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1961
A veltele a kleyns
[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
A gutn ovnt Brayne
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1961
Es iz shoyn fintster...
[Note in typewritten tape log in box:] A ballad about “Mother Rebecca’s Death” [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1948
Az di mashine iz in gantsn
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1948
Az du vest zogn lekho dodi
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1949
Vos rayst ir dem goyses?
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1949
A kind iz dos a goldene
[Note in typeritten tape log in box:] Satire. [[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
In beys-medresh
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Glik iz faranen
[Note in typewritten tape log in box:] Popular? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
In Sahara
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
A rebe zogt toyre
[Note in typewritten tape log in box:] Folklore satire. [Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
A beymele
[Note in typewritten tape log in box:] Zunser? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
A frilings tog
[Note in typewritten tape log in box:] Literary origin? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Bay eyn zayt vaser shtey ikh
[No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1955
Yugnt, yugnt
1955
Oy, giter brider
[Note in typewritten tape log in box:] Satirical.
1964
Fraytik in der fri
[Note in typewritten tape log in box:]Folklore.
1948
Bay mayn balebos
1962
Vos iz dos shenste...
1962
Funem sheynem vortsl aroys
1962
Her oys, du meydele
1962
Ven di volst
[Note from typewritten tape log in box:] German fragment, relates to [Tape 20 Songs] 1 & 5 here.
1950
Nem aroys a ber fun vald
1962
Meydele du sheyns
1956
Du meydele du sheyne
1948
Her oys, du meydele
Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.
1948
Nem aroys a ber fun vald
1948
Oy, vay iz tse miyer
1962
A kadril
Item numbers in black hardbound catalog do not match tape log in tape box. These item numbers in this database correspond to the track log in the tape box, not to the black hardbound catalog.
1953
Hot zikh mir di zip tsezipt
1948
Royte kershelkh raysn mir
1948
Shayn, biste, shayn
1962
Shayn bisti lyubtshe
1962
Eyns, tsvey, dray, fir...
1948
Ayn trombelayn polke
1948
Ikh hob geboyt a moyer
[Note from typewritten tape log in box:] From Jesse’s tape collection.
1961
Az ikh vel zogn likras doydi [sic]*
aka Az ikh vel zingen lekho doydi
1964
Shoyn nishto der nekhtn
1962
Eyn kol vayn
[Note from typewritten tape log in box:] At a house party. Someone was playing the piano slightly.
1948
Ven der shatkhn iz gekumen tsu dem zeydn
[Handwritten note on typewritten tape log in box:] Di mashke. [Typewritten note in black hardbound catalog:] Text: Velvl Zbarzher (actually Mikhl Gordon)
1962
Lomir alemen bagrisn
1961
Lomir ale in eynem
1961
Oy, di fleshl
1948
Gey ikh mir mit gikhe trit
[Note on typewritten tape log in box:] Taped during a class session in folksong collection. First stanza was distorted. Song begins on refrain.
1948
Sholem aleykhem
1948
Mashke lomir trinken brider
1948
Bin ikh a sheyn bokher
[Note on typewritten tape log in box:] From Jesse’s tape.
1961
Lekhayim rebenyu
1956
Sholem aleykhem
1956
Hostu Beyle gutn mid?
1956
Eyle toyldes Noyekh
1956
Ver s’vil nor rimen shtet un shleser
[Note on typewritten tape log in tape box:] The tune is the American folksong: Dixie! [Possible problem with tape speed of many or all tracks on Tape 25.]
1962
Moyshe Perenson talks about his life and work
[Possible problem with tape speed of many or all tracks on Tape 25.]
1962
Ma noymar uma nedaber
[Note on typewritten tape log in tape box:] Passover. Cumulative song which she sang at the wedding of her grandchild. [Possible problem with tape speed of many or all tracks on Tape 25.]
1961
Farvos iz dos blumele farvyalet
[Note from E. Biezunski: A version of the song can be found in Eleanor Mlotek’s songbook “Mir trogn a gezang,” with this note: “Form the poem by the Indian poet, Rabindranath Tagore (1861-1941. One version published in 1932 by A. Z. Idelsohn; another in 1946 by Ben Yomen.”] [Note on typewritten tape log in tape box:] Literary origin. [Possible problem with tape speed of many or all tracks on Tape 25.]
1948
Max Makofsky talks about his life and work
[Note on typewritten tape log in tape box:] Max Makofsky talks about his life and work. [Possible problem with tape speed of many or all tracks on Tape 25.]
1948
Oy, elnt, elnt
[Possible problem with tape speed of many or all tracks on Tape 25.]
1948
Oy, ir yorn, yunge yorn
[Note on typewritten tape log in tape box:] Fragment. [Possible problem with tape speed of many or all tracks on Tape 25.]
1948
Bin ikh a tsigayner
[In typewritten tape log in tape box this title is given as: Bin ikh a tesegayner] [Possible problem with tape speed of many or all tracks on Tape 25.]
1948
Tri Sentala Mesala
[Note on typewritten tape log in tape box:] Fragment of Rumanian parallel to Ekhod mi yodea. [Handwritten note:] No. 10 should be on “Mixed language” tape. [Possible problem with tape speed of many or all tracks on Tape 25.]
1948
Flaker fayer (fragment)
[Note on typewritten tape log in tape box:] Fragment. Goldfaden’s Shulamis. Her comments on background of this song. [Possible problem with tape speed of many or all tracks on Tape 25.]
1948
Shteyt oyf, brider, vos shloft ir?
[Possible problem with tape speed of many or all tracks on Tape 25.]
1948
A kleyn kindenyu gevezn (fragment)
[Note on typewritten tape log in tape box:] Fragment. [Possible problem with tape speed of many or all tracks on Tape 25.]
1950
In droysn iz fintster
[Possible problem with tape speed of many or all tracks on Tape 25.]
1950
Papir iz dokh vays (fragment)
[Possible problem with tape speed of many or all tracks on Tape 25.] Informant sings one of the later verses from the song.
?
Oy helft mir kinder unter
[Note on typewritten tape log in tape box: ] Age eleven [Ora]. Age nine [Michael]. Second-generation American-Jewish children, who learned the song by rote.
1947
A bayshpil ken ikh aykh mentshn gebn
1948
A mentsh vert keyn mol nit mid
1948
Lomir zikh iberbetn
[Note on typewritten tape log in tape box:] New York Guild for Jewish Blind. This blind woman’s father was a cantor. Song originally recorded by Cantor Josef Rosenblatt (Victor 55291 mx. CVE-35370-2 NY 5/5/26) Label indicates composers as Zeitz - Rosenblatt - Portnoff. RS credits Joseph Rumshinsky.
1950
Mnukhe, simkhe
[Note on typewritten tape log in tape box:] His daughter Rebecca Soyer is humming along with him.
1948
Oy, ver s’iz nisht geven
[Note on typewritten tape log in tape box:] Mrs. S “created” this...[and the previous song.]
1961
Lomir ale zingen
[Note on typewritten tape log in tape box:] Mrs. S. “created” this and the following song. This particular tune is an old Chassidic tune, which was utilized also for a popular Israeli hora, still sung.
1961
Yankele mit Rivkelen
[Note on typewritten tape log in tape box:] The “bim-bom” is an artificial attachment here.
1958
Ikh hob opgelebt a lebn
1958
Ver s’hot im gekent
1958
O, kum shoyn shtiler ovnt
[Note on typewritten tape log in tape box:] Evening song.
1958
Vos zogt ir oyf der hayntiker velt?
[Note on typewritten tape log in tape box:] The songs appearing on different tapes, from the Axelbank family, were taped by their brother Lazar, on a wire recorder. Their sister, Basye, usually takes the lead. At times a brother, leads off. But usually, they all know the songs and chime in. Unfortunately, the wire recording was a poor one and the material did not become enhanced when transferred to my tape recorder, either.
1958
Hert-zhe na kredit
[Note on typewritten tape log in tape box:] The songs appearing on different tapes, from the Axelbank family, were taped by their brother Lazar, on a wire recorder. Their sister, Basye, usually takes the lead. At times a brother, leads off. But usually, they all know the songs and chime in. Unfortunately, the wire recording was a poor one and the material did not become enhanced when transferred to my tape recorder, either.
1958
Ikh zog dir der emes
[Note on typewritten tape log in tape box:] The songs appearing on different tapes, from the Axelbank family, were taped by their brother Lazar, on a wire recorder. Their sister, Basye, usually takes the lead. At times a brother, leads off. But usually, they all know the songs and chime in. Unfortunately, the wire recording was a poor one and the material did not become enhanced when transferred to my tape recorder, either.
1958
Vi ken ikh zikh treystn
[Note on typewritten tape log in tape box:] New York Public lLbrary, Tremont Branch. He wrote this song himself, he said, to express his sorrow at the destruction of 6,000,000 Jews under the German occupation. It is primitive, but sincere.
1957
Fregt di velt an alte kashe
1956
Di velt iz gevorn geadlt
[Note on typewritten tape log in tape box:] Y.M.H.A.
1956
Dos lebn iz a kamf
[Note on typewritten tape log in tape box:] Y.M.H.A. Item number 384 is used twice in black hardbound catalog, so this item is marked 384 a in database.
1956
Do ligt der pastekh
[Note on typed tape log inside tape box:] Mr. Sternberg, who sings Nos. 8 and 9, claimed that he wrote the songs himself. No. 8, is based on philosophical thoughts of the sadness of parents who have to depend on their children. No. 9, he wrote, upon the tragic destruction of our six million under the German occupation. Both seem to have used both the “tchine” [sic tkhine ??] and “badchon” [sic badkhen ] styles...
1956
Oyfn ayz bay der polonke
[Note on typed tape log inside tape box:] Mr. Sternberg, who sings Nos. 8 and 9, claimed that he wrote the songs himself. No. 8, is based on philosophical thoughts of the sadness of parents who have to depend on their children. No. 9, he wrote, upon the tragic destruction of our six million under the German occupation. Both seem to have used both the “tchine” [sic tkhine ??] and “badchon” [sic badkhen ] styles...
1956
In dem hoyz vu men veynt un men lakht
41312 From first-generation (spliced) tape. Duplicate tape is missing. [Note handwritten on typed tape log inside tape box:] No. 7 should possibly have been included on a tape of “Americana”
1956
Mame-loshn, yidish loshn
1956
Vos bistu azoy troyerik, Nokhemke?
1956
A meydele fun draytsn yor
1956
Tsvishn di shtern
Comment by Itzik Gottesman: This is a song by Elyokum Zunser. The Mloteks write about it in their Forverts column Jan. 31st, 1971.
1956
Bay nakht ven ale shlofn shoyn
1956
Mayn zeydenyu glaykht tsi geyn in shil
[Note on typewritten tape log in tape box:] American theatrical? [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
Vi vel ikh nemen
[Note in typewritten tape log in box:] “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
Se blondzhet arum
[Note in typewritten tape log in box:] There was a slight fadeout on a phrase in no. 14. “Camp Solomon” is an adult recreation camp, conducted by the educational Alliance. The camp has since moved to Lake Charles, NY. Some of the songs sung by their “elderly” campers. may be moralistic, badkhonish, as well as American theatrical or popular, folkloristic, etc. [No record for Tape 21 or Tape 22 in typewritten black hardbound catalog.]
1956
Lomir ale in eynem
1955
Balabatim hayoyshvim
[Note on typewritten tape log inside box:] Mixed Hebrew and English
1955
Hot der rebe gemakht a koyse
1961
Shabes, shabes
1949
A rod in arinyen
[Ruth Rubin’s mother.]
1948
Rigele, rigele, roygez
[Ruth Rubin’s mother.]
1948
Kar, kar, voronar
[Ruth Rubin’s mother.]
1948
Mayn tate heyst Efroyim
1964
Rot, rot, pulevoy
[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.
1961
Eyndl beyndl
[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.
1961
A sheyne meydl bin ikh dokh
[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.
1961
Iz gekumen di kozele
1961
Bay dem shtetl
1948
Ay, bin ikh mir ayn yunge
1948
Khayimets mit di kets
1948
Khayim balabayim
1948
Ovinu foter
[Note on typewritten tape log in box:] From Stonehill’s tape.
1948
Vi di hener kloybn shpener
1948
Enge benge
1948
Eyndl beyndl
1948
Oy a foterl, toy otets
1948
S’kumt shabes hagodl
1956
Shpits boydem oyf dr’erd
1956
Koymenkerer, vasersherer
1956
Dos fingerl brengt hots
1956
Khamer-eyzl
1956
Koyf lekekh
1956
Itsik shpitsik
1956
Oy dem rebns spodik brent
1956
Belfer, gehelfer
1956
Uter, tuter
1956
Unter der brik
1956
Tsindts on lekht
1956
Oy, di berl
1956
Sheyn bin ikh, sheyn
1956
Shpiln mir in kestelekh
1956
Shvimt a meser
1956
Sholem aleykhem
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Zinkever Chassidic song.Mother’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Shoyn nishto der nekhtn
1962
Eyn kol vayn
[Note from typewritten tape log in box:] At a house party. Someone was playing the piano slightly.
1948
Ven der shatkhn iz gekumen tsu dem zeydn
[Handwritten note on typewritten tape log in box:] Di mashke. [Typewritten note in black hardbound catalog:] Text: Velvl Zbarzher (actually Mikhl Gordon)
1962
Lomir alemen bagrisn
1961
Lomir ale in eynem
1961
Oy, di fleshl
1948
Gey ikh mir mit gikhe trit
[Note on typewritten tape log in box:] Taped during a class session in folksong collection. First stanza was distorted. Song begins on refrain.
1948
Sholem aleykhem
1948
Mashke lomir trinken brider
1948
Bin ikh a sheyn bokher
[Note on typewritten tape log in box:] From Jesse’s tape.
1961
Lekhayim rebenyu
1956
Sholem aleykhem
1956
Hostu Beyle gutn mid?
1956
Eyle toyldes Noyekh
1956
Lomir ale in eynem
1955
Balabatim hayoyshvim
[Note on typewritten tape log inside box:] Mixed Hebrew and English
1955
Hot der rebe gemakht a koyse
1961
Shabes, shabes
1949
A rod in arinyen
[Ruth Rubin’s mother.]
1948
Rigele, rigele, roygez
[Ruth Rubin’s mother.]
1948
Kar, kar, voronar
[Ruth Rubin’s mother.]
1948
Mayn tate heyst Efroyim
1964
Rot, rot, pulevoy
[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.
1961
Eyndl beyndl
[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.
1961
A sheyne meydl bin ikh dokh
[Note on typewritten tape log in box:] From Allan Warshawsky’ tape.
1961
Iz gekumen di kozele
1961
Bay dem shtetl
1948
Ay, bin ikh mir ayn yunge
1948
Khayimets mit di kets
1948
Khayim balabayim
1948
Ovinu foter
[Note on typewritten tape log in box:] From Stonehill’s tape.
1948
Vi di hener kloybn shpener
1948
Enge benge
1948
Eyndl beyndl
1948
Oy a foterl, toy otets
1948
S’kumt shabes hagodl
1956
Shpits boydem oyf dr’erd
1956
Koymenkerer, vasersherer
1956
Dos fingerl brengt hots
1956
Khamer-eyzl
1956
Koyf lekekh
1956
Itsik shpitsik
1956
Oy dem rebns spodik brent
1956
Belfer, gehelfer
1956
Uter, tuter
1956
Unter der brik
1956
Tsindts on lekht
1956
Oy, di berl
1956
Sheyn bin ikh, sheyn
1956
Shpiln mir in kestelekh
1956
Shvimt a meser
1956
Sholem aleykhem
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Zinkever Chassidic song.Mother’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Bereyshes hatoyro
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] mixed Yiddish and Hebrew. Keyder boys song. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Shir hamaloys
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Hebrew from her father, my grandfather. Mother’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
In sokhe ligt di mazl brokhe
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Text and tune: E. Zunzer. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Es geyt a sholtik oyfn gas
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Street song. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Zog mir mayn shvester
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Zionist song. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Heybt dem bekher
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Mark Warshawsky. Fragment. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarabia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Leshono habo beyerushalayim
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Mark Warshawsky. Fragment. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarabia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Ot azoy neyt a shnayder
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Work song. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Henekhs vayb
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Apprentice boys’ song. Mother’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Zhili bili dyed i baba
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Ukrainian children’s tale.Mother’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Five children’s rhymes and games
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Unika dunika lifali; Engele, bengele ‘s andere shtrengele; Mamlige mamelay; Ose kose shlisalay; Itsik shpitsik. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Ikh hob a kleynem yingele
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Text: Morris Rosenfeld. Lullaby. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Sadigurer tune
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Chassidic tune. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Sadigurer tune
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Chassidic tune. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Mir hameytser
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Mixed yiddish and Hebrew popular song. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Loy omes, ki ekhye
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Hebrew. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Zayt mir gezunt khavertes ale
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Song of the bride. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG 620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Sadigurer tune
[Typewritten tape log inside box gives informant’s name as: Rachel Grober-Spivack. Variant seen elsewhere: Rokhl Spivack. ?? Typewritten note on tape log:] Chassidic tune. Mother ’s varied repertoire is an excellent reflection of the different influences on her: the traditional home of her religious-Chassidic parents, the youth interest in Zion, the current songs of the 19th c. pets and popular tunesmiths, the Ukrainian world around her. (Mother was born and raised in Bessarbia.) [Note in typewritten catalog, RG620 black hand-bound hard-cover book:] My mother’s repertoire includes many influences: her childhood in her Chassidic home, the sounds and rhymes and songs of her youth (work songs, Zionist songs), the Slavic environment, Hebrew songs from the Kheyder, where her six brothers studied... (Although one log indicates that the items on this tape were recorded in 1955 in New York City, the songs were actually recorded in different session ranging from the 1940s-60s. LS)
Bazetsn di kale
[Note on tape log inside box:] This bit of tape was sent to me by A. J. Lloyd, musicologist, from London, England, in July, 2964. His description of it is as follows: “I’m sending you a tiny present. It’s a tape copy of a recording sent to me by a musicologist friend in Rumania. But ITS NOT OF RUMANIAN music. Its an UKRAINIAN JEWISH WEDDING SCENE, recorde by a Jewish Ensemble in the early 30s...Its particulars are: Bazetsn di kale: Jewish Folk Music Ensemble, dir. M Rabinowitch, APRELEVSKI ZAVOD...The finddle music resembles the Rumanian doinas in which bartok was interested. Acoustically its nothing great...plenty of surface hiss, etc., but musically and folkloristically, it seems to me fascinating.” [Problem with volume and with sound quality.] Lazar Kalmanovich, Nekhama Vinyar acc. Ukrainian SSR State Ensemble of Jewish Folk Music conducted by Mark Rabinovitch (Aprelevski 5190/1) 41897 Ruth Rubin master tape was digitized.
1937
A dank dir gotenyu -- Dos freylikhe khosidl
41897 Ruth Rubin master tape was digitized.
1962
Di mekhutonim geyen, kinder
41897 Ruth Rubin master tape was digitized.
1962
Ikh gey aroys oyfn ganikl
41897 Ruth Rubin master tape was digitized.
1962
Gey ikh mir arayn
41897 Ruth Rubin master tape was digitized.
1962
Oyf dem hoykhn barg
Frume Freeman, Avreml Holland, Alec Waterman 41897 Ruth Rubin master tape was digitized.
1962
Di zun iz shoyn lang fargangen
41897 Ruth Rubin master tape was digitized.
1962
Vos vilstu muter hobn
[In black hardbound typewritten catalog, item number is duplicate of 16/5.] 41897 Ruth Rubin master tape was digitized.
1948
Vey iz tsi mayn lebn
41897 Ruth Rubin master tape was digitized.
1948
Ikh zits un badoyer
41897 Ruth Rubin master tape was digitized.
1948
Fort a yidele
41897 Ruth Rubin master tape was digitized.
1948
Ver klapt dort azoy shpet?
41897 Ruth Rubin master tape was digitized.
1962
Di velt hot bay mir
41897 Ruth Rubin master tape was digitized.
1948
Gloz, gloz, gloz
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Waltzing song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Bobele, bobele, vifl kinderlekh hostu?
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Bobele, vu geystu?
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Hotsmakh iz a blinder
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] “Blind mans buff.” In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Tsen brider zenen mir gevezn
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cumulative song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1962
Kanvaser
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] “Swing around.” In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1962
Hob ikh mir a kleynem Mikhalku
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Activity song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1962
Hob ikh a por oksn
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cumulative song. Activity game. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1962
In a kleynem shtibele
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring activity game song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1962
Funem sheynem vortsl aroys
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cumulative game song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Shikt der har a poyerl in vald
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cumulative game song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook.
1957
Treti, treti, treti
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring game song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1962
Eytekh, beytekh
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
A yuks, a fuks
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] From friend b. Lithuania. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Khaver, khaver
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Hon, hon, royter hon
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Skipping song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Sheyn bistu
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. From Polish friend. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Oy, di berl
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunting song. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Kalenyu, kalenyu, veyn
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Oyf vos shteystu?
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Babetse, babetse
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Eydl, eydl, yospe
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Finger game. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Eyle, meyle, Yoshke
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Finger game. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Eytekh, beytekh
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Rigele, rigele, roygez
[Note from Ruth Rubin’s typed (R6620, black hard-bound notebook):] From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Hey, hey, gib mir tey
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Skipping song. From friend b. White Russia. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Hey, hey, hemerl
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Cat-and-mouse game. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Hoptshik-tshak
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Piggy-back rhyme. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Kanvaser
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring game. From friend b. Poland. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Iger, miger
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Skipping song. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Khayemets mit di kets
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. From friend b. White Russia. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Khayim balabayim
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. From friend b. White Russia. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Ose, kose, shlisalay
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Mamelige, mamelay
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Itsik, shpitsik
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Taunt. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Got, got, gib a regn
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Skipping rhyme. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
A zun mit a regn
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring game. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
A rod in arinyen
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Ring game. From Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Ona, dona, lifali
[Note from Ruth Rubin’s typed catalog(R6620, black hard-bound notebook):] Counting-out rhyme, from Mother. In 1957 I came across an old notebook with children’s rhymes and games, which I had collected before I had a tape recorder. These were taped a good deal from memory and the notebook. 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These records are for YIVO edition of the tape. The LOC tape was the one digitized.
1957
Eyne kleyne vayse taybl
[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.
1957
Eyns - a miling
[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.
1957
Eyns, tsvey
[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.
1957
Ende, pende
[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.
1957
Eynerike, beynerike
[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.
1957
Dray soldatn
[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.
1957
Shvimt a meser
[Note from LOC catalog] Counting-out rhyme 41897 two different editions of the tape, Our (YIVO) tape has 39 tracks and the Library of Congress edition has 46 songs. These 7 songs reflect the LOC tape. The LOC tape was the one digitized.
1957
Engele, bengele
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1957
Eyns, tsvey, dray
[Note from tape log inside box] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1957
Enge, benge
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1957
Eyndl, beyndl
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1957
Amol iz geven a meydele
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
A shtekele arayn
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
A hun, a hon
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
Amol iz geven a mayse
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
Mikh ruft men Zalmen
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
Tsigele, migele, kotinke
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
In a kleynem shtibele
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
Nisht geshloftn, nisht gavakht
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
Klayn yidele
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
Bubi, bubi, laysele
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
Kelbele, ma
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
Ver koyft?
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1950
In a shtetele pityepoy
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
Itsik, shpitsik
[Ruth Rubin’s mother. Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
Ose, kose, shlisalay
[Ruth Rubin’s mother. Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
Unika, dunika, lifali
[Ruth Rubin’s mother. Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
Fun papir a hendele
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
A gutn purim ale aykh
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
Kanvaser, veykhvaser
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
Ikh bin grin
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
Shpits boydem
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1948
Ote, bote, bulevan
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1962
Eytl, beytl
[Note from tape log inside box:] The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1962
Sheyn bin ikh, sheyn
[Note from tape log inside box:] Rochele’s parents are professional actors. Rochele often acts with them on stage. But this little song, in its older variant is done very traditionally by her. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape..
1961
Hey, hey, hemerl
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Amol iz geven a maysele
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Oyfn hoykhn barg
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Arsh, arsh, povoli
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Patsh, patsh, kikhelekh
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Pi, pi, pi
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Eyns, eyns, u
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Got, got gib a regn
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Shpits boydem tsu dr’erd
[Note from tape log inside box:] From Dr. L. Axelbank’s wire recorder. The Axelbanks engaged in a memory session” which was taped on wire by their brother, who then passed some of it on to me. The Children’s World embraces all manner of rhymes, taunts, and teasers, game songs, tales, etc. Where the singer is old, lapse of memory is evident and often several rhymes are combined. My own absorption with this material is also evident and “my mother’s childhood” has become fused with my own, plus, the material which “passed through my hands” (and memory) through my many informants. 41890 Both Ruth Rubin and LOC tapes were digitized. The Ruth Rubin tape is missing some tracks, and when individual tracks were made on 10/2/14 the LOC tape was used. The LOC tape has 37 tracks and Ruth Rubin tape 32. Catalog has been updated to reflect LOC tape and not Ruth Rubin tape.
1958
Ens tsvey dray
[Tape 13 Songs 19 & 20] These two were collected during a group session at a branch library in New York City [Bronx].
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:]
My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants.
1957
Shpits boydim on erd
[Tape 13 Songs 19 & 20] These two were collected during a group session at a branch lbrary in New York City. Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1957
Enge, benge, stupe, stenge
Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. A fast, rhyming tongue twister! 41842
1956
Roti, roti, poldovay
She explains the game in English. Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. Ms. Michaels prefaces each section of the song with an English explanation. The children are in a circle, with hands cupped. One child stands into the center of the circle, and closes his/her eyes. Another child places a ring or other object iin the hands of a third child and all the children close their hands. The one in the center has to guess in whose hand the object is. “...in vemens hant ligt dem goldenem fingerl” If s/he answers correctly another child goes into the center; if not the game repeats with the same child in center. 41842
1956
Rigele, rigele, roygez
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1956
Lomir hern vos der fidl zogt
Fragmentary. [Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1956
Moyshe, koyshe
[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1956
Tants, tants, tants
[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. His mother or grandmother would sing this, taking the children by the hands 41842
1956
Hot der hashem yisborekh aropgeshikt
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. Song almost identical to #9, "Shikt der har a poyerl in vald" except the agent commanding is different. 41842
1955
Untern keyzers fenster
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. Apparently the first part of the sentence is missing - or the conversation the singer is responding to. She says (in Yiddish) that 65 years ago, she went to kheyder with her brother 41842
1955
Oy iz a foter
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1955
Shikt der har a poyerl in vald
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. The har (nobleman) sends various objects and people to do harm - like a stick to beat the peasant, fire to burn the stick, water to quench the fire - but they don’t do what the har intends. (Each object gets added and repeats in backwards order.) Almost identical to #12, “Hot der hashem yisborekh aropgeshikt.” 41842
1955
A mol iz geven a meydele
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. Sorele (pretty) & Moshe (small)’s mother goes to the market and doesn’t come back right away... they go into the woods and get lost, meet big, black bear, says what are you doing in the woods, aren't you afraid? I'm going to eat you up. The children promise their mother's poppy cookie. Bear leaves, then came a wolf. Ditto to bear. There is a storm and they are crying. The singer adds another verse - an angel suddenly came & led them out of the woods. 41842
1947
A mol iz geven a kleyn yingele
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. This song is similar to "Old MacDonald had a farm" - various animal sounds (meow, huf) are made, and repeated as each new animal is added. 41842
1949
Rebe s’iz nito keyn keyz
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1949
Kukeriku...Kukeriki...
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. Ms. Soyer in English, introduces slightly different version, thus two Yiddish versions. 41842
1949
A mol iz geven a meydele
[Note from typewritten hardbound black catalog, RG 620:] B. Wasserman, age 6, & her mother Dora 41842
1955
Shpiln mir in kestelekh
[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1948
Eyle toyldes noyekh
[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1948
In a shtetele Pityepoy
[Note from tape log on outside of tape box 12 for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory...I later picked up many more from my informants. 41842
1948
Ikh bin grin
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Got, got, gib a regn
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Tsigele, migele, kotinke
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Engele, bengele, loz mikh lebn
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Unter der brik
[Tape 12 Song Number 27 was apparently left out of original handwritten tape log inside box cover & added later in typewritten catalog (R6620, black hard-bound notebook). Handwritten tape log has 31 total entries, missing this song. Typewritten catalog has 32 total entries, with this song added at bottom of list as Item 182: Song Number 27, after Item 181: Song number 31. ] [Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Amol iz geven a babetske
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Az der kleyner Moyshele
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Patshe, patshe, kikhelekh
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Feygele, feygele, pi pi pi
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Mitn fisele nokh a bisele
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Hop, tsik, tsak
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Eydl, eydl, yospe
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
In a shtetele Pityepoy
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Hob ikh mir a kleynem Mikhalku
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Hob ikh a por oksn
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Yome, Yome zing mir a lidele
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Shpits boydem tsi dr’erd
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Vi es iz biter
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Di baleboste geyt arayn, hop dunay, dunay!
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Laytishe mazoles
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Moyshe merushe oyf yener velt
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Kalenyu, kalenyu, veyn
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
A stolazh iz gegangen
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Eyns, eyns, u
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Oy rebe, s'iz nito kayn keyz
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Tote, tote, gey oyfn ben-zuker
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Sheyn bin ikh, sheyn
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Oy rebe, s'iz nito kayn keyz
[Oy rebe s’iz nito keyn keyz] [Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Oyfn hoykhn barg
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Untern keyzers fenster
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Eyle toydes Noyekh
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Sorele dushinke
[Note from tape log on outside of tape box for the original, spliced tape, not included on the tape log of the dupe:] Sung first in gibberish, then in Yiddish clearly... My childhood in Montreal, Canada, is closely bound with my Yiddish education in a secular Jewish school. Many of these rhymes stem from that environment, as well as the one at home, where my Bessarabian-born mother, shared her own childhood memories of games and rhymes and taunts and teasers, with me. Blessed with a retentive memory... I later picked up many more from my informants.
1950-1960
Reb Nakhman Bratslaver hot geheysn
[Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc. [Is Singer M. Robbins of 2/8, 2/21 same as Dr. Robbins of 11/14, 53/15? Same date & place. Name is taken from tape log inside box cover; name given in typed Ruth Rubin catalog (R6620, black hard-bound notebook) is Dr. Robins.]
1962
Oy hert nor Reb Todres
[Notes from tape log inside box:] Satire. Raphael Mahler (Israeli) Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.
1962
U’bney (Tsu Sholesh Shudes)
[Note from Ruth Rubin’s typed catalog (R6620, black hard-bound notebook):] Fragment, Umaner Chassidic tune “Tsu sholesh sudes” [Note from tape log inside box:] KHASSIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers...The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party...The question marks indicate doubt as to the type of NIGGUN (or tune) this might be...It may or may not be a Khassidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals...
1962
Undzer rebenyu
[Singer’s name taken from tape log inside box cover. First name spelled with typos on other tapes & in Ruth Rubin typed catalog (R6620, black hard-bound notebook) given as: Z. Lewitan.] [Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.
1958
Vuhin fort a yid
[Note from Ruth Rubin’s typed catalog(R6620, black hard-bound notebook), and from tape log inside tape box:] Fragment, Sadigurer drink song. Taken off Dr. Lazar Axelbank’s wire recorder Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.
1958
Kayn Kotsk fort men nit
Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.
1955
Lekhayim rebenyu
[Note from tape log inside box:] “Lerer” Zachar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name as: S. Zachar.] [Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.
1955
Shtil, shtil, shtil
name in tape log inside box is given as:] ”Lerer” Zakhar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name as: S. Zachar.] [Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc. It should be noted that the songs rendered by Zachar here, are being sung by a very old man. No doubt, when he first sang these songs some 50 years ago, he must have done so with a good deal more spirit and energy.
1955
Firt dem rebn in shul arayn
[Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name as: S. Zachar.] [Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc. It should be noted that the songs rendered by Zachar here, are being sung by a very old man. No doubt, when he first sang these songs some 50 years ago, he must have done so with a good deal more spirit and energy.
1955
Der rebele, der gabele
[Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name as: S. Zachar.] [Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc. It should be noted that the songs rendered by Zachar here, are being sung by a very old man. No doubt, when he first sang these songs some 50 years ago, he must have done so with a good deal more spirit and energy.
1955
in a zumer-tog a heysn
[Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc. [Singer’s name is taken from tape log inside box. Ruth Rubin’s typed catalog (R6620, black hard-bound notebook)gives name as: Mr. Arnoff.] Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.
1955
Yovo adir bimeyro
[Note from tape log inside box:] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.
1948
Es vet zayn voyl un fayn
Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc.
1955
Zol shoyn zayn geule
[Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar. [Singer’s name is taken from YIVO database, based on book “Yiddish Folksongs from the Ruth Rubin Archive.” Ruth Rubin’s typed catalog (R6620, black hard-bound notebook) gives name as: S. Zachar.] Not all of these songs are Chassidic [sic]. Some are anti-Chassidic; others are Moshiach [sic] songs, etc. It should be noted that the songs rendered by Zachar here, are being sung by a very old man. No doubt, when he first sang these songs some 50 years ago, he must have done so with a good deal more spirit and energy.
1955
Nign
[Note from tape log inside box:] (Niggun) ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1962
Simkhes-Toyre tune
[Note from tape log inside box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1962
Lo omes ki ekhye
[Sung by Ruth Rubin’s mother.] [Note from tape log inside box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1955
Husiatiner Tune
{Note from LOC Tape Log, (Same as Tape #7, No. 12)} [Note from tape log inside box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1955
Shneyer Zalmen’s Nign
[Note from tape log inside box:] Same as No. 7 here HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1948
Skverer tune
HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... Mr. Fried states (in Yiddish) his grandfather was a Khusid of the Skverer Rebbe and he often sang this on Shabbos - zmiros - and on various other occasions. 41897 Ruth Rubin tape was digitized.
1948
Nign
[Note from tape log inside tape box:] Niggun ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1962
Nign
[Note from tape log inside tape box:] Niggun ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1962
Nign
[Note from tape log inside tape box:] Niggun ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1962
Nign
[Note from tape log inside tape box:] Niggun ? KHASSIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers...The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party...The question marks indicate doubt as to the type of NIGGUN (or tune) this might be...It may or may not be a Khassidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1962
Nign
[Note from tape log inside tape box:] Niggun ? HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1962
Shneyer Zalmen’s Nign
[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1948
Nign
[Note from tape log inside tape box:] Niggun ? [Singer’s name made illegible by typos here, but given on Tape 11 tape log inside box cover as: Zusia Levitan] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1958
Lubavitsher tune ["der alter Rebbe's nign”]
[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1958
Mezhbezher tune
[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1958
Mezhbezher tune
[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1958
Mezhbezher tune
[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... 41897 Ruth Rubin tape was digitized.
1958
Mezhbesher tune
[Note from tape log inside tape box:] HASIDIC [sic] SONG without words, was a MALE song. Hence few women are carriers... The first four tunes were taken off a wire recorder owned by Lazar Axelbank, who recorded his family singing at a house party... The question marks indicate doubt as to the type of NIGN (or tune) this might be... It may or may not be a Hasidic tune. Many tunes were table songs tunes [sic], during festivals and Sabbath and holiday meals... To one listener this nign sounds very Hasidic - a march. Tape box states it is a Mezhbesher tune. The singer, Peysekh Axelbank relates (in Yiddish) after he sings that his music teacher, Khazan Hersh? taught solfege in Warsaw 41897 Ruth Rubin tape was digitized.
1958
Kol m’kadesh (Koydenover)
[Note from tape log inside box:] Kol m’kadesh - kiddush [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1962
Beratayo
Aramic (?) [sic] [Aramaic ??] [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1962
Kol m’kadesh
[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1954
Koydeover hopke-dance
[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1953
Lubavitsher tune
[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Koydenover tune
[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Koydenover tune
[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1947
Ato Bokhartonu
[Note from tape log inside box:]? [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1947
Lubavitsher tune
[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Koydenover tune
Frid [sic] joins Yudin here [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Shoshanos Yaankov (Koydenover)
[Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Eliyohu Hanovi (Koydenover)
[Note from tape log inside box:](Saturday night) “before m’lave malke...nokh havdole” (Includes Eliohu Hanovi) [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Kol m’kadesh (Koydenover)
[Note from tape log inside box](Friday evening) [Note from tape log inside box of tape 8:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Simkhes-Toyre tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Simkhes-Toyre tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Simkhes-Toyre tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Koydenover tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Tsu Sholesh Sudes
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1962
Koydenover Kazatske-dance
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Koydenover tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1953
Koydenover tune
[Note in typewritten tape log inside box:] Freylekhs. I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “cliking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1953
Hava nagila
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Koydenover Hopke-dance
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Lubavitsher tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1948
Simkhes-Toyre tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1956
Koydenever hopke-dance
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1956
Lubavitsher tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1956
Koydenover tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1956
Lubavitsher tune
[Note in typewritten tape log inside box:] I recorded AVREML YUDIN first in 1947 on disks. Subsequently, these disk recording were transferred to tape. That is why the “clicking sound” is heard on these early recordings. I taped Avreml Yudin many times later, as the dates above indicate. He sang many of the old tunes over and over again and the quality hardly changed through the years.
1954
Tune
Note in black hardbound catalog RG 620:] # [sic]
1956
Khabader tune
1956
Khabader tune
1956
Khabader tune
1956
Tune
[Note in typewritten tape log inside box:] text (Same melody as Nos. 2, 5, 8) [Title is from Ruth Rubin catalog (R6620, black hard-bound notebook). Title in tape log inside box cover is given as: ....]
1956
Husiatiner tune
1955
Al hasela, hakh, hakh
[Title is from Ruth Rubin catalog (R6620, black hard-bound notebook). Title in tape log inside box cover is Al Hasela, hach! hach!]
1955
Bratslaver tune
1955
“Shivas Tsion”
[Title is from typewritten Ruth Rubin catalog (R6620, black hard-bound notebook). On tape log inside box cover, title has been crossed out & another title written in Yiddish alef-beyz as: Dem zeydns nigun [sic] ]
1948
Sadigurer tunes
[Note in typewritten tape log in tape box:] same tune again...
1955
Tune
# [sic] Group at library in background
1955
Sadigurer tune
[Note in black hardbound catalog RG 620:] # [sic]
1955
Sadigurer tune
# [sic]
1955
Tune
[Note in black hardbound catalog RG 620:] # [sic]
1956
Sadigurer tune
[Note on typed tape log inside tape box:] from her mother who learned it from her father...See: Idelsohn, Jewish Music, p. 429.[Note in black hardbound catalog RG 620:] # [sic]
1955
Skverer tune
[Title is from tape log inside box cover. Title in Ruth Rubin catalog (R6620, black hard-bound notebook) is given as: Lubavitsher tune. On tape log, “Lubavitsher” is crossed out & “Skverer” written in by hand.]
1954
Tsvelef shlogt dokh shoyn der zeyger
[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. [sic] Later they were copied to tape.No. 13 was introduced by Mrs. Lobell as a [“]song fun mayn bobe Tsirl...[”]
1948
Mir veln avekforn in a fremder medine
[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. [sic] Later they were copied to tape.
1948
Tsvelf azeyger bay der nakht
[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape.
1948
A naye lid
[The title “a nay lid ken ikh aykh mentsh gebn” is from tape log inside box cover. Title in Ruth Rubin catalog (RG 620, black hard-bound notebook) is given as: A naye lid gehat (sic.: the “gehat is from song #9)][Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. [sic] Later they were copied to tape.
1948
A mol kh’hob ikh a shem gehat
[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape.
1948
Erev yonkiper n’halbn tog
1950
Keyner zet nisht vi mir iz biter
[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape.
1948
Es zaynen geven tsvey shvesterlekh
[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape.
1948
Es hot mir mayn mame dertseylt
[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape. Mr. Younin states that he learned during WWI - his father and sister sang it. He doesn’t remember the name of the composer but the text he knows from the Vilna editions for schools(?)
1948
Ver klapt es dort azoy shpet bay nakht?
[Note on typed tape log inside box of spliced tape:] The 1947 and 1948 items were first recorded on home-cut disks. Later they were copied to tape. No. 4 is sung by an American-born girl who picked the song up in a summer camp for adult recreation. (Occasionally the singers swallow the first word of the song...)
1947
Mit dayne zise reyd
[Note on typed tape log inside box of spliced tape:] (From Alan Warshawsky’s tape)
1961
Azoy vi es iz vey dem shvebele
[Note on typed tape log inside box of spliced tape:] No. 2 was given to me by Dr. Lazar Axelbank from his wire [recorder] collection.
1958
In a fintsterer sho, mame
(recorded at) Public library.
1957
Vos tut dos meydl in vald aleyn?
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression.The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]
1956
Gekent hob ikh a shnayderl-meydele
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]Recorded at YMHA.
1956
Her tsi got mayn geshrey
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]Recorded at YMHA.
1956
Oy, vi-zhe vestu forn, Shmerele mayn man?
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]Recorded at YMHA.
1956
Lomir veynen, lomir klogn
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]Recorded at YMHA.
1956
Oy, dray yor vi ikh hob a libe gefirt
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.] Recorded at Home for the Aged.
1956
Gelibt hob ikh a sheyn meydele
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]
1956
Zibn yor tsu vandern
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]Recorded at YMHA.
1956
A kholem kh’hot zikh mir gekholemt
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]
1956
Ikh lig oyf mayn geleger
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]
1956
Tsvelef shlogt dokh shoyn der zeyger
[Typewritten note on tape log inside box:] Note: Nos. 6, 7, and 10, show linguistic contamination. The original Yiddish East European terms may have already been forgotten by the singer, who has substituted more recent forms of expression. The noises heard on some of the tapes are [due] to traffic disturbances coming in through the windows, and the advanced age of the group, whose attention span is limited.]
1956
Mayn mame hot mir dertseylt
1955
Akh, vi a flam-helish fayer
1955
Oy a khaverte, a khaverte
1955
Oy eyne tsvey verter
1955
Ikh zits mir bay mayn arbet
1955
Mamenyu, lyubenyu
1955
Oy, shtil un ruik
1955
Tsvelf azeyger nokh halbe nakht
[Note in typewritten black hardbound catalog:] See 3/12.
1961
Di fayerdike libe
See T. 28 #8. [tape 28/8]
1961
Fun groys dasad
See 3/10. See: Ballads I, No.10.
1961
Un az du vest tnoyim shraybn
Ravitch states he heard this song in 1911 by the outstanding poet <a href="http://www.yivoencyclopedia.org/article.aspx/Kenigsberg_Dovid" target="_blank" rel="noopener">Dovid Kenigsberg</a>, born in 1892 [YIVO encylcopedia: 1891] in the shtetl Shvisz (sp.?) [YIVO Encylcopedia: Busk, in the Tarnopol district of eastern Galicia] who was not very popular. He was killed in 1942 in Lemberg. He wrote sonnets of high quality at first. Nevertheless, he had a talent for folk songs and folk feeling. Ravitch states that he is not a singer, and that this is the only folksong he knows - he sang it so many times he can’t forget it. Song is in 3/4 meter.
1961
A graf fun Ungarn
1961
Es hot mir mayn mamele dertseylt
[Note in typewritten black hardbound catalog:] See 3/11. In 3/4 time.
1961
Ay, tsvey brider
1948
Erev yonkiper
She heard this in her Polish shteltl (Festshive??) - when she was 20 or 25 (or in the 1920s?)?
1949
Gekent hob ikh a meydele
1955
Tsvelf a zeyger nokh halbe nakht
[Note in typewritten black hardbound catalog:] See See Tape 4, Song 6.
1955
Es hot mir mayn mame dertseylt
[Note in typewritten black hardbound catalog:] See See Tape 4, Song 4.
1955
Fun groysn dasad
[Note in typewritten black hardbound catalog:] See Tape 4, Song 1.
1955
O maminke, maminke
1955
Sheltn shelt ikh dem tog
1954
Ver-zhe klapt dort in mayn tir?
The boyfriend wants Nekhamele to open the door - she says how can I - I’m afraid of my mother/father/brother/sister...he says, I’m not staying long...you’re the most beautiful...
1948
Gey ikh mir arayn tsu mayn gelibter froy
1947
Es dremlt a shtetele
1947
A naye lid
1947
Tsvelf azeyger bay der nakht
Sultan mostly with a Litvish accent (”fleygn”) but one “floygn” is also sung.The man says he can’t marry her, it’s her parents’ fault; she is bitter.
1947
Vey iz tsu mayn lebn
he goes around like a lost sheep in a field...when he starts to remember his (lost) love...he feels sick, the doctor can heal him, but the pain in his heart, no one can
1947
Erev yom-kiper nokhn halbn tog
There are two versions, one by Goldman, the other by Sore Kessler - song #14.
1948
Der rebe tut vunder
[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]
1964
Tsi kent ir dos land?
[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10] [Is Singer M. Robbins of 2/8, 2/21 same as Dr. Robbins of 11/14, 53/15? Same date & place.]
1962
Mayn rebe iz a masmed
[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10] [Is Singer M. Robbins of 2/8, /2/21 same as Dr. Robbins of 11/14, 53/15? Same date & place.]
1962
Fort a khosidl tsu dem rebn
[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]. Caught in pouring rain, the Khusidl goes into a tavern, starts to flirt and gives various gifts to the young woman (the chorus "makht a khusidl bim bam - is very varied and expressive)
1962
Ikh vel zingen do far aykh
See Tape 1, song 1)[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]
1948
Dem kukhers vayb
[In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]
1956
Avu iz dos gezen
[Possible typo: geven?? In typewritten catalog, RG620 black hand-bound hard-cover book, RR’s catalog tape numbers are wrong: 4/4-4/10 should be 2/4-2/10]
1955
Di bord, di bord
Wasserman states that she learned this song in Toronto in a camp from a Polish-born man, and emigre whose name she can’t remember.
1955
Kum aher du filosof
1962
Der her got zitst oyf zayn shtil
1948
Sha, shtil
1962
In a shtetl nisht vayt fun danen
1956
In a shtetl nisht vayt fun danen
1956
Der rebe iz oyfn yam...
Note from YFRRA: "The song derives from 'Der rebe oy yam' by Velvl Zbarzher Ehrenkrants (1826[?]-1883)
1956
S’iz oyfn yam a mol geforn
1955
Der rebe iz a mufleg
The part of melody that has no words (nign) is the same as the song “S’iz nito keyn nekhtn”
1955
Tsi veyst ir dos land
1955
Der rebe hot gevolt
1955
Der rebe hot gevolt
1955
Di reshoyim megn...
1948
Dem kukhers vayb
1948
Ikh vel zingen do far aykh
The oylem (group) of men & women sing chorus in harmony (”Chiribim”)
1953
Award and Performance of Two Songs at Klezkamp 1989
Ruth Rubin receives an award and sings "O'Brien" and "A maysele"
1989
Lecture 4/4 About "Yiddish Folksongs" by Ruth Rubin at Klezkamp 1989
December, 25-28
Lecture 3/4 About "Yiddish Folksongs" by Ruth Rubin at Klezkamp 1989
December, 25-28
Lecture 2/4 About "Yiddish Folksongs" by Ruth Rubin at Klezkamp 1989
December, 25-28
Lecture 1/4 About "Yiddish Folksongs" by Ruth Rubin at Klezkamp 1989
December, 25-28
Krugom, arum un arum
lots of laughing from audience and a bit from the singer. Russian vocabulary pepper the Yiddish lyrics.
1967
Zay-zhe mir gezunt, mayn tayere kale
[Comments by informants in middle of song, followed by reprisal of chorus]
in 3/4 meter.
Chorus:
Zay-zhe mir gezint, mayn tayere kale
nokh dir vel ikh benkn oy mer vi nokh ale
zay mir gezint, un bet far mir G-t
men zol mir nisht naznatshet kayn Dalnivostok
1962
General Makarov
[Spoken introduction in English by informant before song] Reinstein narrates in English that the Kishinev pogrom coincided with the defeats the Russians suffered at the hands of the Japanese in the Russian-Japanese war. The Jews expressed this in a song; he only remembers a fragment of it.
General Makarov hot gehat a shvartzn sof
vayl er hot geheysn yidishe kinder koyln
far Keshenyover blit [blut]
batzolt yo Ponye git
Yah Ponye shlugt Fonye
in dem grestn helt
1962
Veyn nit dushinke
[Note on typewritten tape log inside box:] From Alan Warshawsky's tape
1961
A bokher fun 21 yor
[Note on typewritten tape log inside box:] Fragment. From Alan Warshawsky's tape
1961
A blinde nakht un a reygn
[Note on typewritten tape log inside box:] Fragment. In 3/4 meter.
1962
Kh’bin oysgeforn velder un felder, oy vey
Narrator comes across a murdered soldier, oy vey, his body is torn and blood spurts out. Three brothers are running away from him... Who will say kaddish over me, light candles...Who will come to my funeral? My trusted horse. Black birds come flying, rest on my grave. Black birds fly quickly to my mother to tell her of my health. Mame, mame, eat and forget my death.
1947
A leyterl tsum himl vel ikh shteln
Narrator: I will lay a ladder to heaven, crawl up and ask G-d why her beloved has to become a soldier. Beloved answers, you don’t have a ladder to heaven, I will after all have to become a soldier... You don’t need to wait for me. She states that she’ll wait for him for two years, even four, she’ll send money and [?] and suffer by sewing for a living.
1967
Oyf di grine felder velder
...Who will say kadish over the dead solider who lies in the field? His trusted horse accompanies him to his funeral...
1962
Ikh tu dir a brivele shraybn
A solider writes to his mother about his health. Slow and sad song.
a hant hot men mir aropgenumen
un af mayn oygn bin ikh mamenu blind
1962
Dortn, nit vayt baym brik
Lobell, in English, states his father was born in Tshernovitz; he heard him sing this song about 1918. Recording quality poor at beginning.
The song is in 6/8 meter. Refrain:
nu, loyf zhe betn far dem oyre (?)
az inz iz haynt a gezeyre
af inz iz haynt a shlekhte tzayt
az yeyder zayn zin muz zayn a soldat
dos miz azoy zayn, es darf azoy zayn
s’iz kayner nisht shuldik az dos is Gots plan
1948
Oy, di fonye gonif
Chorus of a satirical and freylekh song.
1948
Vos geystu arum, arum
Segal relates in Yiddish that she heard the song 30 years ago in Minsk from seamstresses who sewed in the house.
Her accent sounds American to this listener and she says “di lidl”, which may mean she or her parents speak a Litvish Yiddish (other dialects say “dos lidl”)
1948
Azoy vi der rov iz arayngekumen
1950
Nayntsn-zeks
[Note in typewritten tape of inside box:] Mr. Miller said he wrote this. [Handwritten note in same log:] 1906-1956!
He was carrying Shalokh mones (gifts of food exchanged at Purim), he’d gotten married, but Nicholas marred his happiness by taking him as a soldier. His wife remained with her father, he had a huge backpack, he had to leave his old home... He’s no writer or poet, but wanted to leave his “story.” (audience laughs)
1956
Forn forstu fun mir avek
A young woman mourns that her beloved must enlist; begs G-d to disqualify all the recruits and release them from the ruler’s hand... She is crying rivers of tears.
1956
Plogt aykh, shtelerlekh
[Spoken comments in Yiddish by informant before and after song.] Talks about the hardships of having to serve in the armies of the various lands Jews lived in. For Hasidic young men it was a tragedy: they had to eat non-kosher food, shave their beards and sidecurls - they would fast, go to the study house and say psalms. Sometimes the doctor would dismiss them, etc.
1956
Iz gefloygn di gilderne pave
1962
Di mame hot mir geshikt
Daughter relates that her mother sends her to the market for various items... She falls in love with the sons of the tradesmen and swoons over their respective eyes, teeth, sidecurls.
1962
Yomi, yomi
The mother asks her daughter what she wants - a dress? a pair of shoes?
The chorus is daughter saying, neyne mamele neyn (no mother, no)
du veyst nisht vos ikh meyn (you don’t know what I mean)
du kenst mikh nisht farshteyn (you can’t understand me)
du bist a shletkhte mame (you’re a bad mother), du veyst nisht vos ikh meyn
Then the mother asks - a khusn? (a groom)
and the daughter says, yes, you’re a good mother.
1948
Tokhter du lib
Singer states in English that he heard his grandmother sing this when he was a little boy and remembers only a few bars. He thinks it’s “archaic Yiddish” dating back to 17th or 18th century.
1948
Raboynoy shel oylem vi dank ikh dir
Tune is partial. Tune is also a familiar klezmer melody.
1948
Lomir beyde zayn a por
Tune is one in instrumental collection of Moshe Beregovski.
1948
Di meydelekh vos viln vern kales
First few words:
The young girls who want to become brides,
don’t have the means to get married - there is great poverty.
Those that want to study need to dress as men as in Parisian magazines.
In 3/4 meter. Song cut off.
1948
Ikh vel aykh gebn tsu derklern
Counting song with a wordless chorus
1 khusn’s tish ([groom’s table] where one eats and makes merry and sings
2 khusn-kale ([bride and groom] they stand in front of everyone
3 mekhetonim [in-laws]
4 the khupe shtangen [poles that hold up the wedding canopy]
5 the klezmorim ([musicians] they play for rich and poor)
6 di 6 teg (the 6 days during which you may and may not do things)
7 sheva brukhes (the seven wedding blessings, where the dowry [nadn] and misery [kadokhes] are declared)
1955
Shpil-zhe mir dem nayem sher
[Note on typewritten tape log in tape box:] From Lazar Axelbank’s wire recorder.
Yiddish words set to a few bars of the Russian Sher
1957
Wedding tune
[Note on typewritten tape log in tape box:] From Lazar Axelbank’s wire recorder.
Wordless tunes sung by male and female singers here, explained by woman (in Yiddish) played when the in-laws are escorted to the dinner. (tune is in 3/4 time. Then goes into a now-familiar freylekhs in 2/4)
1957
Shnirele mayne
[Note on typewritten tape log in tape box:] From Lazar Axelbank’s wire recorder. Mrs. Skolnik said she had written [Tape 71] No. 2, based on the tune of the older Yiddish folksong “Mekhuteneste mayne.”
1957
Es iz gefloygn di gilderne pave
1956
Leyg ikh mayn kepele
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5
The singer lays her head on her mother’s bed; her mother has pleasure from her daughter, calls her beautiful, she should sleep in good health.
The singer lays her head on her father’s bed; he comments on her beautiful black eyes, he has pleasure from his daughter, she should sleep in good health.
The singer lays her head on her husband’s bed; he has kind words for her, has pleasure from her loves her, she should sleep in good health.
She lays her head on her mother-in-law’s bed; she curses her and says she doesn’t do any work, and sleeps constantly.
1956
Ale meydlekh fun undzer land
[With prompting, the informant sings the same song twice.]
Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1956
Vos-zhe vilstu mayn lib kind
[Prompting from listeners.]
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
Compare song #14 on this tape: “Tsu vos-zhe gibn dir, mayn libe kind?” Very similar words, both in 3/4 meter. But #9 chorus is in major key, #14 in minor key. #9 is humorous; #14 is much darker, and talks a lot about the various types of husbands beating their wives.
1956
Lomir zikh tsekishn -- Itzik hot shoyn khasene gehat
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1956
Ven eyner vert a khosn
[Note from typewritten tape log in box:] Tedi’s tape.
These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1956
Az Yosl der klezmer
[Informant’s name is given in typewritten tape log in box as: “Lerer” Zakhar.]
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
As Yosl the klezmer plays for a celebration, the attendees are merry like a wave in the ocean; they revel and sing and jump and sing....
1955
Mekhuteneste mayne
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1955
Tsu vos-zhe gibn dir, mayn libe kind?
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
The daughter sings she doesn’t want a shuster (shoemaker), or a balegole (driver), stoler (carpenter), koveling, - for various reasons (like, the stolier makht a bet [makes a bed] un git dem vay donershtik a get (on Thursday gives his wife a divorce) - but a dokter (Dr.) - yes. In 3/4 meter.
Compare song #14 on this tape: “Tsu vos-zhe gibn dir, mayn libe kind?” Very similar words, both in 3/4 meter. But #9 chorus is in major key, # 14 in minor key. #9 is humorous; #14 is much darker, and talks a lot about the various types of husbands beating their wives.
1955
Nit keyn gebetene
[Informant’s name is given in typewritten tape log in box as: “Lerer” Zakhar.]
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1961
Vos iz fun dem az ikh bin sheyn
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
Younin introduces song in Yiddish: He heard the song in 1929 in Lubave (?) Latvia from Yohana Patirmayster; song sung from the point of view of a shadkhn’s (matchmaker’s) daughter... To one listener it sounds like words were put to an instrumental - the intervals and ornaments are not usual for a singer but are for an instrument). She has no new clothes, doesn’t want to go the khupe with anyone. Her father has many enemies. In 3/4 meter.
1948
Meydelekh un vaybelekh, tantst a dreydl
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1948
Zayt mir gezunt, khavertes ale
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1955
Tate, tate, geyoyfn ben-zukher
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1948
Sheyn bin ikh, sheyn
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1948
Di mame iz gegangen in mark arayn nokh koylen
[Tape problem! Bleed from side 2 ?? ] [Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children
1948
A shadkhn darf men kenen zayn
[Note from typewritten tape log in box:] These [marriage songs] are not songs of ceremonials or rites. These are songs which touch upon the marriage theme, either in jest, satirically, in dance or even in a children’s rhyme like [Tape 70] No. 3. Sometimes they bear the mark of the marriage entertainer (badkhn). [Handwritten note:] Like [Tape 70] No. 5.
1948
Shloft-zhe mir shoyn Yankele mayn sheyner
1967
Tsu dayn geburtstog
1967
Ale montik vasht mayn mame
[Preceded by interview about the Workmenn’s Circle <em>shule</em> where informant teaches.] [Note from typewritten tape log in box:] In English. Michael wrote this song himself. The impact of World War II is evident here.
1967
Moses
[Note from typewritten tape log in box:] In English. Michael wrote this song himself at age 15.]
1967
Dray yingelekh
[Note from typewritten tape log in box:] In English. In English. Michael wrote this song himself. [per English introduction by Rubin, Michael’s brother wrote the song 25+ years before] The impact of World War II is evident here.
1967
Mu-a sapru, mu-a sapru
[Note on typewritten tape log in box:] With his guitar. Pesakh song, in Yiddish. After song, in English, Rubin asks him where he learned the song - in Camp Hemshekh. It only goes up to 7 - traditionally, per Rubin, there are 13 verses.
1967
Kon zayn az ikh boy bay dem nilus di shleser
[Note on typewritten tape log in box:] With his guitar. Michael adapted the text from the previous given song here [Tape 68 Song 11] and wrote the tune himself -- to serve as a Passover song for children. He wrote another version (of Makh tsu di eygelekh) for color wars in Camp. He wrote the words and melody [it really is a different song]. Words in Yiddish. He forgets the end of the song and relates his frustration in English. She says in English that that happens to her - she’s written about 37 songs - but the tradition of writing songs continues.
1967
Zol zayn
[Note on typewritten tape log in box:] World War II. Papernikov. With his guitar. Learned from his mother. Remembers imperfectly; sings it again, and remembers.
1967
Makh tsu di eygelekh
[Note on typewritten tape log in box:] With guitar. Lodzer ghetto: Text: Y. Spigel; Tune: David Beygelman. WWII song by Shaya Shpigl who’s now living in Israel. Accompanies self on guitar.
1967
Il etait un roi de Thule
[Note on typewritten tape log in box:] French. Rubin says its a well-known, old French ballad.
[Ed. note: It is actually an excerpt of the opera “Faust” by Charles Gounod].
1967
Les....pour la rose (fragment)
[Handwritten note on typewritten tape log in box:] Piaf? [Note on typewritten tape log in box:] He says nobody knows this, doesn't remember all the words. Rubin says she might find the words for him. And he might be able to get a job in a nightclub since French songs are popular now... [Ed. note: The full title of the song is actually “Comme un petit coquelicot” and is from the repertoire of <em>Les Compagnons de la Chanson</em>.]
1967
Il etait un petit navire
[Note on typewritten tape log in box:] He remembers some French songs... sings one, then more.
1967
Kol dodi (fragment)
[Note on typewritten tape log in box:] Learned from his brother, who is 5 years older than Michael, in 1951 or 1952; his brother learned it in a play in a camp in France. Rubin is surprised that it was so old - she thought it was new.
1967
Kum kiyele, kum aroys (fragment)
[Note on typewritten tape log in box:] Rubin, in English, asks if Fox remembers songs from his early childhood. He doesn’t remember his mother singing very much. She doesn’t think she has a nice voice, so she doesn’t like to sing. But she knows a lot of songs.
1967
Makht oyf, makht oyf
[Note on typewritten tape log in box:] The songs he remembers, has learned, and sings, are quite varied. This and the following tape, reveal a warmth and an aptitude, even a talent for singing.
Purim song. Learned in Camp Hemshekh, from a girl who learned from her Polish mother. Rubin states, in English, that she never heard it before.
1967
Tayere Malke (fragment)
[Note on typewritten tape log in box:] Sings the more common melody to the song (in 3/4 meter). Rubin remarks that Warshavsky - the same one who wrote Afn Pripetshek - wrote this song. Fox states that Warshavsky didn’t want anyone to write the songs down, Sholem Aleykhem had to encourage him...
1967
Tayere Malke
[Note on typewritten tape log in box:] Older brother Meyer taught him the melody, which was different (from that of song 3).
1967
Zitst a shnayder
[Note on typewritten tape log in box:] This song he learned from his mother, who didn't know where it was from.
1967
Herman Rabins Interview - part 2
[Note from typewritten tape log in box:] Herman Rabins continues
1967
Herman Rabins
[Note from typewritten tape log in box:] Herman Rabin, born Chayim Rabinovitsh, in Novminsk, Poland, speaks on this and the following tape, about his childhood, his famous father, his coming to America, etc. He is so intense in remembering, that it was difficult to “sidetrack” him into singing, during this session. He promised to do so another time.
The importance of this kind of interview is many-sided: folkloristic, linguistic, cultural history, and even psychological. He mentions his father numerous times - also due to the recent book by Menashe Unger, which includes his father’s photograph, etc.
the few tunes and songs included on this tape are Ov is a foter (cut 5), Unter dem kinds vigele (cut 3), Al tiro avdi yankev (cut 2), Sholem aleikhem (cut 4).
1967
Dort in veldl shteyt a kretshme
1964
Iber barg un iber toln
(Compare another version: Tape 65 song 1)
1965
Oyfn barg, ibern barg
[See Tape 65, song 9 (both talk about overtaking their younger years). After Rubin sings, she and Anne Kline, who sang song 9 and admires the ending of song 10, compare (assumed) previous song].
1964
Ay, brider, brider, shpan ayn di ferd
Kline heard from her mother. [Words say to overtake our younger years so they won’t escape from us. Ruth Rubin in English, she didn’t understand the 3rd line. Kline repeats it, then translates into English, “You treasured your youthful years like a father his only son. Rubin comments on the beauty of the song: “Sing it again,” and the song is repeated.. At the end, Rubin says singer’s version is more beautiful than hers, Kline says but yours has a wonderful lilt; Rubin agrees, a Ukrainian lilt.]
1964
A mol hot mayn har gebrakht mir tey
Sings verses first in Yiddish, then in Russian.
1955
Hot der Feter Itsye
1961
Az der rebe hot gehat a ketsele
1961
Oyf di felder vintn veyen
1955
Zog mir, du sheyn meydele
[Note on typewritten tape log inside box:] Fragment. Sung slowly.
1955
Khanele du mayne
Words: He: Come with me my fine Khanele. She: I can’t, I’m ashamed - people gossip and point fingers. He: The world will see - you are my bride.
1965
Kh’bin in feld oyf velder fraye
1965
Oyfn barg un oyfn tol
[Yiddish & Russian verses alternating.]
1964
Oy vey mame, ikh shpil a libe
[Typewritten tape log inside box spells informant’s name as: Ita Taub.]
1962
In mizrekh hoybt shoyn on tsu togn
1962
Mamenyu, lyubenyu
In 3/4 meter. The lyrics partly say, Be still, help me put out the fire in my heart. She falls in love with a handsome young man. They go take a walk on the boulevard...He assaults her... One can believe today’s young men the way one believes a dog on the street.
1965
Vos-zhe tutsu zikh dreyen bay mayn fenster
1955
Leyg ikh mir in bet arayn
1948
Mayn harts, mayn harts
[Unidentified group joins in during the choruses. Song in 6/8 time.]
1967
In droysn iz fintster
1955
Kh’hob zikh bedoyet a shtibele in vald
Love song in 3/4 time in a major key.
1948
Ikh ze shoyn aroys, lyube mayne
Singer prefaces song in Yiddish, explaining it is an old love song he heard from his mother that she learned as a girl.
1948
Tsvey taybelekh
[Spoken introduction in Yiddish by the singer, explaining that this is an old love song that became popular due to the efforts of the famous singer Lyuba Levitsky when the Nazis seized Vilna and built the ghetto. It became an anti-Fascist song. Levitsky was shot singing this song.]
1948
Kh’hob keakert un gezeyt
1947
Umet un benkshaft
1950
Bay a taykhele
Same melody as "Nor a mame" (by D. Einhorn, composer unknown), from the movie "Mir kumen on". Published in Mlotek E. & J., <em>Songs of Generations</em>
1967
Bin ikh mir a shnayderl
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
1955
Freylekhs (Instrumental)
[Note from tape log inside box:] From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.] [Melody: Shpil es nokh a mol.]
1965
Sher (L. Pulver) (Instrumental)
[Note from tape log inside box:] L. Pulver. From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.][Melody: Forn forstu fun mir avek]
1965
Shtiler redele (L. Pulver) (Instrumental)
[Note from tape log inside box:] L. Pulver. From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.]
1965
Jewish dances based on folk tunes (Instrumental)
[Note from tape log inside box:] From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.] Strings, trumpets, percussion, violin, clarinet.
1965
Sher (Instrumental)
[Note from tape log inside box:] From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.] Strings, bass, trombone, trumpet, clarinet.
1965
Dobranisht un freylekhs (Instrumental)
[Note from tape log inside box:] From Soviet recording, 1965. These were included for preservation reasons. [Instrumental orchestral recording of dance music.] (One listener recognizes the first piece as one that Moshe Beregovski collected and transcribed) Strings, tuba, clarinet, oboe, trumpet, trombone, flute.
1965
Aza’n tsayt tsu harn
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
Per informant, in English, agrees with Rubin that the song is apparently from a musical.
(Rough translation of lyrics) [The woman says] you haven’t written, you have forgotten me.
[The man] answers forget what has happened before; a new life is opening up for you. Don’t cry my dear bride. The woman asks, have you been true?
1963
Ikh hob gezeyet un geakert
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
Words (rough) I’ve sown and plowed, with great honor and enthusiasm.
The first handsome one loved me, the 2nd ran away from me.
G-d in heaven, please send death only to me, like a dream.
1963
Tsvishn undz beyde iz do ayn vaser
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
Words (rough translation) There is a deep water between us. I beg you, my dearest, send me letters.
1963
In an umgliklekher sho, mame
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
Words (rough summary) in a unluckly hour you gave birth to me... I’m in love but nothing has come of it...
1963
Oy, bay vemen az iz fintster di nakht
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs. Words: (rough translation) He’s sad and will swim across the ocean to be with his “khaverte” (female friend).
1963
Oy, Motl Parveloker
Nos. 6 and 7, from Alan Warshawsky’s tape. Words (rough translation): Motl came from a little shtetl, Pavaloki (sp.?). He didn’t do right. He was supposed to return children to their mothers, but left them by themselves. The singer wanted to see the train, which was across the water - he left his.
1961
Oy mame, mame, mame mayn
Nos. 6 and 7, from Alan Warshawsky’s tape.
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
1961
Oy, oyf dem grinem barg
Fragment. [Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
1962
Oyfn hoykhn barg
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs. Yiddish. Every day a young man comes to play his fidl for a young, beautiful woman who lives alone in a little house the woods on a mountain with a stream. They look to heaven as a star falls.
1965
In yor zeks un zibetsik
[Tape seems to cut off; song is interrupted.] [Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs.
Informant, in English, states that the Yiddish song must be 130 years old. He heard it from his mother almost 60 years ago. He doesn’t know where she heard it. It is one of the lullabies she sang to him. In the year ‘76 this story happened... a tavern that didn’t do well...the father disappears... one of the five children unlocks the attic - and sees that the father has hung himself. Song is cut off.
1962
Toyznter mentshn shpatsirn gegangen
[Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs. Yiddish. Save my brothers from the river....
1956
Kum ikh tsu mayn gelibter froy
[Probably a dupe of Tape 54 Song 1. Notes on spine of tape box:] Misc. Ballads. Love Songs. Dance Songs. [Notes on back of tape box:] Tape No. 56 of 101. LWO No. 12,330 ?? Speed 7.5. Tracks: Full. Mono. Tape #63: Ballads, Love, dancing songs. [A husband finds signs of infidelity in their bed. What do you need these for as you have me?]
1948
A shnayder zingt a lid vegn a zelner un redt tsu dem vayb
Informant explains in Yiddish that the song is a very sad one about a soldier who remains on the front. He sings in Slavic language and intersperses non-song Yiddish translation as well as a Jewish nign at the end.
1965
A droshe fun a Nikolayeven soldat
The informant explains in Yiddish that the poem is a A droshe (sermon) fun a Nikolayeven soldat (soldier) kale bazetsn (seating of the bride). In a mixture of Yiddish, Hebrew and Russian? she recites the comical content - the listener (Ruth Rubin) starts to laugh.
1948
Af roseshonkes
Informant explains in Yiddish, that this was song by Yeshuvinikes that cane to their town at Rosh Hashone. It was very hard for them to speak Yiddish. The spoken poem, is a rhyme is about what happened to them on the road resulting in the whole cart of smetene (sour cream) being overturned.
1948
Oy mame, dultshe mame
[Note in typewritten tape log in box:] Rumanian, a folk melody. Informant states in Yiddish the Jews sang according to their soul (neshome). [In between verses, sings a melody/wordless nign popular with 1990s klezmorim perhaps Arye Lesh’s nign]
1965
Yedzhe yankl do rabina
Informant explains in Yiddish that the servant girls used to sing this to console themselves. They were from small towns, living in foreign town, Warsaw.
1964
Usa sida chata bila
Informant explains that Ukrainian is more euphonious a language than Belorussian, which is harsher. He gives short examples of each in song. One of them was heard from a beggar on a train.
1964
Yak pashol moy lazar
He heard from an old beggar accompanied by an ancient Slavic string instrument. Words mean “As my Lazarus” went to pray to god, holy lord, merciful redeemer, holy virgin, mother of god, take in my soul as one takes in one’s oxen (i.e. I want to die). Informant used in his biographic sketches.
1964
Taletele tzhizhoya
Singer prefaces in English that in White Russia, we (Jews) didn’t sing Belorussian songs, we sang Ukrainian songs because we liked them. Our peasants didn’t speak Ukrainian, they spoke “the ugliest Slavic dialect”, Belorussian. Then sings this Belorussian song, the story of the abolition of serfdom. Source: informant had a Belorussian servant girl sit down and sing the song so he could transcribe the words. (He says the latter on cut #17, “Usa sida chata bila.”)
1964
Dortn oyf dem barg
Singer states in English that there was a Yiddish translation written by Shaye Rotman (?) from Toronto in then he sings in both Ukrainian and Yiddish.
1964
Utshatsa tutshi grozoviye
[Note in typewritten tape log in box:] Included because motif seems to be the same as Nomberg’s ‘S’loyfn un s’yogn shvartse volkn. Copied from old record. Singer states she
heard around 1905 from student from Premetshu.
[Copied from two sides of a disc; pause in middle as disc is flipped over.]
1948
Lyudi pyut i hulayut
1948
Yerusalim prikrasni gorod
[Ruth Rubin’s cousin.]
1948
Ni pyom i igrayim
1948
Zhili bili dyed i baba
[Note in typewritten tape log in box:] Rachel Spivack is Ruth Rubin’s mother. Rose Barmak is her cousin. It is interesting that Nos. 7 and 11, possibly from the same source -- Ruth Rubin’s grandmother -- only the cousin mentioned it.
1948
Vi polyaki, vi duraki
[Note in typewritten tape log in box:] Followed by the Slavic song. From Lazar Axelbank’s wire recorder.
1948
Yerusalim prikrasni gorod
[Note in typewritten tape log in box:] Rachel Spivack is Ruth Rubin’s mother. Learned from her very frum (religious) mother 40 years earlier. In Russian. Rose Barmak is her cousin. It is interesting that Nos. 7 and 11, possibly from the same source -- Ruth Rubin’s grandmother -- only the cousin mentioned it.
1955
Divtsheneko tshuyete
Ruth Rubin’s mother. She states her bobe (grandmother) taught it to her. The Bal Shem Tov used to sing it to his Hasidim, simple folk, who danced to it. It’s in Yiddish and goyish (non-Yiddish). [Ukrainish?]
1955
Spi mladenets
(Same melody as “hulyet, hulyet, beyze vintn”)
1955
Spi mladenets
[Note from typewritten tape log in box:] Included because the melody was used to certain variants of Sholem Aleichem
1955
Russian Yiddish fragmentary bits
[Fragments of various half-remembered Russian Yiddish songs.]
1964
Oy, avrom avrom
[Song is followed by fragments of several half-remembered Russian songs.]
After singing, Lipkovitch translates the song in English: Father Abraham, little blind man Yitzokh, little wanderer Jacob why don’t you pray to beg G-d to bring us to our land.
1964
A gut morgn aykh, Chaye-Sosye
1964
Nign
Both brothers sings a snappy nigun twice. Both were now wonderfully animated! [Handwritten note beside track number:] 6/3 1984. (2016 listener hears strong similarities to “Sadeguerer khusidl” played by many klezmorim now).
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Baym breg fun dem yam
[Note from typewritten tape log inside box:] After World War II, their youngest brother came to Chile and Michoel sings two songs he learned from him. [11a, 11b. This is 11b] which he seemed to forget entirely...
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Zing-zhe mir a tango oyf yidish
[Spoken introduction in Yiddish before song.]
[Note from typewritten tape log inside box:] After World War II, their youngest brother (who survived the death camps of WWII) came to Chile and Michoel sings two songs he learned from him. [11a, 11b] Michoel’s wife prompts.
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Nign
[Note from typewritten tape log inside box:] Michoel sings a nigun, which he recalls having heard during World War I, when he was a refugee in Poland. [one listener in 2016 recognizes this as a Lubavich tune]
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Simkhes toyre tsu di hakufes
[Note from typewritten tape log inside box:] A gay dancing tune, sung during Simchat Torah, to the hakofes. Michoel’s wife, Avreml’s wife, and Ruth Rubin join in...[Handwritten note beside track number:} 5/31 1984
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Koydenover nign -- Sholesh sudes
[Note from typewritten tape log inside box:] Yiddish comments: not Yomim Naroyim, rather a Shalosh Sudes nign, the brothers sing a Koydenover nign. [There may be a problem with track order here: a handwritten arrow is drawn between 61/3 and 61/8, perhaps indicating that order is reversed.]
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Musaf
[Note from typewritten tape log inside box:] Fragments. A slight technical difficulty unfortunately mars this sequence. A Rosh Hashone tfile.
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Rosh hashana musaf tfile
[Note from typewritten tape log inside box:] Avreml comments. Koydenover nusakh.
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Michel Yudelevitch comments on Hazomir Choir of Chile
[Note from typewritten tape log inside box:] Michoel comments about the HAZOMIR CHOIR, organized in Chile which existed from 1955to 1958. [Handwritten:] Did not include Chassidic material.
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Koydenover nign
[Handwritten note on typewritten tape log inside box:] Sholesh sudes.
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Koydenover sholesh sudes
[Note from typewritten tape log inside box:] The brothers sing a Sholesh s’udet nign, Koydenover. [There may be a problem with track order here: a handwritten arrow is drawn between 61/3 and 61/8, perhaps indicating that order is reversed.] <br /><br />Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of <em>nigunim</em>, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
Der tsvey-un-fertsiker
[Note from typewritten tape log inside box:] Michoel thought it was from the Kotsker Chassidim, but Avreml felt it was from the Mozhitser.
Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of nigunim, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers.
1966
A conversation between two brothers
[Note from typewritten tape log inside box:] Michoel Yudelevitch, Sept. 1, 1966. A younger brother of Avreml Yudin [aka Avrom Yudin], who is well represented in this collection, had not seen his brother Michoel for 40 years! Now, in 1966, Michoel came to visit from Santiago, Chile, where he has been living since 1936. The two brothers recall a number of <em>nigunim</em>, which they knew together in childhood. It is interesting that on some, they now differ....(They were from a Koydenover home). [Handwritten note:] They were 4 brothers. [Handwritten note beside track number:] ’84
1966
Tsen brider zenen mir gevezn
[Informant’s name in tape log inside box is given as:] ”Lerer” Zakhar.
1955
Eyn kol vayn
[Loud hum & volume problems on tape.] Song about different alcoholic drinks. Rubin states she learned the song in Elat from the Sabras.
1965
Hostu gehert a mayse
{Note from tape log inside box:] Fragment.
1965
Vos mir vanen vos mir bir
[Spoken introduction in Yiddish by informant before song] People would come into a restaurant and sing along. Song contrasts conditions, "What is rich is not poor, what is crooked is not straight..."
1964
Geyen mir shpatsirn
1965
Vos ikh hob gevolt, hob ikh oysgefirt
[Group sings along.]
1965
Az a meydl vil zayn sheyn
[Informant comments in Yiddish after song.] [Per Lipkovitch, sung in Warsaw. Authentic. Another in the party says its a theater song.]
1964
In zaksishn gortn oyfn bulvar
[Informant comments in Yiddish before song.]
1964
Hob ikh a khosn, a kantorshist
[Informant comments in Yiddish after song.]
1964
Ana maryana
1964
Sheyn bisti, un a fidl hosti
[Group comments]
1964
Geyt a yold in kapelush
1955
Oy, hert nor oys fun hayntiker tsayt
1955
Oy, orem bin ikh
[Note from tape log inside tape box:] At a house party...talking in background.
1967
Der khosn hot mir geshikt a zeyger
[Group setting, group comments at end of song. Note from tape log inside tape box:] At a house party...talking in background.]
1967
Hober un korn
[Group setting, group hums along on choruses, comments at end of song. Note from tape log inside tape box:] At a house party...talking in background.]
1967
Oy, di meydelekh, di fonferonkes
[Note from tape log inside tape box:] At a house party...talking in background.
1967
Tsi tut kravets meshka
1964
Oy, Abram, Abram
[Spoken comments in English by informant follow the song. Song mostly in Ukranian, with Russian and Hebrew. Learned from his father who collected folklore & songs. They lived in Horadenka, Galicia.]
1964
Ikh vel zikh farshraybn in der pozharner komande
[Unidentified male helps with lyrics, sings one verse. possibly A. Yudin ?? Note from tape log inside tape box:] Possibly authored by Wolf Younin.
1967
Sonyatshka na balkone stayala
[Unidentified male sings along on choruses. Avrom Yudin ??]
1967
Eys ato bo
1947
Es iz geven a mol a pastekhl
1958
Al tiro avdu yankev
[Note from tape log inside tape box:] Fragmentary. From Allan Warshawsky's tape.
1961
Iz geven a mol a pastekhl
1962
Ish chasid hoyo
[Spoken introduction by informant in Yiddish preceds the song, explaining that this is a song in Yiddish and Hebrew. More Yiddish comments follow the song.]
1956
Stantsye lydu, a pintele
1955
A gut shabes Feyge-Sosye
[Note from tape log inside tape box:] Dora was an actress, which accounts for her dramatic interpretation towards the end of the song.
1955
Yedn tog ven es vert nor ovnt
Yiddish text based on a poem by Heine.
1955
Ale ovnt geyt dos meydl
Yiddish text based on a poem by Heine.
1955
Mu, mu, beheymele
1965
A mol iz gevezn a yingl
[Comments on Peretz’s poetic skill after song.]
1964
Kh’hob zikh gekoyft a baytshl kreln
[Discussion in Yiddish about Perlov & his wife, a singer, precedes song.]
1964
Shteynerne palatsn
[Note from tape log inside tape box:] Text: I. L. Peretz. Tune: Folk. [Tape log in Yiddish alef-beys also inside box. Comments in Yiddish about song precede song. Discussion in Yiddish about authorship follows song.]
Comment by Itzik Gottesman: According to singer Jacob Gorelik, the music was composed by Michl Gelbart.
Music by Michl Gelbart, copyright, NY 1951. songsheet.
1964
Granatn
1964
Zol zayn
1965
A sukele a kleyne
1962
A sukele a kleyne
1963
Bin ikh mir a shnayderl
Ora is eleven years old.
1947
Tsipele
Rochelle is twelve years old. With accordion.
1961
Bin kh mir a stoyerl
Same as "Melokhe melukhe"
1962
A redele iz di gore velt
1948
Ale mentshn zaynen brider
[Note from tape log inside tape box:] Text: I.L. Peretz, Tune: Beethoven’s 9th Symphony. [Tape log in Yiddish alef-beys also inside box.]
1961
Oremer Arbeter -- Vos vet zayn der sof?
From tape marked “Literary Origin.” Note on tape log inside box:] Text and Tune: Isaac Reingold. Same tune [as Tape 57 Song 15], different interpretation!
1957
A blik ven ikh gib oyf di arbeter velt -- Vos vet zayn der sof?
From tape marked “Literary Origin.” Note on tape log inside box:]
1956
Leyg dayn kop orf mayne kni
From tape marked “Literary Origin.” Note on tape log inside box for Tape 57, Song 9:]
1956
Der vinter’z gekumen
From tape marked “Literary Origin.” Note on tape log inside box:]
1956
Der friling iz gekumen
From tape marked “Literary Origin.” Note on tape log inside box:] Text and tune: Peretz Hirshbein.
1956
Oyf di felder fun beys-lekhem
From tape marked “Literary Origin.” Note on tape log inside box:] Text: Yehoash. Tune: ?
1956
Leyg dayn kop oyf mayne kni
From tape marked “Literary Origin.” Note on tape log inside box:] Text: H. Leivik. Tune: ?
?
Leyg dayn kop oyf mayne kni
From tape marked “Literary Origin.” Note on tape log inside box:] Fragment. Text: H. Leivik. Tune: ?
1956
Kinder, ot vel ikh aykh zogn
From tape marked “Literary Origin.” Note on tape log inside box:] Text: Martin Birnbaum. Tune: ?
1961
Shoyn nito der nekhtn
From tape marked “Literary Origin.” Note on tape log inside box:] Text: Dr. Chaim Zhitlowsky. Tune: Traditional.
1961
Shoyn nito der nekhtn
From tape marked “Literary Origin.” Note on tape log inside box:] Text: Dr. Chaim Zhitlowsky. Tune: Traditional. From Tedi Schwartz’s tape.
1961
Tshing-tshang-tshu
From tape marked “Literary Origin.” Note on tape log inside box:] Music: Mikhl Gelbart. Text?
1962
Der tate hot a broytele
[Spoken comments in Yiddish after song, about authorship. Note on tape log inside box:] Literary origin. Tune: V. Chefetz. Text: Shneyer Wasserman (or Stein?)
1962
Di Grine Kuzine
[From tape marked
1950
Shlof-zhe mayn tayerer zunele
1950
Shlof-zhe mayn tayerer zunele
1961
Bebele
[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in yiddish alef-beys. Note in English:] Tom Thumb. [Tape box also contains handwritten Yiddish text in composition book from Fordham University, with notes in English, including a dedication:] Dedicated to all the grandmothers who rocked the cradles, and told the tales, when Mother was away earning the livelihood.
1960
A mayse mit a bobitskele mit khayelekh
[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in yiddish alef-beys. Note in English:] The musicians of Bremen. [Tape box also contains handwritten Yiddish text in composition book from Fordham University, with notes in Engleish, including a dedication:] Dedicated to all the grandmothers who rocked the cradles, and told the tales, when Mother was away earning the livelihood.
1960
A mayse fun an oreman un a raykhn bruder
[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in yiddish alef-beys. Note in English:] Ali Baba and the forty thieves. [Tape box also contains handwritten Yiddish text in composition book from Fordham University, with notes in English, including a dedication:] Dedicated to all the grandmothers who rocked the cradles, and told the tales, when Mother was away earning the livelihood.
1960
A maysele mit a bobetske mit a sakh kinderlekh
[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in Yiddish alef-beys, somewhat illegible.Tape box also contains handwritten Yiddish text in composition book from Fordham University, with notes in English, including a dedication:] Dedicated to all the grandmothers who rocked the cradles, and told the tales, when Mother was away earning the livelihood.
1960
Folktale: Der royfe un der shuster
[Folk tale read aloud by Ruth Rubin. Source: J. L. Cohen, Folks mayses. Title handwritten in tape log in Yiddish alef-beys, illegible. Tape box also contains handwritten Yiddish text in composition book from Fordham University, with notes in Engleish, including a dedication:] Dedicated to all the grandmothers who rocked the cradles, and told the tales, when Mother was away earning the livelihood.
1960
Ver es vil tsu di geshikhte oyshern
[Handwritten notes in English on tape log:] Another murder! Ballad -- Love. [Spoken introduction by informant explaining that this is an old Yiddish folksong.] Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
Shoyn dray yor vi mir shpiln beyde a libe
[Handwritten note in English on tape log:] A murder -- Underworld -- Love [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
A bokh
[Handwritten note in English on tape log:] The Russian [Song is a pro-Bolshevik song sung in Yiddish & then in Russian. Comments in Yiddish after song, followed by Russian version] Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.] [Kaczerginsky explains that the song was sung in Vilna before the war, 1936, 1937]
1948
In a shtetele nit vayt fun danen
[[Spoken introduction by informant:]
1948
Yedn fri, yedn fri klapt dayn fus oyfn harts in bruk
[Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
Oy habet mishomayim ur
[Spoken introduction by informant, explaining that this is a song which religious Jews sang in the ghetto.] [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
A yuks a puks
[Handwritten Yiddish note on tape log: Iberbetn] [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
Ani helakhti baderekh
[Handwritten Yiddish note on tape log:] Kinder tseylenish Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.] [Translation: I was walking in the road]
1948
Ab a foter
[Handwritten Yiddish note on tape log:] [illegible ?? ] yinglekh lid [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
Eyns, tsvey, o
[Spoken introduction by informant, & note in tape log:] A kinder tseylenish [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
Undzer lid iz ful mit troyer -- Yugnt himen
[Spoken introduction by informant explaining that children learned this song in the Vilna ghetto and adults began to sing it in the ghetto, in German camps, and in every place where Jews were. Unidenitified whistler in background; probably Ruth Rubin. Informant identifies composer as Basye Rubin, from Vilna, who he says wrote it before World War Two and asked him to write a lyric, which he did.
1948
Hot zikh mir di shikh tserisn
Vilna ghetto. [Spoken introduction by informant: "A lid fun vilner geto.”]
[Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
Sorele dushinke -- Soyeye dushinte
[Spoken introduction by informant, explaining that he’s singing a grown-up song first in baby-talk, then as an adult would sing it. Title written twice on tape log: once in baby-talk, then rewritten.]
[Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
Tates mames kinderlekh boyen barikadn
[Ruth Rubin sings harmony at end & adds a spoken comment:
1948
Hulyet, hulyet, beyze vintn
[Ruth Rubin sings harmony on last chorus, & comments:
1948
Ot azoy, azoy zeyt der landsman
[Spoken introduction by informant:
1948
Mir vern gehast un getribn
[Spoken introduction by informant:
1948
Rut hot getrogn a kan vaser
Kinder lid [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
Kum ikh tsu mayn gelibter froy
Goodman -- ballad. [Handwritten note on outside of tape box:] Interview (song recall) with Sh. Kacerginsky, [sic Kaczerginsky] Vilna Ghetto Partisan. [Tape log handwritten in Yiddish alef-beyz on 3 index cards.]
1948
Az ikh bin in kheyder gegangen
Fragment.
1948
Ikh hob far keynem kayn moyre, kayn bushe
[Is Singer M. Robbins of 2/8, /2/21 same as Dr. Robbins of 11/14, 53/15? Same date & place.]
1962
Ire rufndike oygn
Literary origin?
Oy ikh kum arayn tsu Mendl Tayerman
[Handwritten on tape log:] ?
1962
Der yold iz mikh mekane
[Unidentified woman or women singing on choruses]
1962
Harsh iz geven eyner fun di groyse
1962
Ven kh’bin geven a kleyner yat
1962
Ye geforn, nit geforn
1951
Oy az voyl iz tsu dem boym
Fragment
1948
Ay, di mode in Braziln
Fragment
1948
Fun mayn mamelyu
[Note on tape log in box:] With mandolin.
1947
Der zeyde dayner
From Lazar Axelbank
1958
Fli-zhe mayn feygele
1956
Vos-zhe biste kotinke b
1956
Tayerer foter un miter
[Spoken introduction & comments by informant]
1956
Oy, horkhts nor oys
Noises of the group of aged people is heard; tape was unfortunately suddenly cut off.
1956
Az got vet helfn
[Note on typewritten tape log in box:] She used two English words: pajamas, jewelry...
1955
Me iz mir gekumen zogn
1955
A blater keshene-gonif
A song about a pickpocket
1955
Oy, ‘t’avu bistu geven?
1955
Bist nokh oyf mayn shoys nit gezesn
1955
Ikh hob a mol a shem gehat
1955
Oy, gey ikh mir arayn tsu Motl Garbern
1955
In bod bin ikh gezesn
1955
Vos toygn mir di plyushene kavyorn?
Fragment.
1955
Der khosn ’t’ mir gekoyft a zeyger
Fragment. [Unidentified woman (probably Ruth Rubin) heard asking a question in English about the tune at end of track.]
1955
Dos lid iz nit fun keynem
1955
Oy, unter dem himl ligt di shtot bunos-ayres
1955
Ikh hob zikh ayngelibt in a meydele
Fragment
1955
Oy, oy, kum yizrolikl
Fragment.
1955
Geyt a yold in kapelyush
[Unidentified women singing along in background; probably Ruth Rubin & Sylvia Ary.]
1955
Der khosn ’t’ mir gekoyft a zeyger
1955
Ikh lig unter grates in fintstern getselt
1955
Kh’hob nisht keyn shande
1955
Der khosn hot mir geshikt a zeyger - w/ music sheet
1955
Vos dergeystu mir di yorn?
[Intro in English by informant, F. Fibich: “Odessa motivn. This song I heard in Russia, performed by Sidi Tal, arranged by Kotinyuk.”]
1962