<em>One Of Those</em> (c. 1925), Paula Prilutski
Modicut Puppet Theater (1925-1935)
Modicut was a hand-puppet theater created in 1925 by artists-writers-satirists Zuni Maud and Yosl Cutler. Modicut satirized Jewish and world politics and enjoyed popularity throughout the United States and in Poland and the Soviet Union.
Homepage real
Translation
Final Homepage for ERK
Homepage Audio for ERK
New York City's Yiddish Theater Museum
AMERICA'S YIDDISH THEATER AND ITS MUSEUM
After 1926
Until 1926
The Dissolution of New York's Yiddish Theatrical Museum (1927)
Above:
This is a letter of gratitude Max Weinreich wrote to Jacob Shatzky in 1927 for materials Shatzky sent to him for the Theater Museum. In the letter, Weinreich also alludes to other materials that Shatzky had not yet sent. He also refers to the dissolution of the theater museum in New York City.
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
A Published Letter to the Founders of the Yiddish Theatrical Museum of New York
This letter is included in the only volume of documents Shatzky managed to publish under the rubric of the Yiddish Theatrical Museum. "Goldfaden Book" included a meticulously edited collection of documents associated with the theater's first days under the stewardship of Goldfaden. A review of his work from the Romanian press published in 1877, bits of Goldfaden's autobiography that were published in various Yiddish periodicals, rare by 1926, around the turn-of-the-century. Shatzky's keen knowledge of historical sources allowed him to pull together these documents, translate them to Yiddish when necessary. With them, he canonized Goldfaden as the central figure in the theater's development. The letter, written by Moyshe Teplitski, an actor who acted under Goldfaden's direction, reflects Shatsky's aspirations to shore up the prestige of Yiddish culture.
The Yiddish Theatrical Museum (1926)
Yiddish Theater Museum
One of the only surviving documents from the Yiddish Theatrical Museum of New York City and the only one revealing the address of its headquarters. A letter from Jacob Shtazky calling for materials for a publication to be put out by the Yiddish Theatrical Museum in New York. Shatzky explains in his letter that a monthly magazine called "Mask" will include historical documents relating to the Yiddish theater. The board of the museum listed on the right include Mark Schweid (see gallery on American Yiddish Theater after 1926) and others, mostly historians and former actors of the Yiddish stage. There is no evidence that an edition of the magazine was ever published.
Jacob Shatzky
Shatzky was born in Warsaw in 1893 and received a traditional <em>kheder</em> education. After working temporarily as an office clerk, he studied history and philosophy at universities in Lemberg, Vienna, Berlin and Warsaw. In 1922 he received his Ph.D. from the University of Warsaw. His dissertation title was "The Jewish Question in the Kingdom of Poland During the Paskiewicz Era."<br /><br />Shatzky began publishing on Polish-Jewish history in 1913, but during World War I, enlisted and fought in Pilsudski's Legion, where he received several military decorations and was appointed lieutenant. In 1918 he was asked by the Polish Foreign Ministry to report on Jewish affairs in Poland, particularly the April pogroms in Vilna. When the Ministry did not react to his report he resigned from his post and taught history in Jewish high schools in Warsaw. <br /><br />In 1923, Shatzky emigrated to the United States where he lived until his death. During this latter period of his life, he established himself as a prominent Jewish historian. Although his deepest interest was the history of the Jews in Poland, he published numerous studies on Jewish culture, writing extensively on Yiddish theater. In New York City, from 1930 to 1956, Shatzky was affiliated with the New York State Psychiatric Institute where he was chief librarian and, as such, acquired the private library of Sigmund Freud for the Institute in 1939.
Story of the Museum Audio
Letter to Chaim Grade from American Visitor
Grade, Chaim
Letter to Yiddish writer Chaim Grade, a leading member of the Yung Vilne (Young Vilna) literary group, from B. Hariton, a friend in New York who had recently visited the city.
September 29, 1938
Dear Comrade Reb Chaim Grade!
You will please forgive me a thousand times for not writing until now. It’s quite possible that by now you have forgotten even the existence of such a person in the world. But I hope that this short letter will remind you that such a person definitely exists, in a province near New York, with the assurance that I have not forgotten you.
Our conversation in the hotel and also when we were strolling through the Vilna streets and allies was very special for me. Ay! At times I miss you!...
It took me several weeks to rouse myself from my so-called “trip” (don’t read trip-er) and could put aside the work in my school. Today, I’ve come from New York, where I spent five days. On Saturday night, I met with a group from our “Yunge” (how long will they call themselves young?). I told them of the wonders of the Jerusalem of Lithuania. Every one of them asked how Grade, [Abraham] Sutzkever, [Elkhonen] Vogler, Rajzel Zychlinsky and others are doing. Go tell them, those big city suckers! Glantz [Aaron Glanz-Leyeles] talked with me a great deal about you and Sutzkever; he’s a big fan of yours.
Nu, permit me to cut this letter a little bit short. Write me a proper letter, about yourself and the other “boys.”
I assure you that I won’t remain in your debt. [He will write back.]
Tell Shmerke [Kaczerginski] that in the next few days I will write him a separate letter.
Warm regards to everyone, our older comrades [Zalmen] Reyzen, [Max] Weinreich, Zelig Kalmanovitch, and the entire Young Vilna group with their inspirations and those who inspired me…. Shulke Reyzen, [Dovid] Kaplan-Kaplanski, and all Vilna, in general.
More about me in the next letter.
In friendship,
Yours
B. Tz. Hariton [Schenectady]
Hariton, B. Z.
Lithuanian Central State Archives
YIVO Institute for Jewish Research
EBYVOC
YIVO Institute for Jewish Research
1938
Yiddish
Letter
ya-rg-8000-ap01-f05_60
Sample Dybbuk audio
Newly Discovered Notebooks of Chaim Grade's Poems
Grade, Chaim
Poetry, Yiddish
Holocaust
These notebooks are a few of the 11 notebooks of original manuscripts of Chaim Grade's wartime poetry that were discovered in 2017-2018 at the Martynas Mažvydas National Library of Lithuania of Lithuania. They are being digitized for the Edward Blank YIVO Vilna Collections project and will soon be available online.
Grade, Chaim
Newman, Roberta (photo)
Martynas Mažvydas National Library of Lithuania
YIVO Institute for Jewish Research
1940-1945
From the Edward Blank YIVO Vilna Online Collections from the Martynas Mažvydas National Library of Lithuania
Yiddish
Photograph
Grade1
Invitation to attend talk by Itsik Manger about Chaim Grade
Invitation to Zalman Reisen to attend an informal talk on Chaim Grade's new book of poetry, "Yo" (Yes), by Itzik Manger at the Café Dorman, Vilna.
YIVO Archives
YIVO Institute for Jewish Research
1936 ca.
JPEG
Yiddish
Invitation
YIVO RG 3 - 2000.3
Zuker, Esther
Born: Montreal, Canada, 1908.
University Professor.
Father born in Poland.
Zhukovsky, Mrs.
(Over 60 years when taped)
[From blue index, RG 620, box 30]
Zhukovsky, Mr.
Taped at Y.M.H.A, Toronto, Canada.
[From blue index, RG 620, box 30]
Zipper, Yankl
Born in Poland, (late 1890 or ca. 1903?
Teacher. Lived in Montreal, Canada.
Handwritten: "Is a Jewish teacher and the Principal of the Peretz schools there. A man of literary stature in Montreal and a carrier of authentic Yiddish songs."
[From blue index, RG 620, box 30]
Zhitnitsky, A.
Born: Russia, late 180s (deceased in 1967).
Lived in Argentina.
Journalist (Yiddish).
[From blue index, RG 620, box 30]
Zaretsky, Anna
Born: Grodno, 1891.
Taped at Educational Alliance, Patterson, N.Y., 1956.
[From blue index, RG 620, box 30]
Zakhar, A. Sh. "Lerer" (Samuel)
Born in 1870.
Was Hebrew secular school teacher most of his life.
At time of taping, was over 80 years old.
[From blue index, RG 620, box 30]
Yuditsch, Mr.
Born: early 1880s.
Occupation: Journalist.
[From blue index, RG 620, box 30]
Yudin, Avrom
Alternate name spelling: Yudin, Avreml. <br />Born in Baranovitsh near Horodishtsh, approx. 1908. <br />Brought up in a Hasidic home. <br />Occupation: Journalist (former pocketbook maker). <br />[From blue index, RG 620, box 30] <br /><br />Brother of <a href="https://exhibitions.yivo.org/categories/browse/Item+Type+Metadata/Performer/Yudelevitsh%2C+Mikhoel?site=site-r" target="_blank" rel="noopener">Mikhoel Yudelevitsh</a>
Yudelevitsh, Mikhoel
Born in Baranovitsh near Horodishtsh. <br />Aged 54, Sept. 1, 1966. <br />Came to Chile in 1936. <br /><a href="https://exhibitions.yivo.org/categories/browse/Item+Type+Metadata/Performer/Yudin%2C+Avrom?site=site-r" target="_blank" rel="noopener">Avreml Yudin</a>'s brother. <br />Had not seen his brother in 40 years! <br />[From blue index, RG 620, box 30]
Yaris, Mr.
Born: approx. 1970.
Resident of Home for the Aged, East Side, New York City.
[From blue index, RG 620, box 30]
Wiseman, Mrs.
Taped at Y.M.H.A., Toronto.
[From blue index, RG 620, box 30]
Werner, Nat
Born in the U.S.A. approx. 1915. <br />Heard song from artist Ben Tsion <br />Occupation: Sculptor. <br />[From blue index, RG 620, box 30] <br /><br />Read his <a href="https://www.nytimes.com/1991/12/21/obituaries/nat-werner-sculptor-84.html" target="_blank" rel="noopener">obituary in the New York Times</a>.<br />Husband of <a href="https://exhibitions.yivo.org/categories/browse/Item+Type+Metadata/Performer/Pine%2C+Geri?site=site-r" target="_blank" rel="noopener">Geri Pine</a>.
Weiser, Ada
Born: approx. 1915.
Heard songs from her Yiddish teacher in 1926.
[From blue index, RG 620, box 30]
Weinstein, Mrs.
(early 50s when recorded)
[From blue index, RG 620, box 30]
Waterman, Alec
Born: Poland, ealry 1900s (deceased 1966).
Came to England in the 1920s.
Occupation: Businessman.
Father was a Gerer Hasid
[From blue index, RG 620, box 30]
Wasilievsky, Yehudis
Wife of Sholem Wasilievsky
[From blue index, RG 620, box 30]
Wasilievsky, Sholem
Born: Barshad, Podolier Gub., late 1890s.
Came to the U.S.A. in 1928.
[From blue index, RG 620, box 30]
Wasserman, Dora
(1919–2003)<br /><br />Handwritten: "At time of taping was a part time actress. Came to Canada from U.S.S.R. after WWII." <br />[From blue index, RG 620, box 30] <br /><br />Read more about her on <a href="https://en.wikipedia.org/wiki/Dora_Wasserman" target="_blank" rel="noopener">Wikipedia</a> and on the <a href="https://jwa.org/encyclopedia/article/wasserman-dora" target="_blank" rel="noopener">Jewish Women's Archive</a> website.
Warshawsky, Allan
Born in 1940s in Brooklyn, N.Y.
Student.
[From blue index, RG 620, box 30]
Tsukert, Ita
Born: approx. 1890.
Taped at Y.M.H.A., Toronto, Canada.
[From blue index, RG 620, box 30]
Tomchin, Dora
Born: late 1890s.
Taped at Y.M.H.A., Toronto.
Age 60s.
[From blue index, RG 620, box 30]
Taub, Ita
Born: Approx. 1910 in Bessarabia. <br />Raised in Canada. <br />[From blue index, RG 620, box 30] <br /><br />Read the biographical notes by Itzik Gottesman and listen to more Ita Taub's recordings on the blog<a href="https://yiddishsong.wordpress.com/tag/ita-taub/" target="_blank" rel="noopener">Yiddish Song of the Week</a>.
Tarnoff, Dora
Born: approx. 1900.
Taped at Y.M.H.A., Toronto.
[From blue index, RG 620, box 30]
Surtshe, Mrs.
Educational Alliance.
Age 60s.
[From blue index, RG 620, box 30]
Sultan, Rita
Born: Brooklyn, N.Y. in 1920.
(age: 20s)
[From blue index, RG 620, box 30]
Sultan, Feygl
Born: Ivia, Lithuania, 1880s.
Handwritten: "Her memory of her youth as a revolutionary worker was very vivid and [to revealed?] in a number of songs which she sang for me and which she introduces with her own comments."
[From blue index, RG 620, box 30]
Suller, Chaim
Born: Shtshipkovitz, Polessia (White Russia), 1902
Former secular Jewish teacher?
[From blue index, RG 620, box 30]
Stupp, Dr. A.
Born in Tluste, Galicia, 1892. (According to Dr. Stupp this is where Baal-Shem-Tov was born.)
[From blue index, RG 620, box 30]
Sternberg, Mr.
Toronto.
Age: mid 60s.
Home for the Aged.
[From blue index, RG 620, box 30]
Stein, Eva
Born: Lodz, 1900s.
Came to the U.S.A. in 1921.
Taped at Camp Solomon, Patterson, N.Y., Aug. 1956.
Soyer, Rebecca
Born: Warsaw, late 1890s.
School teacher.
[From blue index, RG 620, box 30]
Rebecca Letz Soyer is the daughter of Gavriel Letz and wife of Raphael Soyer (who was historian Daniel Soyer's grandfather's twin brother).
Smith, Ida
Born 1890s.
Taped at Educational Alliance, Patterson, N.Y.
Age 60s.
[From blue index, RG 620, box 30]
Slonimsky, Anna
Born: Russia, 1890s.
Taped at Educational Alliance, Patterson, N.Y.
Skolnik, Mrs.
Born: 1890s
[From blue index, RG 620, box 30]
Siroto, Mr.
Mr. Siroto said he wrote this song himself.
Taped at N.Y. Public Library, Bronx, N.Y.
Age 60s
[From blue index, RG 620, box 30]
Shtern, Sonia
Nurse.
Age mid 50s.
[From blue index, RG 620, box 30]
Shnayder, Arye
Born: Rumania - Moldavia, born in the 1930s.<br />Occupation: Actor, singer.<br />Taped in Tel-Aviv, March 1956.<br />[From blue index, RG 620, box 30]<br /><br />Itzik Gottesman also recorded Arye-Leibush Laish in 1988, and published his recording on the <a href="https://yiddishsong.wordpress.com/2014/09/22/arye-leibush-laishs-backwards-march-nigun/?fbclid=IwAR1hW-czeuIyBQ6qdZ89vQBICgOqh5x6CVUsLG_tCpCeIoM6eVt0xqePiP4" target="_blank" rel="noopener">Yiddish Song of the Week blog</a>, together with additional biographical information as well as comments and links about how the melody he collected (heard in the song "Oy mame, dultshe mame") was used as a revived ritual at Klezkanada.<br /><br />I. Gottesman also wrote: "For Ruth Rubin he gave his wife's last name, Simele Shnayder, I don't know why. Ruth Levin informed me that Ayre Laish died in 2014."
Shapiro, Mr.
Born: [Otek?], Bessarabia in 1910.
Came to the U.S.A. in 1934.
Serbin, Sam
Taped at Educational Alliance, Patteron, N.Y.
[From blue index, RG 620, box 30]
Serbin, Rose
Born: Bessarabia, Bargopolo (near Odessa), approx. 1896.
Taped at Educational Alliance, Patteron, N.Y.
[From blue index, RG 620, box 30]
Segal, Fanye
Born: Minsk, approx. 1908.
(age 42)
[From blue index, RG 620, box 30]
Schwartz, Teddi
Born: Harlem, N.Y. in 1915.
Age: 40s
Sandler, Esther
(age 55)
[From blue index, RG 620, box 30]
Sandler, Philip
Born in Lithuania, 1906.
Came to the U.S.A. in 1923.
Heard this song from his mother.
Journalist.
[From blue index, RG 620, box 30]
Rubin, Michael
(1937-1959)
Born in New York City.
"Our beloved son when he was 10."
[From blue index, RG 620, box 30]
Royzner, Ged
Born 1890s.
Lived in Chile.
[From blue index, RG 620, box 30]
Rothenberg, Mrs.
Born: 1905.
[From blue index, RG 620, box 30]
Rosenberg, Hannah
Born: Warsaw
(age 57 when recorded)
[From blue index, RG 620, box 30]
Rose, Herta
Born approx. 1910 in Austria
Taped at Toronto Y.M.H.A
[From blue index, RG 620, box 30]
Rodman, Bella
Born: Poland, early 1900.
Raised in Montreal, Canada.
Knows practically no Yiddish.
(age 57 when recorded)
[From blue index, RG 620, box 30]
Robbins, Dr. M.
Born: Motl Rabinovitch in Balta, Ukraine, approx. 1900.
Medical doctor. Son of Rabbi.
Composer of Yiddish songs.
(deceased around 1968).
Handwritten: "Dr. Robbins was a prominent Zionist in New England but retained a number of unusual authentic folksongs in his memory."
[From blue index, RG 620, box 30]
Reinstein, Sol
Born: Warsaw Poland, 1902.
Came to the U.S.A in 1921.
[From blue index, RG 620, box 30]
Reif, Bertha
Born: Galicia (age: 30s?)
Came to the U.S.A. in 1922
[From blue index, RG 620, box 30]
Ravitsh, Melekh
(1893-1976) <br />Poet, literary critic / historian. Born in Radom, E. Galicia.<br />Read his <a href="http://www.yivoencyclopedia.org/article.aspx/Ravitch_Melech" target="_blank" rel="noopener">biography in the YIVO Encyclopedia</a>
Rappaport, Nathan
Age: Born 1890s.
Taped at Camp Solomon, Patterson, N.Y.
[From blue index, RG 620, box 30]
Rabins, Herman
Herman Rabin, born Chayim Rabinovitsh, in Novminsk, Poland.
Came to the U.S.A. in 1920.
Rabinovitsh, Shulamis
Born: Białystok, 1909.
Came to the U.S.A in 1928.
Occupation: Needle trades worker.
[From blue index, RG 620, box 30]
Plattner, Israel
Born early 1900.
Recorded at Toronto YMHA, 1956.
[From blue index, RG 620, box 30]
Pine, Geri
Birthdate: 1908. <br />Occupation: Artist-painter <br />Learned songs from friends. <br />[From blue index, RG 620, box 30] <br /><br />Wife of sculptor <a href="https://exhibitions.yivo.org/categories/browse/Item+Type+Metadata/Performer/Werner%2C+Nat?site=site-r" target="_blank" rel="noopener">Nat Werner</a>.
Pincus, David
Born: 1911.
[From blue index, RG 620, box 30]
Persky, Mr.
Born approx. 1895.
Moved from Montreal to NYC.
[From blue index, RG 620, box 30]
Perenson, Moyshe
Born in Warsaw, 1902. <br />Came to the U.S.A. in 1941. <br />Writer on Yiddish theater and poems. <br />Deceased Jan. 1969<br />[From blue index, RG 620, box 30] <br /><br />Read about him on the <a href="http://www.museumoffamilyhistory.com/yt/lex/P/perenson-moshe.htm" target="_blank" rel="noopener">Museum of Family History</a> (text adapted from the original Yiddish text found within the "Lexicon of the Yiddish Theatre" by Zalmen Zylbercweig, Volume 3, page 1847).<br /><br />Handwritten note by Ruth Rubin from black binder in RG 620 box 30:<br /><br /><img src="/files/cimages/Perenson-blackindex-RG620-box30.jpg" caption="false" width="400" height="638" />
Pelayeff, Rachel
Lived in Montreal.
Ortenberg, Mr.
Born in the 1880s.
Lived in Montreal, Canada.
[From blue index, RG 620, box 30]
Ortenberg, Pearl
Born 1900 approx - deceased 1968.
Was member of Poale Zion in her youth.
Lived in Montreal, Canada.
[From blue index, RG 620, box 30]
Omer, Mr.
Born in Kolomey, approx. 1910.
Occupation: Musician.
Lived in Tel Aviv.
[From blue index, RG 620, box 30]
Novik, Paul
Born: Russia, 1890s.
Occupation: Journalist.
[From blue index, RG 620, box 30]
Nekin, Ida
Born in Mogilovsk Gub. Russia, 1879.
Came to the U.S.A. in 1914.
Taped at Camp Solomon, Aug. 1956.
[From blue index, RG 620, box 30]
Mostowitz, Nadia
Born Kovno Gub., Lithuania, early 1900s.
[From blue index, RG 620, box 30]
Mishkin, Mr.
Born 1863.
Resident of Home for Aged, East Side, New York City (age 85).
[From blue index, RG 620, box 30]
Michaels, Mary
Bron in New York City, 1906.
Graduated a Brooklyn Shule in 1924-25.
Her mother born in Minsk.
Handwritten: "Her diction reveals the 'American Jewish' influence, but her memory of the kind of songs which were taught in the Yiddish secular school in the area is vivid."
[From blue index, RG 620, box 30]
Meyerhoff, Mr.
Born 1870s.
[From blue index, RG 620, box 30]
Mendelson, Ora
Bron in New York City, 1936.
(Age 11 when recorded)
[From blue index, RG 620, box 30]
Menken, Yetta
Recorded at Camp Solomon, Patterson, N.Y. \
Mid-60s.
[From blue index, RG 620, box 30]
Meltzer, Miriam
Born in Kolomey, Ukraine, approx. 1910.
Sang these songs in Vilno [Vilnius] during the 1920s.
Lived in Tel-Aviv, Israel.
[From blue index, RG 620, box 30]
Meltser, Mrs.
Born in the 1890s.
Taped at Education Alliance, Patterson, N.Y.
Maze, Ida
<p>(1893-1962)<br />Also known as Ida Maza and Ida Massey,<br />was a Canadian Yiddish-language poet. Her home in Montreal became a literary salon and she became a maternal figure to Canadian Yiddish language authors. </p>
<p>Read about her on <a href="https://en.wikipedia.org/wiki/Ida_Maze" target="_blank" rel="noopener">Wikipedia</a> and on the <a href="https://jwa.org/encyclopedia/article/maze-ida" target="_blank" rel="noopener">Jewish Women's Archive</a></p>
<p>Watch a <a href="https://www.yiddishbookcenter.org/collections/oral-histories/excerpts/woh-ex-0003707/ida-maze-den-mother-yiddish-montreal" target="_blank" rel="noopener">short documentary</a> about her "Ida Maze: The "Den Mother" of Yiddish Montreal" on the Yiddish Book Center's Wexler Oral History Project.<br /><br />Find and <a href="https://www.yiddishbookcenter.org/search?search_api_views_fulltext=ida+maze&Submit+search=&restrict=" target="_blank" rel="noopener">read her books</a> digitized by the Yiddish Book Center.<br /><br /><img src="/files/cimages/Ida Maze.jpg" alt="" width="297" height="464" /></p>
Mamlock, Mr.
Age 70s. Alternate spelling: Mamelok.
[From blue index, RG 620, box 30]
Makofsky, Max
Bornin Tiktin, Lomzer Gub. 1880.
Came to the U.S.A. in 1903.
Learned some of his songs when he worked in Trestina.
[From blue index, RG 620, box 30]
Mahler, Dr. Raphael
Born in Warsaw, approx. 1900.
Occupation: Historian (Modern Jewish and European History)
Lived in Tel-Aviv, Israel.
Taped in New York City, Oct 19, 1962.
[From blue index, RG 620, box 30]
Lobell, Freda
Born: Bessarabia - Czernowitz.
Mother of Bill Lobell.
[From blue index, RG 620, box 30]
Lobell, Bill
Born: New York City, 1912.
Learned his Yiddish songs from his mother (born in Czernowitz) and his father (born in Austria).
Occupation: Salesman.
Handwritten: "Born of Bessarabian mother (Freda Lobell)"
[From blue index, RG 620, box 30]
Lipsky, Jacob
Born: Grodno Gub., approx. 1881.
Taped at Educational Alliance, Patterson, N.Y.
[From blue index, RG 620, box 30]
Lipkovitsh, Daniel
Born in Warsaw, 1890s.
Father from Brisk, mother from Vilna.
Needle trade worker.
[From blue index, RG 620, box 30]
Levitan, Zusye
Born: approx. 1908.
His mother was born in Vitebsk.
[From blue index, RG 620, box 30]
Letst, Gavriel
Born in Warsaw, 1874.
Father of Rebecca Soyer.
[From blue index, RG 620, box 30]
Leikin, Charles
Born in Keshenev, Bessarabia, 1908.
Occupation: Teacher.
[From blue index, RG 620, box 30]
Leibowitz, Gussie
Born: approx. 1905.
Came to the U.S.A. in 1923.
Daughter of a cantor.
Resident of New York Guild for the Jewish Blind, Yonkers, N. Y.
[From blue index, RG 620, box 30]
Krishtalka, Mrs.
Born in Poland. Mid 40s?
[From blue index, RG 620, box 30]
Kollander, Mrs.
Born: early 1880s.
Resident of Jewish Home for the Aged, Toronto, Canada.
[From blue index, RG 620, box 30]
Kloner, Libby
Born: Lipkan, Bessarabia, 1890s.
Taped at Educational Alliance, Patterson, N.Y., June, 1956.
[From blue index, RG 620, box 30]
Kline, Anne
Born: Lublin, 1905.
Came to the U.S.A. in 1910, was raised in Pittsburgh.
Learned songs from her Poland-born mother and other half-brother.
[From blue index, RG 620, box 30]
Kleinman, Bess
Born in Kamenetz-Podolsk, Russia, approx. 1905.
Learned song in Palestine, 1932.
[From blue index, RG 620, box 30]
Kirshboym, Moyshe
Born: Lodz, 1900.
Came to Canada in 1926.
[From blue index, RG 620, box 30]
Khalmish, Mordkhe
Born approx. 1915.
Occupation: Journalist, author.
Lived in Tel-Aviv, Israel.
[From blue index, RG 620, box 30]
Kessler, Sore
Born: Tzhizhov, Poland, early 1900.
Needle trades worker.
[From blue index, RG 620, box 30]
Katz, Bessie
Born: Yanov-Lubensky, Russia-Poland, 1890s.
Came to U.S.A in 1913.
Taped at Camp Solomon, Patterson, N.Y. Aug, 1956.
[From blue index, RG 620, box 30]
Katz, Berish
Born: Galicia, approx. 1880.
Former badkhn. Nephew of Galician badkhn Moyshele Shtamm or Moyshele from Glina.
[From blue index, RG 620, box 30]
Kaplan, Bentsion
Birthdate: approx. 1900
Businessman.
Taped at Lake Chalres, N.Y.
[From blue index, RG 620, box 30]
Horowitz, Rochelle
Young daughter of actors (Norbert and Rita)
Recorded by Folkways - 1961.
[From blue index, RG 620, box 30]
Horowitz, Norbert
Actor.
[From blue index, RG 620, box 30]
Father of Rochelle Horowitz
Holland, Avreml
Born: Plonye, Poland.
"Former sweatshop worker, now businessman (clothing)."
[From blue index, RG 620, box 30]
Hoch, Sam
Born: 189s.
Taped at new York Public Library, Bronx, N.Y.
[From blue index, RG 620, box 30]
Hirshberg, Mrs.
Handwritten: "Age? (50s)"
[From blue index, RG 620, box 30]
Hencken, Yetta
Born: Warsaw, Poland.
[From blue index, RG 620, box 30]
Halpern, Fanye
Born: Minsk, approx. 1898.
Came to the U.S.A. around 1918.
Former needle trades factory worker.
Handwritten: "Tends to 'recreate' the folklsongs she has pulled up in her youth in Europe and later on in the U.S.A. Very imaginative."
[From blue index, RG 620, box 30]
Grubman, Chaya
Born in Gonyen, a little town near Białystok, late 1890s.
Came to the U.S.A. in 1926.
[From blue index, RG 620, box 30]
Grossman, Yetta
Born: Hungary - Hamermeze - 1890s.
Came to the U.S.A. in 1908.
Taped at Camp Solomon, Patterson, N.Y.
[From blue index, RG 620, box 30]
Grauer, Rose
Born in Rumania - Rodovitz, 1898.
Came to the U.S.A. in 1918.
Taped at Camp Solomon, Patterson, N.Y.
[From blue index, RG 620, box 30]
Granatstein, Betty
Born: Toronto, Canada, 1935.
Learned the songs in Hashomer Hatzair movement between 1946-1957.
Does not know Hebrew, songs learned mostly by rote.
[From blue index, RG 620, box 30]
Gordon, Mrs.
(in her early 60s when recorded)
[From blue index, RG 620, box 30]
Goodman, Mrs. F.
Born: Approx. 1895.
Taped at New York Public library, Bronx, N.Y.
[From blue index, RG 620, box 30]
Goldshmid, Mr.
Born: Minsk gub. approx. 1875
Resident of Home for Aged, East Side, New York City.
[From blue index, RG 620, box 30]
Goldman, Yankl
Born: Warsaw, 1885.
Former needle trades factory worker.
[From blue index, RG 620, box 30]
Goldberg, Yidl
Actor, singer
Was active and performed in England.
[From blue index, RG 620, box 30]
Goldberg, Dr. David
Born in the 1880s.
Occupation: Author, educator, former Rabbi.
[From blue index, RG 620, box 30]
Gold, Sam
Born: Lipkan, Bessarabia, 1893.
Was a roofer in the "old country."
His father was Aaron "Badkhn," born in Khotin, 1876.
[From blue index, RG 620, box 30]
Gans, Mary
Born in early 1890s.
Taped at New York Public Library, Bronx, N.Y., 1957.
[From blue index, RG 620, box 30]
Gafni, Genya
Born: Kolomey, approx. 1910
Then lived in Tel-Aviv, Israel.
[From blue index, RG 620, box 30]
Frimmerman, Mrs.
Born in early 1990s.
Taped at Toronto, Canada Y.M.H.A.
[From blue index, RG 620, box 30]
Friedman, Mrs.
Born in late 1890s.
Tape at Toronto, Canada Y.M.H.A.
[From blue index, RG 620, box 30]
Fried, Golde
Born: Vilno (Vilnius), early 1900.
Came to the U.S.A. in 1914.
Taped at Camp Solomon, Patterson, N.Y.
[From blue index, RG 620, box 30]
Freeman, Frume
Born: Plony, Poland, approx. 1910.
Came to England in 1938.
Housewife.
[From blue index, RG 620, box 30]
Freeland, Mr.
Born in Austria, late 1880s.
Taped at Toronto, Canada Y.M.H.A.
[From blue index, RG 620, box 30]
Freed, Israel
Born approx. 1903. Bershad, Podolier Gub. Ukraine.
Occupation: Journalist.
Learned many of the older songs he sings from his mother.
[From blue index, RG 620, box 30]
Frank, Moyshe
Born: Late 1890s.
Occupation: Journalist.
[From blue index, RG 620, box 30]
Fogl, Mr.
Taken from Teddi Schwartz' tape - recorded at Lake Charles, N.Y. (Camp Solomon).
[From blue index, RG 620, box 30]
Finfer, E.
Born in 1890's. Taped at New York Public Library, Tremont Branch, Bronx, N.Y.
[From blue index, RG 620, box 30]
Feingold, F.
Born: Warsaw, Poland, approx. 1905.
Lived through Warsaw Ghetto period.
[From blue index, RG 620, box 30]
Feder, Naomi
Born: Brooklyn, N.Y., 1926.
[From blue index, RG 620, box 30]
Factor, Chana
Born in Poland, near Lublin, 1936.
Came to Canada in 1949.
Learned songs in Hashomer movement in Winnipeg, Canada, and at Herzliah Seminary in New York City. Speaks Hebrew.
[From blue index, RG 620, box 30]
Epshtein, Mr. E.
Born: 1880.
Taped when a resident of Home for the Aged, East Side, New York City.
[From blue index, RG 620, box 30]
Elish, Karl
Born in New York City, 1895.
Learned his songs from his mother Annie Maitlin-Elish. She came to the U.S.A. from Minsk in 1893.
[From blue index, RG 620, box 30]
Ellin, David
Born: Montreal, Canada in 1925.
Lived in New York, N.Y.
Occupation: Actor, Singer.
[From blue index, RG 620, box 30]
His <a href="https://www.nytimes.com/1986/05/29/obituaries/david-ellin.html" target="_blank" rel="noopener">obituary in the New York Times</a> (1986)
Eisenstadt, Mr.
Born: approx. in 1880.
Alternate spelling: Eisenshtat.
[From blue index, RG 620, box 30]
Efron, Feyge
Taken from wire recording collection of Ben Stonehill, 1948.
[From blue index, RG 620, box 30]
Dux, Bessie
Born: approx. 1900.
[From blue index, RG 620, box 30]
Drucker, Esther
Born in 1901 in Tomashpil, Ukraine.
(then lived in Mexico). Teacher.
[From blue index, RG 620, box 30]
Drucker, David
Born on Delancey St., New York City, in 1902 (then lived in Mexico).
Occupation: Lawyer.
[From blue index, RG 620, box 30]
Diskin, Mrs.
Born in the 1890s.
Taped a Camp Solomon, Patterson, N.Y.
[From blue index, RG 620, box 30]
Dillman, Mrs.
Born in the 1890s.
Taped at Y.M.C.A. in Toronto (at age 66).
[From blue index, RG 620, box 30]
Deltoff, Mrs.
Born in the 1890s.
Taped at Y.M.C.A. in Toronto (at age 66).
[From blue index, RG 620, box 30]
Cohen, Pauline
Born in Russia, Holodetz, Grodno gub. near Minsk, in the 1890s.
Came to the U.S.A. in the 1890s "when McKinley was assassinated" [he was shot in 1901]. Taped at Camp Solomon.
An aunt to Jan Peerce.
[From blue index, RG 620, box 30]
Cohen, Etta
Born in the 1890s.
Age: late 60's (in 1957). Homemaker.
[From blue index, RG 620, box 30]
Brokhe “fun Minsk”
Age: mid 70s (in 1948)
[From blue index, RG 620, box 30]
Blatt, Lillian
Born in Brooklyn in 1928.
Learned songs in Workmen's Circle Shule in the 1940s.
[From blue index, RG 620, box 30]
Birnbaum, Martin
Born in Horodenko (Austria) in 1907 (This territory belonged to Poland up to World War II)
Came to the U.S.A. in 1923.
Occupation: Jewish teacher.
[From blue index, RG 620, box 30]
Bern, Mina
(1911 - 2009)
Actress.
Her papers at YIVO: see the <a href="http://www.yivoarchives.org/index.php?p=collections/controlcard&id=33530">Guide to the YIVO Archive</a><br />Her biography written by Adrienne Cooper on the <a href="https://jwa.org/weremember/bern-mina" target="_blank" rel="noopener">Jewish Women's Archive website</a>
Berkowitz, Anna
Born in Shat [Šata, Satė, Satės, Reka Shata, Szata], Lithuania, 1920.
Came to Canada in 1935.
Homemaker.
Learned most of her songs from her sister, Mrs, Mintz, when she (Anne) was very young.
Alternate spelling of her name: Chane Berkovitsh
[From blue index, RG 620, box 30]
Bender, Manye
Born in Bessarabia, approx. 1900.
Heard these songs 'back home', also on the ship coming over.
[From blue index, RG 620, box 30]
Barsky, Toba
Born approx. 1895
[From blue index, RG 620, box 30]
Barmak, Rose
Born in Britshan, Bessarabia, approx. 1890.
Came to Canada in 1907.
A second cousin of Ruth Rubin.
[From blue index, RG 620, box 30]
Bach, Mannie
Born approx. 1907.
Occupation: Choral Director.
(age 48)
[From blue index, RG 620, box 30]
Axelbank, Peysekh
Brother of Basye.
"Mr. Lazar Axelbank's mother & father came from Novo Constantinov, Ukraine, 30 miles from Mezbezh (birthplace of the Baal Shem Tov), near Berditchev. Not until his mother had passed away did Lazar manage to get some tunes down on his wire recorder, with the help of sister Basye, who remembered them. This applies to Pesech A. also."
[From blue index, RG 620, box 30]
Axelbank, Basye
Born in 1890 in New Konstantin, Podolst, Ukraine.
Came to USA in 1907.
"Mr. Lazar Axelbank's mother & father came from Novo Constantinov, Ukraine, 30 miles from Mezbezh (birthplace of the Baal Shem Tov), near Berditchev. Not until his mother had passed away did Lazar manage to get some tunes down on his wire recorder, with the help of sister Basye, who remembered them. This applies to Pesech A. also."
[From blue index, RG 620, box 30]
Ausubel, Nathan
Born in Europe, approx. 1896. <br />Occupation: Author. Author, Compiler, Editor of "A Treasury of Jewish Folklore," and other books. <br />[From blue index, RG 620, box 30] <br />Read more about him on <a href="https://en.wikipedia.org/wiki/Nathan_Ausubel" target="_blank" rel="noopener">Wikipedia</a>
Auslander, Mr.
Birthdate: 1886
"P.S. He speaks about himself in one of the tapes. Born in Austria. Came here [New York City] 1904. Age 84."
[From blue index, RG 620, box 30]
Asher, Chinke
Age: mid-60s when recorded (in 1955)
[From blue index, RG 620, box 30]
Abramowitz, Freda
Born in Poland, approx. 1890.
[From blue index, RG 620, box 30]
Abelson, Itshke
Birthdate: Approx. 1895.
"Taken from Jesse Shanak's tape collection." [From blue index, RG 620, box 30] <br /><br />Additional interview of Itshke Abelson from the Ruth Rubin collection in the <a href="https://www.nli.org.il/en/items/NNL_MUSIC_AL003240231/NLI">National Library of Israel</a>.
Excerpt 2 - Ruth Rubin
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/aOKeiRxIxHk" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Excerpt 1 - Ruth Rubin at YIVO
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/b_C6iHZi8MQ" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Ruth Rubin tells the story of...
YIVO Institute for Jewish Research
RG 620 Ruth Rubin Collection
The Max and Frieda Weinstein Archive of YIVO Sound Recordings
2019
<em><i>Tsemakh Atlas (The Yeshiva) - </i></em>Volume 2
<em><i>Tsemakh Atlas</i></em> is <span>about the Musar world and its attempt to shape the ethical personality. Through the memorable character of Tsemakh Atlas, a tortured teacher of Musar who is trapped between its self-abnegating demands, the enticements of the secular world, and his own elemental desires, readers enter a universe of high religious ideals, intellectual and moral debate, and intense spiritual struggle.</span>
Chaim Grade
YIVO Institute for Jewish Research
1968
JPEG
Yiddish
Book
Newly Arrived Immigrants at HIAS Shelter
Immigration
HIAS
Newly arrived immigrants at the East Broadway HIAS shelter waving American flags.
HIAS
YIVO Archives
YIVO Institute for Jewish Research
January 1916
JPEG
Photograph
YIVO RG 245.8 - 13
Potential Emigrants at Office of Hilfsverein
Holocaust (Germany)
Refugees, Jewish
Jewish men seeking to emigrate waiting in the office of the Hilfsverein, a German Jewish aid organization, under a map of South America (left) a sign about emigration to Palestine (right) and other signs.
Foto Abraham
YIVO Archives
YIVO Institute for Jewish Research
1935
JPEG
Photograph
YIVO RG 120 - Germany 33-45 - General Photo 97
Hilfsverein Office
An official in the office of the Hilfsverein, a German Jewish aid organization, advising a Jewish emigrant.
Foto Abraham
YIVO Archives
YIVO Institute for Jewish Research
1935
JPEG
Photograph
YIVO RG 120 - Germany 33-45 - General Photo 98
Report of German Jewish Children's Aid
Refugees, Jewish
German Jewish Children's Aid
Holocaust
Report on the number of children (406) the organization German Jewish Children's Aid was successful in sponsoring and bringing to the United States from 1934-1937. The number was only a small fraction of Jewish children who needed refuge but who were kept from coming to America by strict immigration quotas.
German Jewish Children's Aid
YIVO Archives
YIVO Institute for Jewish Research
1937
JPEG
English
Report
YIVO RG 278 - F014 - 035
Outside of the HIAS Office
HIAS
Immigrants
Family outside of the HIAS office in New York.
HIAS
YIVO Archives
YIVO Institute for Jewish Research
1940s ca.
JPEG
Photograph
YIVO RG 245.8 - 8
USNA Staff Greeting Newly Arrived Immigrants
United Service for New Americans
Holocaust Survivors
A staff member of the United Service for New Americans greeting immigrants, Holocaust survivors who have just arrived in America.
HIAS
YIVO Archives
YIVO Institute for Jewish Research
1940s ca.
JPEG
Photograph
YIVO RG 245.8 - 34
Open the Doors
The Forward
Post-War
Rally
Indoor rally supporting Displaced Persons after the World War II. A banner reads, "Open the Doors of all Countries for the DPs'."
The Forward
YIVO Archive
YIVO Institute for Jewish Research
June 8, 1947
JPEG
Photograph
YIVO Archives - Uncatalogued
Soviet Jewish Children at JFK Airport
HIAS
Soviet Jews
Immigration
Soviet Jewish children arriving at JFK Airport in New York, wearing HIAS buttons. (Illustration in HIAS Annual Report).
HIAS
YIVO Library
YIVO Institute for Jewish Research
1979
JPEG
English
Annual Report
YIVO Library - 015006626
Soviet Jews Arriving in America
HIAS
Soviet Jews
Immigration
Page from the 1977 HIAS Annual Report featuring montage of photographs. (Top) A family reunited after 37 years. (Bottom left) A recently arrived couple. (Bottom right) HIAS Director of Public Relations Hyman Brickman distributing matzohs to immigrants at JFK Airport.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1977
JPEG
English
Annual Report
YIVO Library - 015006626
Soviet Jews Arriving in the United States
HIAS
Soviet Jews
Immigration
Page from the 1976 HIAS Annual Report. A montage of images of recently arrived Soviet Jews.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1976
JPEG
English
Annual Report
YIVO Library - 015006626
Job Training for Refugees
NYANA (New York Association for New Americans)
Soviet Jews
NYANA providing immigrants with medical job training, New York.
NYANA
YIVO Archives
YIVO Institute for Jewish Research
1980s ca.
JPEG
Photograph
YIVO RG 1866
NYANA Staff Assisting Refugees in Supermarket
NYANA
Refugees
Soviet Jews
NYANA (New York Association for New Americans) assisting recent Soviet immigrants in navigating a supermarket.
NYAYA
YIVO Archives
YIVO Institute for Jewish Research
1980s ca.
JPEG
Photograph
YIVO RG 1866
Founding of NYANA
NYANA (New York Association of New Americans)
Statement from Edwin Rosenberg, Chairman of the Operating Organizational Committee for NYANA about the formation of the new immigrant aid organization.
NYANA
YIVO Archives
YIVO Institute for Jewish Research
February 17, 1949
JPEG
English
Meeting Minutes
YIVO RG 1866
Recently Arrived Soviet Jews
Soviet Jews
Immigration
HIAS
Page from the 1974 HIAS Annual Report with three photographs. (Top) Orientation session for newly arrived immigrants. (Bottom left) Family at a holiday celebration. (Bottom right) Newly arrived immigrants at HIAS headquarters.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1974
JPEG
English
Annual Report
YIVO Library - 015006626
U.S. Eases Entry of Soviet Jews
Soviet Jews
Immigration
HIAS
Page from the 1971 HIAS Annual Report discussing the immigration of Soviet Jews to the United States and a new law put in place to ease entry. The image on the left shows the first family of Soviet Jews admitted into the U.S. under a new bill passed in 1971. The image on the right displays a grandfather greeted upon arrival in the U.S. by his grandchildren.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1971
JPEG
English
Annual Report
YIVO Library - 015006626
Report on Soviet Jewish Immigrants
HIAS
Soviet Jews
Pages from the 1970 HIAS Annual Report with statistics on Soviet Jewish immigrants and two photographs. Top left: A Soviet family recently arrived in the United States. Bottom right: A family discussing their immigration experience with HIAS staff.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1970
JPEG
English
Annual Report
YIVO Library - 015006626
Road to Freedom
HIAS
Refugees, Jewish
Holocaust
Page from the 1941 HIAS Annual Report with photograph of Jewish refugees boarding a train in Marseilles, in Nazi-occupied France, on on the first leg of a journey out of the country.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1941
JPEG
Englsih
Annual Report
YIVO Library - 015006626
To Safety and Freedom
HIAS
Refugees, Jewish
Holocaust
Page from the 1941 HIAS Annual Report with a photograph of a family of Jewish refugees newly arrived in the United States.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1941
JPEG
English
Annual Report
YIVO Library - 015006626
Aided by HIAS-ICA, Refugees Leave Lisbon
HIAS
Refugees, Jewish
Holocaust
Page from the 1941 HIAS Annual Report with photograph of Jewish refugees in Lisbon, Portugal, boarding the SS Serpa Pinto bound for a destination in the "Western hemisphere." Their emigration was facilitated by HIAS-ICA.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1941
JPEG
English
Annual Report
YIVO Library - 015006626
Rescue Thru Emigration
HIAS
Refugees, Jewish
Holocaust
Cover of the 1941 HIAS Annual Report: HIAS is portrayed as a "tower of hope" for Jewish emigres.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1941
JPEG
English
Annual Report
YIVO Library - 015006626
1940 HIAS Actitives
HIAS
Cover of the 1940 HIAS Activities in the Untied States and Oversea Countries
HIAS
YIVO Library
YIVO Institute for Jewish Research
1940
JPEG
English
Annual Report
YIVO Library - 015006626
Anxious for Their Relatives
HIAS
Refugees, Jewish
Holocaust
Illustration from HIAS's 1939 Annual Message and Reports: American Jews at HIAS headquarters in New York, seeking information about advice on how to bring relatives trapped in Nazi-occupied Europe to the United States.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1939
JPEG
English
Annual Report
YIVO Library - 015006626
First Rest and Welcome
HIAS
Refugees, Jewish
Holocaust
Illustration from HIAS's 1939 Annual Message and Reports: newly arrived Jewish refugees at the HIAS office in New York.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1939
JPEG
English
Annual Report
YIVO Library - 015006626
The Door of Hope
HIAS
Holocaust
Illustration from HIAS's Annual Message and Reports: American Jews coming to HIAS headquarters in New York, seeking advice on how to help family members trapped in Nazi-occupied Europe.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1939
JPEG
English
Annual Report
YIVO Library - 015006626
Illustration from the 1936 HIAS Annual Message and Reports
HIAS services
Illustration from the 1936 HIAS Annual Message and Reports displaying the various services and departments of the organization.
HIAS
YIVO Library
YIVO Institute for Jewish Research
1936
JPEG
English
Annual Report
YIVO Library - 015006626
1935 HIAS Annual Message and Reports
HIAS
Review of HIAS and HICEM Activities from the 1935 Annual Message. The second paragraph describes the increasing difficulties for Jewish migrants to immigrate to the United States.
HIAS - Isaac L. Asofsky
YIVO Library - 015006626
YIVO Institute for Jewish Research
1935
JPEG
English
Annual Report
YIVO
Plymouth Rock 1949
Radio
Holocaust Survivors
Immigration Quotas
CCDP (Citizens Committee on Displaced Persons) radio program "Plymouth Rock 1949," written by Paul Tripp, produced by Ted Hudis, and broadcast on WNYC. It features a banjo-strumming/singing Uncle Sam (Ray Middleton) who presents a musical argument for opening the doors of America to increased numbers of refugees and points to analogies between them and pilgrims who came on the Mayflower.
Plymouth Rock Radio
Max and Frieda Weinstein Archive of YIVO Sound Recordings
YIVO Institute for Jewish Research
1949
MP3
English
Radio Broadcast
YIVO RG 130 43.01
This is New Jersey
Holocaust Survivors
Radio Programs
Farmers, Jewish
"This is New Jersey," a radio play about a family of refugees who become chicken farmers in New Jersey, was broadcast in 1947 or 1948 as part of a weekly series produced by the New Jersey Department of Economic Development, and was most likely sponsored by the organization, the United Service for New Americans (USNA), as part of their campaign to create favorable impressions of Jews and refugees in an attempt to create public pressure for liberalized immigration quotas.<br /><br />The play's main character, Max Schneider, a refugee chicken farmer in New Jersey, seems to be based on a real refugee chicken farmer, Siegfried Schweitzer, who had received USNA aid. When the Schneider family's chicken coop is destroyed in a storm, they're reluctant to go to their neighbors for help. But the neighbors come forward. When Max tearfully expresses his amazement and gratitude that they would help "a stranger, a foreigner," they point out that they themselves are the children or descendants of immigrants.
This is New Jersey
Max and Frieda Weinstein Archive of YIVO Sound Recordings
YIVO Institute for Jewish Research
1947
MP3
English
Radio Broadcast
YIVO RG 130 17.15
Outside of the Otto Frank File
Outside of the Otto Frank File
YIVO Archives
YIVO Institute for Jewish Research
JPEG
Folder
Refugees Departing a DP Camp for the U.S.
Displaced Persons Camps
Immigration
Holocaust Survivors
Refugees leaving a displaced persons camp in Stuttgart, Germany, on a train on their way to the United States.
YIVO Archives
YIVO Institute for Jewish Research
April 1946
JPEG
Photograph
YIVO RG 249.5 - 330
Graduation From English Class
Education
Immigration
Soviet Jews
NYANA
Russian Jews, new immigrants from the Soviet Union, graduating from an English class sponsored by NYANA (New York Association for New Americans), New York.
NYANA
YIVO Archives
YIVO Institute for Jewish Research
1971
JPEG
Photograph
YIVO RG 1866 nya019
Recently Arrived Russian Jews With NYANA President
Immigration
Soviet Jews
NYANA
Recently arrived Russian Jews with NYANA (New York Association for New Americans) president, Mrs. Sophie S. Udell, New York. "NYANA was the only settlement agency for Jewish newcomers to the greater New York area. These young men were participating in an orientation session."
Mike Zwerling
YIVO Archives
YIVO Institute for Jewish Research
1974
JPEG
Photograph
YIVO RG 1866 nya034
Passover Seder for Russian Jewish Immigrants
Passover
Soviet Jews
NYANA
Passover seder at the Hirschman YM/YWHA in Coney Island, Brooklyn. (L) Rabbi Ezekiel Pikus with Galina Silber and (R) Celia Kushner, Vice -President of the Hirschman YM-YWHA. The seder for newly arrived Russian immigrants was sponsored by NYANA (New York Association for New Americans) and Project ARI (Action for Russian Immigrants).
Photophoria/Creative Photography/Paul Bernstein
YIVO Archives
YIVO Institute for Jewish Research
April 20, 1976
JPEG
Photograph
YIVO RG 1866 nya027
New Immigrants Working in a Candy Factory
Immigration
Employment
NYANA
New immigrants employed at Barton's Candy Factory in Brooklyn.
NYANA
YIVO Archives
YIVO Institute for Jewish Research
1965
JPEG
Photograph
YIVO RG 1866 nya005
Roster of Students in Agriculture Course
Farmers, Jewish
HIAS
Immigrants
Federation of Jewish Farmers of America
Roster of Jewish immigrants participating in an agriculture class near Ellenville, New York run by HIAS's Naturalization Bureau and the Federation of Jewish Farmers of America. Most of the students have been in the U.S. and have been farmers for over a decade.
HIAS
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
English
Document
YIVO RG 245.4.1. - Box 1 - 23
Minutes of a Meeting of the Committee on United States Immigration Stations and Foreign Relations
Immigration
Immigration Act of 1917
HIAS
Minutes of a Meeting of HIAS' Committee on United States Immigration Stations and Foreign Relations, New York. Among the topics discussed was the new Immigration Act of 1917, which imposed a literacy test on immigrants, and the importance of keeping the Jewish public informed about the new regulations. A suggestion was made to translate (presumably into Yiddish) key passages of the law.
HIAS
YIVO Archives
YIVO Institute for Jewish Research
March 28, 1917
JPEG
English
Meeting Minutes
YIVO RG 245.4.1. - Box 1 - 12
Minutes of a Meeting of the Executive Committee
Immigration
HIAS
Immigration Restriction
Minutes of a meeting of HIAS' Executive Committee in New York at which the chief topic of discussion was issues related to delays in Jewish immigrants receiving visas to come to the U.S. "..thousands of families in Poland and Lithuania [and Holland are] clamoring for permission to join their husbands and fathers in the United States."
HIAS
YIVO Archives
YIVO Institute for Jewish Research
March 27, 1919
JPEG
English
Meeting Minutes
YIVO RG 245.4.1 - Box 1 - 2
Minutes of the Special Meeting of the Ellis Island Committee of HIAS and The Jewish Immigration Committee
Ellis Island - Deportation of Immigrants
Immigration
HIAS
Industrial Removal Office
Minutes of an emergency meeting of the Ellis Island Committee of HIAS and The Jewish Immigration Committee, New York, to discuss the plight of 17 Jewish men detained on Ellis Island and threatened with deportation because they arrived without sufficient funds, despite the fact that they were able-bodied and unlikely to become public charges. The board members also discussed the miserable conditions of the detention facilities, which were particularly bad in hot weather. They cited one instance in which a man who arrived with his family during a heat wave became so distraught that "he was taken for a maniac and placed in the Hospital for observation."
HIAS
YIVO Archives
YIVO Institute for Jewish Research
July 28, 1909
JPEG
English
Meeting Minutes
YIVO RG 245.4.1 - Box 1 - 1
A Perfect Fit!
Immigration Restriction
Press, Yiddish
President Coolidge looks at a woman (representing American industry) squeezed into a suit marked “3 percent immigration” and says, “That really looks good on you. I should have such luck at the ballot box.” Referencing a speech Coolidge had given the previous week in which he said that reduced immigration would be good for America, the cartoon comments on the fact that a reduction in immigration will decrease the number of workers, leaving American industry without a sufficient work force.
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
October 24, 1924
JPEG
Yiddish
Cartoon
She Will Outlive Them!
Immigration Restriction
Press, Yiddish
Imprisoned and shackled with a ball and chain labeled “their 100 percent Americanism,” a woman representing the Declaration of Independence languishes in a cell, as the guards, labeled "Ku Klux Klan," "Jingoism," and "Reaction" say, “Goddammit, she’s still breathing!”
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
July 4, 1924
JPEG
Yiddish
Cartoon
Theme for a Fable
Immigration Restriction
Press, Yiddish
An American eagle is surrounded by “Reaction,” Henry Ford,” “American lyncher,” and “Ku Klux Klan.” They have stolen its feathers and dressed themselves up in Indian headdresses marked, “democracy,” “humanity,” “freedom,” and “tolerance.” The caption reads, “The eagle isn’t looking too bird-like after their game of Indians.”
Cartoonist: Unknown
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
June 20, 1924
JPEG
Yiddish
Cartoon
His One Little Light
Immigration Restriction
Press, Yiddish
Zionism
Pogroms
Surrounded by notes on which are written, “terrible pogroms on Jews in Rumania, attacks on Jews in Lithuania, attacks on Jews in Czechoslovakia, ban on immigration to America, attacks on Jews in Turkey, pogroms in Germany, pogroms in Hungary, and attacks on Jews in Poland,” an elderly Jew holds up the only light he has: the Land of Israel.
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
May 30, 1924
JPEG
Yiddish
Cartoon
Watch Your Step!
Immigration Restriction
Press, Yiddish
Dancing at the edge of a cliff with the “anti-immigration spirit,” Uncle Sam is told, “Watch it, uncle, this witch is going to drag you to the bottom!”
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
May 23, 1924
JPEG
Yiddish
Cartoon
Their Best Friend
Immigration Restriction
Press, Yiddish
Immigration Restriction - Japanese Immigrants
A woman labeled “Jingoism” sprays oil from a can marked “Ban on Japanese immigration” on the fires of “Race hatred” while “the two partners, War and the Steel Industry,” tell her, “You are our best friend, Madame. You have a long view of the future.”
Remo
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
May 16, 1924
JPEG
Yiddish
Cartoon
Evil-doer, Why Do You Beat Your Brother?
Rosenbloom, Benjamin
Immigration Restriction
Press, Yiddish
Captioned “An old Egyptian street scene replayed in Congress in Washington,” a woman labeled “Americanism” holds Congressman Rosenblum back from beating a Jewish immigrant with a club marked “Complete cessation of immigration.” The image references Republican Representative Benjamin Rosenbloom of West Virginia, who was virulently anti-immigrant, in spite of the fact that his own parents had emigrated to the United States from Russia.
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
April 25, 1924
JPEG
Yiddish
Cartoon
The Search for Leaven – The Way It Should Be!
Immigration Restriction
Press, Yiddish
Referencing the first ritual of Passover ,in which the last remaining bread is gathered and burned, Uncle Sam is shown holding the Passover Haggadah and saying the Biyur-khomets, the prayer over the burning of the last bits of bread. Burning in the pyre are “corrupt politics,” “oil swindle,” “high taxes,” and “bribery scams.” His wife, Aunt Sam, holds more fodder for the fire, among them “hard-heartedness,” “Ku Klux Klanism,” “Anti-immigration laws,” and “Fordism” (a reference to the virulently antisemitic Henry Ford). She says, “Nu, Sammy, burn this stuff with the rest of the leavened bread so we can have a kosher Passover.”
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
April 18, 1924
JPEG
Yiddish
Cartoon
A Gallant Gentleman
Immigration Restriction
Press, Yiddish
The Statue of Liberty shakes the hand of a New York Congressman, one of many who protested the anti-immigration bill. She says, “Merci, Monsieur, for protecting me, a lonely, slandered woman, against my attackers and torturers.”
Yosl Cutler
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
February 29, 1924
JPEG
Yiddish
Cartoon
The Choice is His
Immigration Restriction
Press, Yiddish
An executioner representing the Republican-controlled Congress awaits as a woman representing the potential for a Republican victory in 1924 leads Representative Johnson’s anti-immigration bill to him. She says, “One or the other – either me or him! It will take you four minutes to send the anti-immigration bill through, or you will regret it for the next four years.” (A warning from the Republican leaders.)
Yosl Cutler
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
February 15, 1924
JPEG
Yiddish
Cartoon
Her Caretaker
Immigration Restriction
Press, Yiddish
A shackled Statue of Liberty is led to prison by an “immigrant destroyer,” who says, “Come inside, my daughter, you’ll catch a cold out there.”
Yosl Cutler
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
January 25, 1924
JPEG
Yiddish
Cartoon
What’s It Going to Be, Uncle Sam?
Immigration Restriction
Press, Yiddish
Uncle Sam sits between the good and evil inclinations. The good inclination’s list reads, “Free immigration; tolerance; hospitality; American traditions; kind-heartedness; open-mindedness; idealism.” The evil inclination’s list reads, “Immigration ban; chauvinism; race hatred; anti-Americanism; hard-heartedness; closed-mindedness; egoism; cruelty; despotism."
Yosl Cutler
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
January 18, 1924
JPEG
Yiddish
Cartoon
The Dance of the Seven Veils
Immigration Restriction
Press, Yiddish
Called “The Latest Salome Dance in Our National Theater,” in reference to Richard Strauss’s eponymous opera in which Salome brings the head of John the Baptist to King Herod, Salome is shown here adorned with veils marked “Race hatred, egoism, closed-mindedness, anti-Americanism, cruelty, bigotry, and hard-heartedness,” along with an earring marked with “Chauvinism,” and bringing the head of the Statue of Liberty labeled “Free immigration” to a king labeled, “Reaction,” and holding a Ku Klux Klan scepter.
Yosl Cutler
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
January 11, 1924
JPEG
Yiddish
Cartoon
The Story Repeats Itself (A Hanukah Motif)
Immigration Restriction
Press, Yiddish
Gompers, Samuel
Referencing the desecration of the Temple in Jerusalem, a figure labeled “Reaction” together with labor leader Samuel Gompers (who supported the quota) force a pig marked “Anti-immigration edicts” toward the altar of American nationalism, where it is to be sacrificed in the name of hatred. The pillars in the Temple are marked, “Humanity,” “Justice,” “Freedom,” and “Hospitality.”
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
December 23, 1921
JPEG
Yiddish
Cartoon
Her 35th Birthday
Immigration Restriction
Press, Yiddish
Leaning toward a distant ship marked “Three percent” (a reference to the immigration quota), the Statue of Liberty says, “So few people are coming to greet me on my birthday.” The statue had been raised 35 years earlier that same week.
Illustrated by Art Young, a well-known cartoonist who worked for The Masses and The Liberator, among other left wing magazines, Young was the only gentile cartoonist to work for Der groyser kundes, which hired him after he was blackballed in the wake of his trial for sedition for opposing U.S. entry into WWI.
Art Young
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
November 4, 1921
JPEG
Yiddish
Cartoon
There’s No Place to Set One’s Foot Down
Immigration Restriction
Press, Yiddish
A Jewish refugee attempts to set his foot down somewhere on the planet, only to be met with knives blade-side up and marked with the names of the countries that don’t want him: Poland, Rumania, Czechoslovakia, Hungary, America, Latvia, Palestine, Austria, Canada, Estonia, etc., etc.
Mitchell Loeb
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
August 5, 1921
JPEG
Yiddish
Cartoon
The International Ball Game
Immigration Restriction
Press, Yiddish
In “The International Ball Game,” Europe pitches a ball marked “Immigrant” to Uncle Sam, who stands ready to bat it back to the continent with his “3% Standard” bat, a reference to the new 3% quota on immigrants.
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
June 24, 1921
JPEG
Yiddish
Cartoon
A Big World and There’s No Place to Go
Immigration Restriction
Press, Yiddish
A Jewish refugee laments his situation before a globe which has no place for him.
Mitchell Loeb
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
May 27, 1921
JPEG
Yiddish
Cartoon
If the Statue of Liberty Were a Real Person
Immigration Restriction
Press, Yiddish
The Statue of Liberty jumps off her pedestal into the water, leaving a suicide note that reads, “After my friends harassed, betrayed, and abandoned me, I no longer have a reason to live.”
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
May 27, 1921
JPEG
Yiddish
Cartoon
According to the Letter of the Law
Immigration Restriction
Press, Yiddish
An immigration official shows the new “three percent” law to a wailing woman labeled “Immigration” and locked out of a gate marked “New edict” and says, “I can’t allow more than three percent in.”
Zuni Maud
Der groyser kundes
YIVO Library
YIVO Institute for Jewish Research
May 5, 1921
JPEG
Yiddish
Cartoon
Thank You Letter from a FEGS Client
Soviet Jews
FEGS (Federation Employment & Guidance Service)
A Russian immigrant writes to express his appreciation for the help FEGS (Federation Employment & Guidance Service) gave in helping him secure an engineering job, New York.
YIVO Archives
YIVO Institute for Jewish Research
June 22, 1980
JPEG
English
Letter
YIVO RG 2100
Innovative Programming in Jewish Resettlement
Soviet Jewry
Immigrants - Soviet Jews
FEGS (Federation Employment & Guidance Service
Cover page of a FEGS (Federation Employment & Guidance Service) publication about its Project Second Chance Program, an educational and vocational guidance program for Soviet youth enrolled in high school..
FEGS
YIVO Archives
YIVO Institute for Jewish Research
1979
JPEG
English
Brochure
YIVO RG 2100
How to Find a Job in New York City: A Manual for Newly Arrived Soviet Emigres
Soviet Jews
FEGS Health and Human Services
Cover of FEGS publication for Russian immigrants seeking employment.
FEGS Health and Human Services
YIVO Archives
YIVO Institute for Jewish Research
1985
JPEG
English
Brochure
YIVO RG 2100
Skills Training for Soviet Jewish Immigrants
FEGS Health and Human Services
Soviet Jews
Soviet Jewish immigrants in a training course for bakers sponsored by FEGS in cooperation with private industry.
FEGS Health and Human Services
YIVO Archives
YIVO Institute for Jewish Research
1970s ca.
JPEG
Photograph
YIVO RG 2100
Vot Ken Yu Makh? S’iz Amerike (What Can You Do? It's America!)
Yiddish Theater Music
Immigrants, American Jewish
Hit song from the Yiddish musical Der litvisher yankee (The Litvak Yankee) marveling about how different life is in America:
In Europe, young women get married
And afterwards they have children as is properly done
In America, it's completely different, it's all about saving time
Here they get married later but have the children beforehand.
What can you do? It's America!
It's America, what can you do?
Here, people are trying to save expenses
So they have the wedding together with the bris!
Aaron Lebedeff with orchestra directed by Alexander Olshanetsky
Vocalion 67140 mx. 29396; Recorded in NY . From Der Litvisher Yankee (Jacob Jacobs-Alexander Olshanetsky)
Aaron Lebedeff
Alexander Olshanetsky
Max and Frieda Weinstein Archive of YIVO Sound Recordings
YIVO Institute for Jewish Research
March 6, 1929
MP3
Yiddish
Vinyl Recording
YIVO Sound Recordings - 5
Mayn yingele (My little boy)
Yiddish folk songs
YIddish poetry
Sweatshops
Immigrants, American Jewish
Yiddish song based on an 1887 poem by Morris Rosenfeld about how a father barely knows his own child because of the many hours he spends slaving away in a sweatshop.
I always find him asleep
I only see him at night
Work drives me out early
And lets me return home late
..One day you'll wake up, my child
But I won't be here anymore...
Sung by Wolf Younin. Recorded by Ruth Rubin, New York
Morris Rosenfeld
Wolf Younin
Ruth Rubin Archive
YIVO Institute for Jewish Research
March 6, 1948
MP3
Yiddish
Vinyl Recording
YIVO Sound Recordings - 4
Lebn zol kolumbus (Long live Columbus)
Yiddish Theater Music
Immigrants, American Jewish
Abraham Rosenstein with King’s Orchestra
Victor 67823 mx. B 17402-1; Recorded NY
Lebn Zol Columbus is a drinking soon from a Yiddish musical comedy, Der grine milyoner (The greenhorn millionaire), produced in New York in 1915.
Chorus:
Yeah, it's good
everyone sing along:
Long live Columbus!
Brothers, drink a toast lekhayim, to life!
Oh, long live Columbus
for this brand new land!
Be happy!
Don't believe the idlers
Let's hear it, Jews--
Long live Columbus!
Wohl, Herman Wohl
Perlmutter, Arnold
Max and Frieda Weinstein Archive of YIVO Sound Recordings
YIVO Institute for Jewish Research
March 30, 1916
MP3
Yiddish
Vinyl Recording
YIVO Sound Recordings - 3
Amerike, di bist alrayt (America, You're Alright)
Yiddish theater music
Immigrants, American Jewish
Aaron Lebedeff with orchestra directed by Alexander Olshanetsky
Brunswick 67128 mx. E 28498; Recorded in NY
Kanapoff, Fishel
Max and Frieda Weinstein Archive of YIVO Sound Recordings
YIVO Institute for Jewish Research
October 26, 1928
MP3
Yiddish
Vinyl Recording
YIVO Sound Recordings - 1
Di grine kuzine (The Greenhorn Cousin)
Yiddish Theater Music
Immigrants, American Jewish
Abraham Moskowitz with unknown clarinetist, Abe Schwartz, violin and Sylvia Schwartz, piano
Columbia E7553 mx. 88738-5; Recorded in NY
Yiddish theater song that became one of the best-known songs satirizing the difficulties of the Jewish immigrant experience in New York:
My cousin came to me here
As beautiful as gold she was, the greenhorn
With cheeks like red oranges
And feet just begging to dance.
She skipped instead of walking;
she sang instead of speaking.
Happy and merry was her demeanor.
That's the way my cousin was.
I went in to my "next-doorke"
Who had a millinery "storke"
And got job for my cousin--
Long live the golden land!
Years have passed since then.
My cousin has become a wreck
Many "paydays" have gone by
And there is nothing left of what she was.
Under her beautiful blue eyes
Black bags have drawn a line
Her cheeks, the red oranges
Have "greened out" entirely.
These days, when I meet my cousin
And I ask her, "How are you, Greenhorn?"
She answers me with a crooked smile:
"May Columbus's land burn to the ground!"
Prizant , Hyman
Schwartz, Abe
Max and Frieda Weinstein Archive of YIVO Sound Recordings
YIVO Institute for Jewish Research
February 1922
MP3
Yiddish
Vinyl Recording
YIVO Sound Recordings - 1
Passport or Visa Holder
Immigration
Visa or passport holder advertising the Austro-Americana Steamship Company based in Trieste, which sailed to such destinations as New York, Portland, Maine, Halifax, and Rio de Janeiro.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
Polish
Passport Holder
YIVO RG 126 - 10 - 1 & 2
Notice warning to prospective emigrants not to travel to Warsaw to arrange for emigration.
Immigration
Notice warning prospective emigrants not to travel to Warsaw to arrange for emigration, which was forbidden by the Polish government. Instead, they are encouraged to turn to local HIAS committees for emigration/immigration. services.
YIVO Archives
YIVO Institute for Jewish Research
YIVO Institute for Jewish Research
JPEG
Polish; Yiddish
Flier
YIVO RG 28 - 865
Profile Book of Oppressed German Jews
Breslau (Germany)
Holocaust (Germany)
Refugees, Jewish
Lightfoot, Virginia Dorsey
In 1939, Virginia Dorsey Lightfoot of Takoma Park, Maryland became involved in an effort to rescue a group of about 328 Jews in Breslau, Germany and bring them to the United States. Profile book, with photographs and data about individual refugees presented to the President's Advisory Committee on Political Refugees.
Virginia Dorsey Lightfoot
YIVO Archives
YIVO Institute for Jewish Research
1940 ca.
JPEG
English
Book
YIVO RG 715 - Folder 2
Families Outside of HIAS Office
HIAS
Holocaust Survivors
Recently arrived Jewish immigrants at the entrance of the HIAS office in New York City.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
Photograph
YIVO RG 245.8 - 8
Street in Zabludow, Poland
Zabludow (Poland)
Jews, Poland
Shtetl
Children near wooden houses on an unpaved street, in Zabludow, Poland, a town famous for its 17th-century wooden synagogue.
YIVO Archives
YIVO Institute for Jewish Research
1916
JPEG
Photograph
YIVO RG 120 - PO6189
Committee in Charge of Relief and Migrations Activities
Immigration
Brody (Austria-Hungary)
Pogroms
Portrait of the Committee in Charge of Relief and Migration Activities, Brody: Dr. H. Schafier, Charles Netter of the Alliance Israelite Universelle, Paris, and Dr M. Friedlander of Vienna. In 1881-1882, thousands of Jews fled pogroms in the Pale of Settlement in Russia and flocked to the Austrian border town of Brody. European Jewish leaders responded by organizing aid and assisting with emigration.
Buxdorf, M.N., Brody
YIVO Archives
YIVO Institute for Jewish Research
1881
JPEG
Photograph
YIVO RG 120 - PO300
HIAS Staff Assisting Jewish Emigrants in Warsaw
HIAS
Immigration
Warsaw (Poland)
HIAS staff assisting Jewish emigrants in Warsaw, Poland.
Kacyzne, Alter
YIVO Archives
YIVO Institute for Jewish Research
1921
JPEG
Photograph
YIVO RG 1270 - 240
HIAS Staff Assisting Jewish Emigrants in Warsaw
HIAS
Immigration
Warsaw (Poland)
HIAS staff assisting Jewish emigrants in Warsaw, Poland.
Kacyzne, Alter
YIVO Archives
YIVO Institute for Jewish Research
1921
JPEG
Photograph
YIVO RG 1270 - 238
Emigrants Living at HIAS Headquarters Iin Warsaw
HIAS
Immigration
Warsaw (Poland)
Jewish emigrants living at HIAS headquarters in Warsaw, Poland, waiting for permission to continue their travels.
Kacyzne, Alter
YIVO Archives
YIVO Institute for Jewish Research
1921
JPEG
Photograph
YIVO RG 1270 - 263
HIAS Staff Workers Processing emigrants
HIAS
Immigration
HIAS staff workers in Warsaw processing emigrants
YIVO Archives
YIVO Institute for Jewish Research
1921
JPEG
Photograph
YIVO RG 1270 - 235.02
Invitation to the Grand Opening of a Restaurant
Lower East Side (New York)
Restaurants
Invitation to the grand opening of Shulem's Cafe on Forsyth Street, owned by Sam Altschiller. (Someone has inscribed a love poem on on the printed advertisement.)
YIVO Archives
YIVO Institute for Jewish Research
1906
JPEG
English
Invitation
YIVO RG 530 - 184
Boys Playing Chess
Educational Alliance
Lower East Side (New York)
Boys playing chess on the rooftop playground of the Educational Alliance, New York.
The Educational Alliance was founded in 1889 as a settlement house to serve East European Jewish immigrants.
YIVO Archives
YIVO Institute for Jewish Research
1920
JPEG
Photograph
YIVO RG 312 - 34
Red Star Line Ticket
Immigration
Red Star Line ticket from Antwerp to New York.
Red Star Line
YIVO Archives
YIVO Institute for Jewish Research
1910
JPEG
French
Ship Ticket
Health Inspection Document
Immigration
Jews, Poland
Document certifying that Frejda (Frieda) Tenin, a Polish Jewish emigrant , has passed a health inspection (including "disinfestation") before boarding a Canadian Pacific steamship bound for North America.
YIVO Archives
YIVO Institute for Jewish Research
1926
JPEG
Polish
Health Inspection
YIVO RG 126 - 69.15
Health Inspection Document for Newly Arrived Immigrant
Immigration
Health inspection document at a U.S. port for a newly arrived immigrant, Frieda Tenen, a passenger on the SS Minnedosa.
U.S. Public Health Service
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
English
Health Inspection
YIVO RG 126 - 69.15
Berth Assignment for Passenger on Canadian Pacific Steamship
Immigration
Berth assignment for a Jewish emigrant, Frejda (Frieda) Tenin, on a Canadian Pacific steamship bound for North America from Poland.
Canadian Pacific Railroad
YIVO Archives
YIVO Institute for Jewish Research
1926
JPEG
English
Railroad Ticket
YIVO RG 126 - 69.15
United States Customs Card
War zone pass Sam Wolovitch
YIVO Archives
YIVO Institute for Jewish Research
1910s ca.
JPEG
English
Customs Card
YIVO RG 126 - 49.3
Certificate of Naturalization
Naturalization
Immigrants
Certificate of Naturalization for Sam Wolowitch, a 36-year-old Jewish immigrant from the Russian Empire, who lives in Brooklyn with his family.
YIVO Archives
YIVO Institute for Jewish Research
1912
JPEG
English
Certificate
YIVO RG 129 - 49.3
Workers of the Hebrew Publishing Company
Publishing, Jewish
Compositors of the Hebrew Publishing Company, New York.
YIVO Archives
YIVO Institute for Jewish Research
1909
JPEG
Photograph
YIVO RG 120 - US47
Portrait of Two Children
Children
Two children dressed up for a portrait.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
Photograph
YIVO RG 120 - US834
Portrait of Young Children
Brooklyn (New York)
Portrait of two young children, Brooklyn, New York. The children's hair may have been shaved off to prevent summertime scalp disease.
Warshaw, A.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
Photograph
YIVO RG 120 - US834
Studio Portrait of a Young Boy
Brooklyn (New York)
Studio portrait of a young boy, Brooklyn, New York.
Russoff
YIVO Archives
YIVO Institute for Jewish Research
1895 ca
JPEG
Photograph
YIVO RG 120 - US833
Levine Family On Their Farm
Farmers, Jewish
Levine family (Benjamin, Ethel, Ida, Joe, and Fanny), Jewish immigrants, in a hay wagon on their family farm in Ellenville, New York.
YIVO Archives
YIVO Institute for Jewish Research
1907
JPEG
Photograph
YIVO RG 120 - US741
Hias Shelters Survivors of the Warsaw Ghetto
HIAS
Warsaw Ghetto
Holocaust Survivors
Solomon Gruenstein, his wife Paulina, and his daughter Halina upon their arrival in the United States. Gruenstein was an American citizen living in Poland at the onset of World War II. He and his family were trapped in the Warsaw Ghetto, but like a few hundred others with foreign passports, were separated from the mass of other Jews, and used as bargaining chips in prisoner exchanges. They were eventually exchanged for German prisoners and managed to return to the United States.
YIVO Archives
YIVO Institute for Jewish Research
1944 ca
JPEG
English
Newspaper Clipping
YIVO RG 120 - US675
Recently Arrived Holocaust Survivors
Holocaust Survivors
Auschwitz (Death Camp)
Clipping from a Yiddish newspaper with a photograph of four young women, survivors of Auschwitz, displaying tattooed numbers on their arms, the mark of concentration camp inmates. Belda Coen, Flora Hasson, Sara Hanan, and Sylvia Hassan have recently arrived in the U.S. on the SS Marine Shark.
YIVO Archives
YIVO Institute for Jewish Research
Late 1940s
JPEG
English; Yiddish
Newspaper Clipping
YIVO RG 120 - US674
Baron de Hirsch Agricultural School
Agriculture
Baron de Hirsch Agricultural School
Woodbine (New Jersey)
Students at the Baron de Hirsch Agricultural School in Woodbine, New Jersey. In 1891, Baron Maurice de Hirsch, a German Jewish financier established a fund dedicated to creating a class of Jewish farmers in the Americas. (Later that same year,he created the Jewish Colonization Association to promote mass emigration of Russian Jews to agricultural colonies in South America.) Woodbine was one of the fund's first projects. Land for an agricultural colony there was purchased and Jewish families recruited. By 1906, the town had a population of 1,900, of which 94% were Jewish.
YIVO Archives
YIVO Institute for Jewish Research
1907
JPEG
Photograph
YIVO RG 120 - US657
Students at Work in the Greenhouse
Agriculture
Baron de Hirsch Agricultural School
Woodbine (New Jersey)
Students at work in the vegetable greenhouse at the Baron de Hirsch Agricultural School in Woodbine, New Jersey. In 1891, Baron Maurice de Hirsch, a German Jewish financier established a fund dedicated to creating a class of Jewish farmers in the Americas. (Later that same year,he created the Jewish Colonization Association to promote mass emigration of Russian Jews to agricultural colonies in South America.) Woodbine was one of the fund's first projects. Land for an agricultural colony there was purchased and Jewish families recruited. By 1906, the town had a population of 1,900, of which 94% were Jewish.
YIVO Archives
YIVO Institute for Jewish Research
1907
JPEG
Photograph
YIVO RG 120 - US657
Students Planting Tomatoes
Agriculture
Education
Students planting tomatoes at the Baron de Hirsch Agricultural School in Woodbine, NJ
YIVO Archives
YIVO Institute for Jewish Research
1907
JPEG
Photograph
YIVO RG 120 - US657
Press Release About Child Reunited With Parents
United Service for New Americans
Holocaust
Holocaust Survivors
United Service for New Americans press release about the reunion of an eleven-year-old Jewish boy (who hid hiding with a Christian family in Poland to avoid being murdered by the Nazis) with his parents, who survived the war and are now living in Louisville, Kentucky.
United Service for New Americans
YIVO Archives
YIVO Institute for Jewish Research
1940s ca.
JPEG
Photograph and Letter
YIVO RG 120 - US593
Portrait of Young Immigrant Men
Lower East Side (New York)
Studio portrait of three young Jewish men, New York City. It was common for new immigrants to have portraits taken of themselves in new clothes, to show relatives and friends back home that they were prospering in the U.S.
Kerr, D.
YIVO Archives
YIVO Institute for Jewish Research
1911
JPEG
Photograph
YIVO RG 120- US353
Jewish Women Preparing for Naturalization
Naturalization
Immigrants
National Council of Jewish Women
Group of women prepare for naturalization under the supervision of the Los Angeles Section of the National Council for Jewish Women.
YIVO Archives
YIVO Institute for Jewish Research
1920s ca.
JPEG
Yiddish
Photograph
YIVO RG 120 - US242
Group of Children and their Teacher
Lower East Side
New York City
A group of children and their teacher from Misivta Tiferet Jerusalem on E. Broadway
YIVO Archives
YIVO Institute for Jewish Research
1960
JPEG
Photograph
YIVO RG 120 - US33
Drawing of a Group of Tailors
Immigrant Workers
Clipping of a drawing of a group of tailors.
Alice Barber Stephens
YIVO Archives
YIVO Institute for Jewish Research
1870s ca.
JPEG
English
Newspaper clipping
YIVO RG 120 - US26
Street View of Carmel Colony
Agricultural Colonies, Jewish
Street view of Carmel Colony, New Jersey, an agricultural community established in 1882 for Jewish immigrants.
YIVO Archives
YIVO Institute for Jewish Research
August 12, 1889
JPEG
Photograph
YIVO RG 120 - US13
Horse Carriage in Carmel Colony
Agricultural Colonies, Jewish
Horse carriage in Carmel Colony, New Jersey, an agricultural community established in 1882 for Jewish immigrants.
YIVO Archives
YIVO Institute for Jewish Research
August 12, 1889
JPEG
Photograph
YIVO RG 120 - US13
Jewish Immigrants, Brooklyn
Brooklyn (New York)
Immigrants
Studio portrait of an unidentified Jewish immigrant couple, Brooklyn, New York.
Warshaw, A.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
Photograph
YIVO RG 120 -US411
The Diamonds at the United States Consulate
Holocaust Survivors
Refugees, Jewish
Eisig and Golda Diamond at the United States Consulate, Niagara Falls, Ontario, Canada.
YIVO Archives
YIVO Institute for Jewish Research
1946
JPEG
Photograph
YIVO RG 120 - US753
Young Female Graduate
Education
Unidentified young female graduate.
YIVO Archives
YIVO Institute for Jewish Research
1930s ca.
JPEG
Photograph
YIVO RG 120 - 356
Jewish Holocaust Survivors Arriving in the United States
Holocaust Survivors
Refugees, Jewish
United Service for New Americans
Holocaust survivors, who have recently arrived in the United States under the sponsorship of the United Services for New Americans.
United Service for New Americans
YIVO Archives
YIVO Institute for Jewish Research
1951
JPEG
Photograph
YIVO RG 120 - US133
Emigrant Landing at Castle Gardens
Immigration
Castle Gardens
Emigrant landing at Castle Gardens, New York City, ca. 1880s. Castle Gardens was America's first immigration station, where more than 8 million people arrived in the United States from 1855 to 1890. In 1892, it was replaced by a new immigration station on Ellis Island.
YIVO Archives
YIVO Institute for Jewish Research
1880s ca
JPEG
Postcard
YIVO RG 120 - US755
Workers of a Shirt and Blouse Factory
Immigrants
Lower East Side
Sweatshops
Group portrait of workers of a shirt and blouse factory, Lower East Side, New York.
YIVO Archives
YIVO Institute for Jewish Research
1899 ca.
JPEG
Photograph
YIVO RG 120 - US34
"New York Ghetto: Hester-Street"
Immigrants
Lower East Side, New York
Pushcarts on Hester Street, in a Jewish immigrant neighborhood on the Lower East Side, New York City.
YIVO Archives
YIVO Institute for Jewish Research
1900, ca.
JPEG
Photograph
YIVO RG 120 - US 25.2
Pushcart Permit
Pushcarts
Brooklyn (New York)
Permit for Israel Bloom to operate a dry goods pushcart at the Havemeyer market in Brooklyn, New York.
YIVO Archives
YIVO Institute for Jewish Research
July 9, 1923
JPEG
Photograph
YIVO RG 120 - US 25
Mother and Children in Kishinev
Kishinev (Romania)
Poverty
A mother and her four children in Kishinev.
YIVO Archives
YIVO Institute for Jewish Research
1903 - 1905
JPEG
Photograph
YIVO RG 120 - R1 - Kishniev 13
Yoysef Grinblat Contemplating Emigration
Emigration, Jewish
Labor Zionism
Studio portrait of Yoysef Grinblat, a member of the Labor Zionist Zeirei Zion, with a letter and a copy of The Jewish Emigrant, Dubossary, Russia. (Upper left, in Hebrew) "To where?" (Written on back in Yiddish) "Hard to decide to which country to emigrate."
Stavinski, MK
YIVO Archives
YIVO Institute for Jewish Research
1910
JPEG
Photograph
YIVO RG 1901 - R1 - Dubossary 4
Emigres Departing On A Train
HIAS
Holocaust Survivors
Jewish refugees assisted HIAS departing Switzerland on a train.
YIVO Archives
YIVO Institute for Jewish Research
1947
JPEG
Photograph
YIVO RG 245.8 - 29
Immigrants at Ellis Island
Ellis Island
Immigration
Newly arrived immigrants at Ellis Island, New York.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
Photograph
YIVO RG 245.8 - 6A
Ellis Island
Ellis Island
Immigration
View of Ellis Island, New York, the port of entry for millions of immigrants to the United States.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
Photograph
YIVO RG 245.8 - 4
HIAS Office Staff
HIAS
Immigrants
HIAS Office Staff
YIVO Archives
YIVO Institute for Jewish Research
1900s ca.
JPEG
Photograph
YIVO RG 245.8 - 3
HIAS Dining Room
HIAS
New York City
Immigrants
HIAS dining room in New York where free lunches were served.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
Photograph
YIVO RG 245.8 - 8
HIAS Ellis Island Staff
HIAS
Ellis Island
Immigration
Staff of HIAS's special office at Ellis Island, which assisted Jewish immigrants with the admittance process, advocated on their behalf, and provided food and other necessities for them.
YIVO Archives
YIVO Institute for Jewish Research
1900 ca
JPEG
Photograph
YIVO RG 245.8 - 3
Chaim Grade in Brazil
Chaim Grade
Brazil
Chaim Grade on the beach in Brazil
YIVO Archives
YIVO Institute for Jewish Research
1960s ca.
JPEG
Photograph
YIVO RG 1952
Orphans of the Kishinev Pogrom
Kishinev Pogrom
Immigrants
HIAS
Orphans of the Kishinev pogrom who have been brought to the United States by HIAS.
YIVO Archives
YIVO Institute for Jewish Research
1905 ca.
1905 ca.
Photograph
YIVO RG 245.8 - 26
Group of Emigrants at the HIAS Office
Immigrants
HIAS
Jews, Poland
Group of Jewish emigrants at the HIAS office in Poland. On the wall: posters for railroad and steamship companies.
YIVO Archives
YIVO Institute for Jewish Research
1921 ca.
JPEG
Photograph
YIVO RG 245.8 - 20
Business Card of Rev. I. Mandolowitz
Immigrants
Business card of Rev. I. Mandolowitz, a jack of all trades, offering services that range from repairing sewing machines to performing circumcisions.
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
English
Document; Business Card
YIVO RG 117
Exercise Class For Girls
Educational Alliance
Immigrants
Lower East Side (New York)
Exercise class for girls at the Educational Alliance, New York. The Educational Alliance was founded on New York's Lower East Side in 1889 as a settlement house to serve East European Jewish immigrants.
YIVO Archives
YIVO Institute for Jewish Research
1910s ca.
JPEG
Photograph
YIVO RG 312 - 17
Cooking Class For Children
Educational Alliance
Immigrants
Lower East Side (New York)
Cooking class for children at the Educational Alliance, New York.
On the blackboard is a recipe for rice pudding and on the wall is a quote from John Ruskin: “Cookery means the knowledge of Medea and of Circe and of Helen and of the Queen of Sheba. It means the knowledge of all herbs and fruits and balms and spices, and all that is healing and sweet in the fields and groves and savory in meats. It means carefulness and inventiveness and willingness and readiness of appliances. It means the economy of your grandmothers and the science of the modern chemist; it means much testing and no wasting; it means English thoroughness and French art and Arabian hospitality; and, in fine, it means that you are to be perfectly and always ladies (loaf givers) and are to see that everybody has something nice to eat.”
The Educational Alliance was founded on New York's Lower East Side in 1889 as a settlement house to serve East European Jewish immigrants.
YIVO Archives
YIVO Institute for Jewish Research
1910s ca.
JPEG
Photograph
YIVO RG 312 - 6
English Class for Men
Immigrants
Educational Alliance
English class for men at the Education Alliance, New York. on the blackboard: vocabulary words, such as "giddy" and "dizzy." The Educational Alliance was founded on New York's Lower East Side in 1889 as a settlement house to serve East European Jewish immigrants.
YIVO Archives
YIVO Institute for Jewish Research
1910s ca.
JPEG
Photograph
YIVO RG 312 - 5
Educational Alliance Building
Educational Alliance
Lower East Side (New York)
The headquarters of the Educational Alliance at 197 East Broadway, on New York's Lower East Side. The Educational Alliance was founded in 1889 as a settlement house to serve East European Jewish immigrants.
Aronow
YIVO Archives
YIVO Institute for Jewish Research
1925 ca.
JPEG
Photograph
YIVO RG 312 - 1
Fourth of July Celebration Program
Immigrants
Educational Alliance
Fourth of July celebration program for the Educational Alliance's "Evening School of English and Civics for Immigrants." The Educational Alliance was founded on New York's Lower East Side in 1889 as a settlement house to serve East European Jewish immigrants.
Educational Alliance
YIVO Archives
YIVO Institute for Jewish Research
1908
JPEG
English
Document; Program
YIVO RG 312 - 3a
Field Day in Seward Park
Lower East Side (New York)
Educational Alliance
Immigrants
Field Day in Seward Park, on New York's Lower East Side, organized by the Educational Allliance. In the background at left is the Educational Alliance building at 197 East Broadway. To its right is a sign for the Yiddish newspaper Togeblat (The Jewish Daily News).
The Educational Alliance was founded in 1889 as a settlement house to serve East European Jewish immigrants.
YIVO Archives
YIVO Institute for Jewish Research
1920s ca.
JPEG
Photograph
YIVO RG 312 - 58
Women's Cooking Class
Cooking Class
Immigrants
Women's cooking class at the Educational Alliance
YIVO Archives
YIVO Institute for Jewish Research
1920s ca.
JPEG
Photograph
YIVO RG 312 - 6
Class for Immigrants at the Education Alliance
Immigration
Educational Alliance
Lower East Side, New York
Class for immigrants at the Education Alliance, New York.
Underwood & Underwood
YIVO Archives
YIVO Institute for Jewish Research
1920s ca.
JPEG
Photograph
YIVO RG 312 - 5
Seamstresses and Tailors in a Sweatshop
Immigrants
Sweatshops
Garment Industry
Seamstresses and tailors in a sweatshop.
YIVO Archives
YIVO Institute for Jewish Research
1920s ca.
JPEG
Photograph
YIVO RG 126 - 69.12
Passport Permitting Fanny Eisner to Accompany Her Son to America
Passports, U.S.
Immigration
Warsaw (Poland)
Passport issued at the U.S. Consulate in Warsaw, Poland, permitting a Polish Jewish woman, Fanny Eisner, to accompany her son Bernard (who was born in the U.S. and thus an American citizen) back to America.
Legation of the United States of America
YIVO Archives
YIVO Institute for Jewish Research
1920
JPEG
English
Document, Passport
YIVO RG 126 - 42.6
Austrian Passport
Passport
Immigration
Passport issued under NAZI occupation of Vienna.
YIVO Archives
YIVO Institute for Jewish Research
1939
JPEG
German
Documents, Passport
YIVO RG 126 - 21
Herskovitz Family Portrait
Lower East Side (New York)
Immigrants
Studio portrait of Jewish immigrants Bernard and Celia Herskovitz and their children Max, Abe, and Henry, Lower East Side, New York City.
Feinberg
YIVO Archives
YIVO Institute for Jewish Research
1894
JPEG
Photograph
YIVO RG 126 - 5.4
Delicatessen in the Bronx
Stores
Bronx (New York)
M. Bloom's Delicatessen, Bronx, New York.
YIVO Archives
YIVO Institute for Jewish Research
1910s ca.
JPEG
Photograph
YIVO RG 120 - US 752
Workers with Yiddish Newspaper
Press, Jewish
Jewish Daily Forward
Workers posing with a copy of the Yiddish daily, Forverts (Jewish Daily Forward).
YIVO Archives
YIVO Institute for Jewish Research
1910 ca
JPEG
Photograph
YIVO RG 120 - US 65
Jewish Socialist Self-Education Club
Socialism
Chicago (Illinois)
Members of the Jewish Socialist Self-Education Club on an outing with Yiddish poet Abraham Reisen (with black mustache, seated), Chicago, Illinois.
YIVO Archives
YIVO Institute for Jewish Research
1912
JPEG
Photograph
YIVO RG 120 - US 55.02
Workers of the Hebrew Publishing Company
Publishing, Jewish
Immigrants
Compositors of the Hebrew Publishing Company, New York.
YIVO Archives
YIVO Institute for Jewish Research
1909
JPEG
Photograph
YIVO RG 120 - US 47
Yiddish Actor Boris Thomashefsky
Yiddish Theater
Boris Thomashefsky in a role from the play, The Hungarian Singer.
YIVO Archives
YIVO Institute for Jewish Research
1905 ca.
JPEG
English, Yiddish
Advertisement
YIVO RG 119- US 66
Yiddish Theater Program for Yankel Boyle
Yiddish Theater
Program for a production of Leon Kobrin's "Yankel Boyle," starring David Kessler, New York. The illustration on the cover is by noted artist Saul Raskin.
Raskin, Saul
YIVO Archives
YIVO Institute for Jewish Research
1916 - 1917
JPEG
Yiddish
Program
YIVO RG 118
Yiddish Theater Program
Yiddish Theater
Program for a production at Boris Thomashefsky's People's Theater, Lower East Side, New York. With portraits of Boris and Bessie Thomashefsky.
Lipshitz Press
YIVO Archives
YIVO Institute for Jewish Research
1912
JPEG
English
Program
YIVO RG 118 - 14
Advertisements for Lower East Side Businesses
Lower East Side (New York)
Yiddish Theater
Immigrants
Pages in a Yiddish theater playbill for Jacob P. Adler's production of "Shylock" at the Thalia Theater, New York. Advertisements for Lower East Side businesses, including Columbia Tea, Friedman Brothers' men's clothing store, S.S. Perlman's piano store, Haum Cigarettes, a knife and scissor store, The Yiddish ad on the right-side page at lower left advertises Kalmen Rosenbluth's Wine Saloon and Restaurant: "Don't forget to patronize the workers' friend, which helped out all strikers during different strikes: bakers, neckware makers, retail dry goods clerks..."
YIVO Archives
YIVO Institute for Jewish Research
1910
JPEG
Yiddish
Advertisement
YIVO RG 118 - 14
Americanization Class
Immigrants
HIAS
Photograph of men attending an Americanization class run by HIAS (Hebrew Emigrant Aid Society), New York. Stars and stripes banners and a flag resembling the future flag of the State of Israel adorn the wall. Among the Yiddish signs are ones reading: "Become a citizen" and "Don't spit on the floor."
YIVO Archives
YIVO Institute for Jewish Research
1920s ca.
JPEG
Photograph
YIVO RG 245.8 - 9
Seder at Ellis Island
Immigrants
Ellis Island
HIAS (Hebrew Immigrant Aid Society)
Passover seder for newly arrived Jewish immigrants at Ellis Island, organized by HIAS (Hebrew Immigrant Aid Society), New York City.
HIAS
YIVO Archives
YIVO Institute for Jewish Research
1920s ca.
JPEG
Photograph
YIVO RG 245.8 - 10
Flyer Publicizing the Plight of Jewish Refugees
American Jewish Joint Distribution Committee
Refugees, Jewish
Munich Pact
Holocaust
Flyer issued by the American Jewish Joint Distribution Committee to publicize the plight of Jews refugees forced to camp in the no-man's-land between Bruno and Bratislava on the Czech frontier with Germany after being expelled from the Sudetenland in the wake of the Munich Pact.
American Jewish Joint Distribution Committee
YIVO Archives
YIVO Institute for Jewish Research
1938
JPEG
English
Flyer
YIVO RG 117
Union Cards
Trade Unions
ILGWU (International Ladies Garment Workers Union)
Union cards belonging to Max Cohen, a garment worker, New York City.
YIVO Archives
YIVO Institute for Jewish Research
1930s-1950s
JPEG
English
Union cards
YIVO RG 117 - 38
Business card of Ida Harris
Social Work
Front and back of the business card of Ida Harris. The back reads, "The bearer I. Goldfarb of 101 Miller St. is absolutely in need of help. She has eight children and no money. Help her with matzos and other things if possibly she is no shnorer. Yours, Ida Harris"
Ida Harris
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
English
Business card
YIVO RG 117 - 16.2
Members of the Independent Zetler Young Men's Benevolent Association
Landsmanshaftn
Mutual Aid Societies
Portrait of members of the the Independent Zetler Young Men's Benevolent Association. Founded in New York in 1904 by immigrants from Dyatlovo (Pol. Zdzieciol; Yid. Zetl), Byelorussia, the group established an old-age fund, a loan fund, and a Hevrah Kadisha (burial society) for members. It also provided relief for Jews in Zetl after World War I.
Independent Zetler Young Men's Benevolent Association
YIVO Archives
YIVO Institute for Jewish Research
1910 ca.
JPEG
Photograph
YIVO RG 824
Golden Book of the Independent Zetler Young Men's Benevolent Association
Landsmanshaftn
Mutual Aid Societies
Golden Book of the Independent Zetler Young Men's Benevolent Association commemorating members who have died. Founded in New York in 1904 by immigrants from Dyatlovo (Pol. Zdzieciol; Yid. Zetl), Byelorussia, the group established an old-age fund, a loan fund, and a Hevrah Kadisha (burial society) for members. It also provided relief for Jews in Zetl after World War I.
Independent Zetler Young Men's Benevolent Association
YIVO Archives
YIVO Institute for Jewish Research
n.d.
JPEG
English
Book
YIVO RG 824
Shul un lebn
Shul un lebn
Shul un lebn periodical
1922
Di velt
Di velt
Di velt daily newspaper
9 September 1932
Dos naye lebn
Dos naye lebn
Dos naye lebn daily newspaper
31 March 1931
Bialystoker telegraf
Bialystoker telegraf
Bialystoker telegraf daily newspaper
21 May 1928
Bialystoker shtime
Bialystoker shtime
Front page of Bialystoker shtime daily newspaper
11 April 1930
gallery collage
Postcard to Naye folkstsaytung from Shaul Goldman
Goldman correspondence
Postcard to Naye folkstsaytung from Shaul Goldman
YIVO
February 10.
Letter from Shaul Goldman requesting financial aid for the Yugnt fareyn school.
Aid letter from Goldman
Letter from Shaul Goldman requesting financial aid for the Yugnt fareyn school.
YIVO
N.D.
Letter from S. Goldman to Z. Reyzn
Goldman correspondence
Letter from Shaul Goldman, chair of the pedagogical committee of the "Yiddish Folks-shule Elementary School of the Bialystok Jewish Youth Union," describing the nature of the school's curriculum and requesting collaboration from Z. Reyzen in Vilna. Dated March 9, 1918.
YIVO
March 9, 1918
Folkstsaytung Special Issue: Tsisho
Tsisho
Cover of a special issue produced by the Folkstsaytung celebrating the 20th anniversary of the founding of secular Yiddish schools in Poland and 15 years since the founding of Tsisho.
Bund
Folkstsaytung (Bund)
YIVO
20 November 1926
Kheyder
Kheyder
Informal portrait of a class at Leyzer Segal's 'kheyder' (traditional Jewish elementary school.)
Alter Kacyzne
YIVO
YIVO
c. 1920s.
Letter from Yidishe gimnasiye
Letter from Yidishe gimnasiye
Request for a teacher.
yivo
August 23, 1927
School play, Grosser shul
Grosser shul
"The Peasant Dance" scene from a school play at the Grosser School.
RG 120 594 School play Grosser shul 2.jpg
YIVO
June 1921
<em></em>Poster advertising the Bundist daily newspaper, <em>Folkstsaytung</em> "People's Newspaper," with text "Workers! Your paper is the <em>folkstsaytung</em>."
Folktsaytung
Folktsaytung poster rg28_p0756
Bund
c. 1935
Front page of the Bundist daily, <em>Naye folkstsaytung</em> from March 2, 1938.
Opening of the Kinder-kikh (Children’s Kitchen) in Bialystok, October 5, 1916
Shaul Goldman
goldman
Cropped from Folkshul photo
1919
Photomontage of Jewish Folkshul school, Bialystok, 1919.
School
PO 211.01 - Bialystok, 1919 - photomontage of Jewish Folkshul school
YIVO
1919
Children from the Bialystok folkshul in costume for a play, 1919.
Bialystok Folkshul performance
YIVO
1919
A gitn Pirem alekh
1948
RG 1402 Members of tsukunft (Bund) Esther Ostroburski-Goldman in mid.jpg
RG 120 Personallities Shaul Goldman
Mandolin orchestra, Peretz shule
Peretz shule mandolin orchestra
Peretz shule mandolin orchestra
RG 120 Peretz shule mandolin orchestra
YIVO
c. 1920s
Bialystok Orphans Summer Camp
Orphans camp
Bialystok Orphans Summer Camp, 1927.
RG 120 685 orphans camp 1927
YIVO
1927
Bialystok Home for Orphans
Orphans home
Bialystok Home for Orphans
RG 120 683 Yesomim hoyz 1929
YIVO
1929
Outdoor play, Peretz shule
Outdoor play, Peretz shule
Children playing outdoors, Peretz shule.
RG 120 682 Peretz shule outdoor play
YIVO
Undated
School outdoor play
School outdoor play
Outdoor play at school.
RG 120 681 School outdoor play (1917?)
YIVO
1917(?)
RG 120 678 Opening yugnt fareyn kikh 1916
Gardening, Peretz shule
Gardening, Peretz shule
Children gardening in the Peretz shule.
RG 120 677 Peretz shule gardening
YIVO
Undated
RG 120 674 School display
Dora Frank's school
Dora Frank's school, Bialystok.
RG 120 672 Dora Frank's School 2
YIVO
1929
Dora Frank's school
Dora Frank's school, Bialystok.
RG 120 670 Dora Frank's School 1
YIVO
1925
RG 120 669 Makabi gymnastics
RG 120 665 ZKS mens gymnastic
RG 120 660 ZKS soccer
RG 120 659 ZKS soccer
RG 120 658 ZKS soccer
RG 120 656 ZKS soccer team 1923
RG 120 655 girls gymnastics
RG 120 653 linas hatsedek ems
RG 120 652 Yugnt fareyn 20th (Goldman)
Yugnt fareyn committee
Yugnt fareyn committee
Yugnt fareyn committee
RG 120 651 Yugnt fareyn committee
YIVO
1918
RG 120 649 TOZ camp 1930
RG 120 648 TOZ 1928
RG 120 646 Tsukunft (Goldman)
Graduates, Peretz shule
Graduates, Peretz shule
Graduates of the Peretz shule, 1922.
RG 120 645 Peretz shule grads 1922
YIVO
1922
RG 120 643 Mendele shule map project
RG 120 640 Boleslaw diorama
School soccer team
School soccer team, Bialystok.
Rg 120 639 school soccer
YIVO
Undated
Purim ball, Yidishe gimnaziye
Purim ball, Yidishe gimnaziye
RG 120 636 Purim ball 1933 yid gym
YIVO
1933
RG 120 635 memorial for teachers
Yugnt fareyn shule, graduating class, 1920-21. (Shaul Goldman is 2nd row from bottom, 5th from left.)
School
RG 120 634 Yugnt fareyn shul (Goldman)
YIVO
1920-1921
RG 120 634 Yugnt fareyn photo data
RG 120 633 school outing
RG 120 631 Mikhalovitsh shul 1st grade
RG 120 630 Peretz shule gardening
RG 120 629 Peretz shule garden
RG 120 626 Peretz shule outdoor trip
RG 120 626 Peretz shule outdoor trip
RG 120 625 students at work
RG 120 624 students at work
RG 120 621 Mendele kinderheym purim
Students learning bookbinding skills in a Yiddish secular school in Bialystok, c. 1930.
School
RG 120 621 bookbinding students
YIVO
Undated
RG 120 620 Mendele kinderheym
RG 120 619 Kinder kikh 1916
RG 120 618 Outdoor school class
RG 120 615 Mendele kinderheym eating
RG 120 613-14 Mendele kinderheym garden
Children attend class, Mendele shul.
School
RG 120 612 Mendele shule
YIVO
Undated
Mendele shul class, circa World War I.
RG 120 611 Mendele shul class c wwi
YIVO
c. WWI
Gymnastics in the snow, circa World War I.
School
RG 120 610-ish gymnastics in snow c wwi
YIVO
c. WWI
Girls exercise in the snow.
RG 120 609-ish girls exercise in snow
YIVO
Undated
RG 120 599-610 at play outdoor school
RG 120 598 Mendele shul library 1936
RG 120 597 forverts bialystok kids
RG 120 596 Grosser shul grad class 1935-6
RG 120 595 Grosser shul 1st grade washup
RG 120 594 School play Grosser shul
RG 120 592 Yugnt fareyn school holiday 6.23.19
RG 120 591 graduating class at commerce school ?
RG 120 589 Hantverker shul
RG 120 588 girls school
RG 120 575 Brisker rov (kh. soloveytshik) in Bialystok 1916
RG 120 573 Theater group
RG 120 572 Peretz visit to Bialystok?
RG 120 571 Bialystok Literary krayz
Administration of the <em>Yugnt fareyn</em> in Bialystok. (Shaul Goldman, middle row, second from left).
Administration of the Yugnt fareyn in Bialystok
RG 120 570 school admin (Goldman)
YIVO
Undated
RG 120 537 groyser shul
RG 120 535 various photos bialystoker shtime
RG 120 535 Song lyrics Bialystoker shtime
RG 120 535 bialystoker shtime
RG 120 534 marketplace by clocktower
RG 120 532a bialystok postcard
RG 120 506-512 school varia cutt off
RG 120 182.01 Takhkemoni school (BialShtime)
RG 120 538 groyser shul interior
<em>Unzer tsaytung</em>
<em>Unzer tsaytung</em>
Front page of the Bialystok daily newspaper, <em>Unzer tsaytung</em>.
YIVO
January 15, 1936
exhibit case
Tape 95 - Holiday Songs Purim
Tape 93 - Topical Songs
Tape 92 - Social Significance IV
Tape 88 - Tsukunft yugnt khor Memoirs III
Tape 87 - Tsukunft yugnt khor Memoirs II
Tape 86 - Tsukunft yugnt khor Memoirs I
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
Tape 110 - O'Brien
Tape 85 - Holiday Songs Pesakh II
Tape 84 - Holiday Songs Pesakh I
Tape 83 - David Ellin interview II
Tape 82 - David Ellin interview I
Tape 81 - USSR II: sung by people born or brought up in North America
Tape 80 - USSR I: sung by people born in Europe or the USSR
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
Ary, Harry
Born in Ukraine, 1915 <br />Occupation: Housepainter. <br />[From blue index, RG 620, box 30]<br /><br />Read about Solomon (Harry) Ary: "Eli Herscovitch Remembers A Man Who Inspired Him - <a href="http://www.winnipegjewishreview.com/article_detail.cfm?id=3468&sec=1" target="_blank" rel="noopener">The Story of Solomon Ary From Bialystok, Poland</a>," by Elain Bigalow, April 11, 2013, WinnipegJewishReview.com<br /><br />He married the painter <a href="https://exhibitions.yivo.org/categories/browse/Item+Type+Metadata/Performer/Ary%2C+Sylvia?site=site-r">Sylvia Bercovitch Ary</a> in 1940.
Tape 79 - Songs of World War II - II
Tape 78 - Songs of World War II - I
Tape 76 - Interview with Moshe Frank
Tape 73 - Miscellaneous VIII
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
Newspaper postcard, <em>Unzer lebn</em>
Newspaper postcard, <em>Unzer lebn</em>
Postcard from <em>Unzer lebn</em> daily newspaper in Bialystok addressed to "Mr. Grade" (most likely the author Khayim Grade) at <em>Vilner tog</em> daily newspaper in Vilna. Date stamp is illegible.
RG 28 F 24 Unzer lebn newspaper postcard
YIVO
Undated
Newspaper letter fragment, <em>Unzer lebn</em>
Newspaper letter fragment, Unzer lebn
Letter from “Unzer lebn” to the editors of the “Tog” (= Zalmen Reyzen). It seems the “Tog” has some sort of “pat” telegrams and “Unzer lebn” wants to have access in exchange for paying 25 zlotys each time [?] and paying for the telephone call.
RG 28 F 24 Unzer lebn newspaper letter fragment
YIVO
June 14, 1933
Newspaper envelope, <em>Unzer lebn</em>
Newspaper envelope, <em>Unzer lebn</em>
Envelope of “Unzer lebn” sent to the “Tog” in Vilna.
RG 28 F 24 Unzer lebn newspaper envelope
YIVO
Undated
Donation form, Groyser shul
Donation form, Groyser shul
Blank “certificate of decision” - looks like a certificate for the sale/rent of a seat in the Great Synagogue specifying how the seat can be inherited and conditions under which somebody else can sit there etc.
RG 28 F 24 Groyser shul donation form
YIVO
Undated
Newspaper postcard, <em>Dos naye lebn</em>
Newspaper postcard, <em>Dos naye lebn</em>
Postcard from “Dos naje lebn” in Bialystok to A. Rosin in Berlin, associated with the “Juedische”... (torn off).
Stamped November 10 [year missing].
RG 28 F 24 Dos naye lebn newspaper postcard
YIVO
Undated
Bialystok pogrom, Russian police document
Bialystok pogrom, Russian police document
Police document with descriptions of hooligans involved in the 1906 pogrom.
RG 28 F 23 Russian document
YIVO
1906
Bialystok pogrom, Russian announcement
Bialystok pogrom, Russian announcement
Announcement seeking witnesses of the pogrom in Bialystok.
RG 28 F 23 Russian 1906
YIVO
June 13, 1906
OZE informational booklet
OZE informational booklet
“Remember: tuberculosis is treatable [...]” "Tuberculosis is caused by little creatures (<em>beshefenishlekh</em>), microbes, bacilli, which can only be seen through a microscope.” “The person with tuberculosis should not kiss and hug anyone, especially small children, who are more easily infected than adults.”
RG 28 F 22 OZE Informational booklet on tuberculosis
YIVO
Undated
Notice from Nefesh pikuah
Notice from Nefesh pikuah
The “Pikuah nefesh” society, which give free meals to needy sick people, apparently, spends 300 Marks a week. It is organizing a concert on March 14 [year?] with the famous and talented Mr. Hirshman.
RG 28 F 22 Notice from Nefesh pikuah, charitable org
YIVO
Undated
Invitation to yearly meeting, Linas hatsedek
Invitation to yearly meeting, Linas hatsedek
Invitation to yearly conference of Linas hatsedek on Sunday, June 9, 1929. The telephone number is 5-03 (clearly not many telephones then!).
RG 28 F 22 Linas hatsedek invite to yearly meeting
YIVO
1929
Donation acknowledgement, Linas hatsedek
Donation acknowledgement, Linas hatsedek
Blank form acknowledging participation in [blank], dated 192[blank].
RG 28 F 22 Linas hatsedek donation acknowledgement
YIVO
192[?]
Annual report 1927, Linas hatsedek
Annual report 1927, Linas hatsedek
The “Linas hatsedek” has a pharmacy and an ambulatorium (a big clinic).
RG 28 F 22 Linas hatsedek annual report 1927
YIVO
1928
RG 28 F 22 Fundraising letter from OZE to members
RG 28 F 22 Fundraising letter from OZE to members
YIVO
Undated [probably 1931 or 1932]
Envelope from Sholem Aleichem Library to Max Weinreich
Envelope from Sholem Aleichem Library to Max Weinreich
To the Director of the YIVO Institute in Vilna, Max Weinreich.
RG 28 F 22 Envelope from Sholem Aleichem Library to Max Weinreich
YIVO
November 11, 1926
Advertisement for a lecture by Borekh Glazman
Advertisement for a lecture by Borekh Glazman
Ad for a lecture on “The Problem of Belief in Modern Yiddish Literature” by the “well-known Jewish-American writer” Baruch Glazman on Sunday, October 24 [year?] in the hall of “Linat Ha-Tsedek.”
The reverse side is the same text in Polish.
RG 28 F 22 Advert for lecture by Borekh Glazman
YIVO
Undated
Ticket to a Sukes event, Groyser shul
Ticket to a Sukes event, Groyser shul
“Honorary ticket” to an event (שמחת בית השואבה) at the Great Synagogue on September 24, 1918. Language is <em>daytshmerish</em>.
RG 28 F 21 Ticket to Groyser shul Sukes event
YIVO
1918
Entrance card for Kehile election meeting
Entrance card for Kehile election meeting
Signed by Zabludovski.
RG 28 F 21 Entrance card for Kehile election meeting
YIVO
Undated
Donation envelope, Groyser shul
Donation envelope, Groyser shul
“Certificate of decision” [= proof of payment] for a place in the Great Synagogue, for Mrs….
RG 28 F 21 Donation envelope, Groyser shul
YIVO
Undated
Finance committee thank you note, Yiddish Youth Fareyn
Finance committee thank you note, Yiddish Youth Fareyn
The finance committee of the Jewish youth union in Bialystok, in the name of the Free Folk School, thanks for participation in an event on May 27, 1916, which raised 640 Marks.
RG 28 F 20 Yiddish Youth Fareyn finance committee thank you note
YIVO
June 10, 1916
Tickets to events of Zionist organizations
Tickets to events of Zionist organizations
Tickets to various Zionist events, including: Evening with poet, Hayim Nahman Bialik, sponsored by Tarbut; ticket to a movie at the Workers' House Cinema in Rehovot, Palestine; lottery ticket for Israel National Fund, 20 June 1938. Sent to YIVO by <em>zamler</em> (collector) B. Yanovitsh.
RG 28 F 20 Tickets to events of Zionist orgs
YIVO
Undated
Stamps and tickets of various organizations
Stamps and tickets of various organizations
Stamps from various Bialystok organizations (mostly Zionist), including: Palestine Workers' Fund, Fund for the Sick, <em>Naye folkstsaytung</em> (Bundist Newspaper), <em>Unzer velt</em> (daily newspaper). Sent to YIVO by <em>zamler</em> (collector) B. Yanovitsh.
RG 28 F 20 Stamps and tickets of various orgs
YIVO
Undated
Report of book donation, Sholem Aleichem Library
Report of book donation, Sholem Aleichem Library
Confirmation/receipt of books donated to the Sholem-Aleichem library by Avrom Kotik. Mostly Yiddish, a lot about socialism.
RG 28 F 20 Sholem Aleichem Library report of book donation from Avrom Kotik
YIVO
Undated
Sholem Aleichem Library bulletin
Sholem Aleichem Library bulletin
Hand-written bulletin of the Sholem-Aleichem library with rules for borrowing books.
RG 28 F 20 Sholem Aleichem Library bulletin 1931
YIVO
January-June 1931
Sholem Aleichem Library book card
Sholem Aleichem Library book card
Blank catalogue form for a book in the Sholem-Aleichem library.
RG 28 F 20 Sholem Aleichem Library book card
YIVO
Undated
List of books donated to Yungend fareyn Library by Noyekh Zabludovski
List of books donated to Yungend fareyn Library by Noyekh Zabludovski
Confirmation/receipt for the books donated to the “Yugnt fareyn” library by Noyekh Zabludovski. More Russian than Yiddish or Hebrew.
RG 28 F 20 List of books donated to Yungend fareyn Library by Noyekh Zabludovski
YIVO
August 4, 1919
Letter from the Sholem Aleichem Library to Leybush Lehrer
Letter from the Sholem Aleichem Library to Leybush Lehrer
Letter from the Sholem-Aleichem Library in Bialystok to Leybush Lehrer. They are happy that their statistical report will be of use to him. They explain that the reason they bought about twice as many Polish as Yiddish books the previous year was not that they prefer Polish, but simply the fact that many more books are published in Polish. In fact, they buy everything that is published in Yiddish in Poland (not in America - the prices are too high, and books from the Soviet Union are difficult to get). Polish books are read more than Yiddish ones anyway.
RG 28 F 20 Letter from the Sholem Aleichem Library to Leybush Lehrer
YIVO
March 23, 1923
Kehile library rules
Kehile library rules
A sort of constitution of the union of public libraries named after An-ski. It includes a description of the organization and information about how it functions, membership etc. Several pages.
RG 28 F 20 Kehile library rules
YIVO
Undated
Rosh Hodesh Elul program, Groyser shul
Rosh Hodesh Elul program, Groyser shul
Program for Rosh Hodesh Elul (August 23, 1923) at the Great Synagogue in Bialystok. Program is mainly musical - with a chorus and orchestra. The Polish side of the program indicates the Litvak pronunciation of the prayers: “Ma tejwu,” “Ejn komejcho.” Ha-Tivkah is performed once, but the Polish hymn -- twice.
RG 28 F 20 Groyser shul Rosh Hodesh Elul program
YIVO
August 23, 1923
Envelope from Sholem Aleichem Library to Leybush Lehrer
Envelope from Sholem Aleichem Library to Leybush Lehrer
Envelope from the Sholem-Aleichem Library in Bialystok to Leybush Lehrer at 1865 -- 65th Street in Brooklyn.
Stamped January 23, 1923 [?].
RG 28 F 20 Envelope from Sholem Aleichem Library to Leybush Lehrer
YIVO
1923 [?]
Correspondence between Dos bukh and Kletskin publishing houses
Correspondence between Dos bukh and Kletskin publishing houses
Letter with a bill from the Bialystok publishing house “Dos bukh” to Kletskin publishing house in Vilna for books sent. Many school books. The letter notes that from now on prices will rise by 25%.
RG 28 F 20 Correspondence bet Dos bukh and Kletskin publishing houses
YIVO
August 21, 1921
Price increase form, Choral Synagogue
Price increase form, Choral Synagogue
Bialystok Choral Synagogue is raising its prices for membership, for aliyahs to the Torah, for contributions (!), and for caretakers. Language is pretty <em>daytshmerish</em>.
RG 28 F 20 Choral Synagogue price increase form
YIVO
May 20, 1919
Library card, Bialystok Youth Union
Library card, Bialystok Youth Union
Subscriber booklet for the library of the Bialystok Jewish youth union.
Information on the library: the library has Yiddish, Hebrew, Russian and German books (no Polish!). Members pay one mark a month to borrow, non-members pay 1.5. Five pennies a day penalty for being late.
RG 28 F 20 Bialystok Youth Org Library card
YIVO
Undated
Annual report of Sholem Aleichem Library, 1928
Annual report of Sholem Aleichem Library, 1928
Report on the Sholem-Aleichem Library in Bialystok for the year 1928. 1361 subscribers, 51.4% men and 48.6% women; besides Jews there are also 54 Poles, 12 Russians, and one German! 51.8% are students, 38.5% are workers and professionals, 1.6% are merchants and craftsmen, and 8.1% are unemployed or have no profession. 89,031 books were borrowed, of these 55.2% in Polish, 36.7% in Yiddish, 3.8% in Russian, 2.7% in Hebrew, and 1.6% in other languages. The books are 90.6% fiction and 9.4% science. The students read more Polish, the workers read more Yiddish. Since 1919 (presumably, the first year of the library), the number of books borrowed has climbed from 12,505 to 89,031, and the total number of books in the collection has grown from 1396 to 30,491, of which 10,732 are in Yiddish, 9,663 in Russian, 6,016 in Polish, 1953 in German, and 1761 in Hebrew.
RG 28 F 20 Annual report of Sholem Aleichem Library 1928
YIVO
1928
Letter regarding "Hechalutz Week"
Letter regarding "Hechalutz Week"
RG 28 F 19 Letter regarding "Hechalutz Week"
YIVO
Undated
Youth movement summer camp fee, Hechalutz
Youth movement summer camp fee, Hechalutz
Certificate of a one-time contribution to the Hechalutz summer camps of 30 groshn by one Binyomen Yanovitsh. Collected by Tsvi Mendl.
RG 28 F 19 Hechalutz youth movement summer camp fee
YIVO
Undated
Membership card, Hechalutz
Membership card, Hechalutz
a membership form for the members of Hechalutz, with space for a photograph and lines for various bits of information.
RG 28 F 19 Hechalutz membership card b
YIVO
Undated, 1920s
Membership card, Hechalutz
Membership card, Hechalutz
Hechalutz membership card for 1925-1926.
RG 28 F 19 Hechalutz membership card a
YIVO
1925-1926
Invitation to seder, Hechalutz
Invitation to seder, Hechalutz
Invitation to the “traditional seder” of the Histadrut Hechalutz of Poland, in the house of Dr. Gutman’s gymnasium on Friday, March 30.
RG 28 F 19 Hechalutz invitation to seder
YIVO
Undated
Conference tickets, Hechalutz
Conference tickets, Hechalutz
Tickets for entry to the Hechalutz conference, one dated Cheshvan 1, 1933, the other Marcheshvan 2-4, 1934; signed by Yehoash Gil [?].
RG 28 F 19 Hechalutz conference tickets
YIVO
1933, 1934
Conference report, Hechalutz
Conference report, Hechalutz
Newsletter Issue 56 of the Histadrut “Hechalutz” in Poland, Warsaw February 25, 1934. Telling the dates of the conferences to be held in different cities, cost for participation [?].
RG 28 F 19 Conference report 1934 Hechalutz
YIVO
February 25, 1934
Announcement for "Hechalutz Week" activities
Announcement for "Hechalutz Week" activities
RG 28 F 19 Announcement for "Hechalutz Week" activities
YIVO
Undated
Telegram announcing meeting of Craftsman Union
Telegram announcing meeting of Craftsman Union
Flyer with text of a telegram from the chairman of the central committee of the central craftsmen’s union in Poland Rosenberg greeting conference of craftsmen in the Bialystok wojewodshaft, dated October 26. “This urgent telegram was sent to the craftsmen conference which took place last Sunday in Bialystok. But the organizers of the conference deliberately concealed the telegram and did not read it to the delegates. It appears that they had an intent in this. We leave the judgment of this deed to the broad masses of craftsmen.”
RG 28 F 18 Telegram announcing meeting of Craftsman Union
YIVO
Undated
Ownership questionnaire
Ownership questionnaire
Questionnaire about Jewish agriculture, filled out by one Glazer in Suprasle (Supraśl), Bialystok Pawiat, dated April 3, 1921. There are 450 Jews out of a general population of 1500. 45 Jews are craftsmen, 15 are merchants, and none, apparently, work in agriculture. Six family own horses, eight horses in total.
RG 28 F 18 Ownership questionaire
YIVO
April 3, 1921
Letter from Bialystok Craftsman Union
Letter from Bialystok Craftsman Union
Letter from the union of Jewish craftsmen in Bialystok to the committee for the exhibition of crafts and art in Vilna. They thank for the invitation to the exhibition but regret that the time chosen was right before a holiday and that the invitation arrived only a few hours before the last train to Vilna - so all they can do is send a letter.
The second half of the letter asks how long the exhibition will be and expressing the hope to come for a visit after the holiday. Signed by the chairman Sh. Veber.
RG 28 F 18 Letter from Bialystok Craftsman Union
YIVO
April 6, 1925
Sejm elections, Zionist flyer
Sejm elections, Zionist flyer
Flyer for the united Zionist list #6. “To the Jewish youth!” “Join the Young Zionist (tseire tsion) ranks!”
RG 28 F 16 Sejm elections 1928 Zionist flyer
YIVO
1928
Sejm elections, Poale-tsien meeting announcement
Sejm elections, Poale-tsien meeting announcement
Flyer for Poale Zion election rally on November 13th in the “Palas” theater at 12:30. November 13, 1928.
RG 28 F 16 Sejm elections 1928 Poale-tsien meeting announcement
YIVO
1928
Sejm elections, numbered party ballots
Sejm elections, numbered party ballots
Number party ballots: 2, 3, 4, 5, 6, 12, 20.
RG 28 F 16 Sejm elections 1928 numbered party ballots
YIVO
1928
Flyer for meeting/concert announcement Sejm List #6
Flyer for meeting/concert announcement Sejm List #6
RG 28 F 16 Sejm elections 1928 meeting/concert announcement list 6
YIVO
1928
Flyer for the minorities bloc, list #16
Flyer for the minorities bloc, list #16
Flyer for the minorities bloc, list #16
RG 28 F 16 Sejm elections 1928 list 16 b minorities bloc
YIVO
1928
Flyer in support of the Jewish National Bloc, Slate #16.
Flyer in support of the Jewish National Bloc, Slate #16.
Flyer in support of the Jewish National Bloc, Slate #16.
RG 28 F 16 Sejm elections 1928 list 16
1922
Flyer for Slate #23 from the Committee of Religious Jews.
Flyer for Slate #23 from the Committee of Religious Jews.
Flyer for Slate #23 from the Committee of Religious Jews. Election on Sunday for the regional representative to the senate elections. “Grinbaum, whose main motto is “a death blow to Orthodox [...] that one who says abroad that in Poland there are an extra million Jews [...]” “Don’t give Rubinshteyn horns with which to continue to ram religious Jews and to make appearances against the Great Rabbis!”
RG 28 F 16 Sejm elections 1928 flyer 17 (religious)
YIVO
Undated
Flyer for the Bund, Slate #4.
Flyer for the Bund, Slate #4.
Flyer for the Bund, Slate #4. Invitation to an election meeting on Saturday, July 14, in the Palace Theater. Among the speakers is Bund leader, Henryk Ehrlich.
RG 28 F 16 Sejm elections 1928 Bund flyer
YIVO
Undated
Appeal to supporters of the Jewish National Bloc, Slate #16.
Appeal to supporters of the Jewish National Bloc, Slate #16.
Appeal to supporters of the Jewish National Bloc, Slate #16. “Brothers!! The cat is out of the bag (lit. the truth has sprung out). No Russian or Belorussian will vote for Slate #16, because they are all voting for Slate 24. ”Supporters of the Bloc: you have lost.”
RG 28 F 16 Sejm elections 1928 anti-national minorities bloc flyer
YIVO
Undated
Sejm election flyer for list #16 (Minoritics Bloc)
Sejm election flyer for list #16 (Minoritics Bloc)
Sejm election flyer for list #16: “Go to the polls and vote only for list #16!”
RG 28 F 16 Sejm elections 1928 16 minorities bloc flyer
YIVO
Undated
Circular #4, written by hand for the Bloc to Defend the Rights of the Jewish People in Poland, list #17
Circular #4, written by hand for the Bloc to Defend the Rights of the Jewish People in Poland, list #17
Circular #4, written by hand for the Bloc to Defend the Rights of the Jewish People in Poland, list #17. “Our agitation is becoming much more difficult. The main attention should therefore be given to written propaganda.” Printed material should be taken from the Bialystok office.
RG 28 F 16 Sejm election list 17 informational circulat
YIVO
Undated
Election flyer for the General Jewish National Bloc, list #1
Election flyer for the General Jewish National Bloc, list #1
Flyer for the General Jewish National Bloc, list #1. “The General Jewish National Election Bloc #33 has adopted a resolution that in the elections to the senate in Warsaw, in the Warsaw, Lublin, and Kielce regions, Jews should vote for #33, because there is a chance of electing a Jew. / In all other regions, i.e. also in the Bialystok region, where there is absolutely no chance at all of electing a Jewish candidate, it has been decided that Jews should all vote as one for list #1 of the apolitical bloc for cooperation with the government of Marshall Pilsudski, which is leading a fight in Poland against anti-Semitism, ensuring prosperity and economic development for the Jewish people.” “The Jews of the Bialystok region should especially give thought, where the Sejm elections showed clearly that all Belorussians betrayed their Jewish partners in an ugly way in the 18th, giving all their votes to the Communisty list; after such a betrayal on the part of the Belorussians, the continued support of the list for the Minorities Bloc num. 18, which has absolutely no chance of success, could be interpreted in a bad way by the government!” “Because of num. 18, in Warsaw the reactionary and anti-Semite Stranitcky was elected, on account of the 19,000 Jewish votes which were lost because of Slate 18!”
RG 28 F 16 Sejm election list 1 national jewish bloc
YIVO
October 3, 1928
Flyer for the Polish Socialist Party (PPS), list #44
Flyer for the Polish Socialist Party (PPS), list #44
Flyer for the Polish Socialist Party (PPS), list #44, in Polish. Addressed to women (“Comradessses, Working women, mothers!”). Only at the end does it treat some women’s issues: women don’t want their husbands and sons to die in wars, poor women living in caves etc. For election on March 4, 1928.
RG 28 F 16 Sejm election flyer socialist 44
YIVO
1928
Flyer for the socialist block, list #44
Flyer for the socialist block, list #44
The reactionaries are trying to scare the workers and interfere with elections, closing polling stations etc. But the workers will not be stopped.
RG 28 F 16 Sejm election flyer slate 44 socialist
YIVO
1928
Sejm election flyer for the General Jewish National Block, list #33
Sejm election flyer for the General Jewish National Block, list #33
Flyer for the General Jewish National Block, list #33. “Never has the election campaign on the Jewish street been as bitter as now, never has one single party had the impudence to impose its will on the entire Jewish community like now, even more, what is being done and carried out now the name of the Zionist organization in Poland is a scandalous attack on the will and opinion of the great majority of Zionists themselves.” “When one needs our votes, one comes down to Bialystok, but as soon as one sits in the chair, one forgets even in what country Bialystok is located, and that’s called a Bialystok representative.” “March 4th is the Day of Judgment for those who have till now regarded us as provincial yokels (oylem-goylem) who will run to vote for the one they are told to -- an ugly, bitter mistake! [Slate] ‘18th’in Bialystok is played out, it has absolutely nothing to do here, no sensible person who has any self-respect will vote for an eternal candidate who is imposed on us and who comes to us only once in five years in order for us to choose him. All of Jewish Bialystok is voting for the beloved, popular representative, for the lion of the Jewish merchant class in Poland, VATSLAV VISHLITSKI.”
RG 28 F 16 Sejm election flyer slate 33 merchants
YIVO
Undated
Sejm election flyer, Bund
Sejm election flyer, Bund
Flyer of the Bund - a message from the Central Committee, for the the Sejm elections on March 4. The Bund wanted to create a united workers’ front for the election, but that wasn’t possible. “But that which could not be realized in the whole country did come to pass among you in the Bialystok election district! / Your district is the only one in all of Poland where the Jewish, Polish and German workers shake one another’s hands. They have made a made common cause for the fight against the capitalists and rich people, they are going to the elections united in one socialist bloc [...]”
RG 28 F 16 Sejm election flyer Bund
YIVO
Sejm election flyer for the Polish Socialist Party (PPS), list #44.
Sejm election flyer for the Polish Socialist Party (PPS), list #44.
Sejm election flyer for the Polish Socialist Party (PPS), list #44. Addressed to “rabotnicy! chlopi!” (workers, peasants).
RG 28 F 16 Sejm election flyer 44 socialist
YIVO
Undated
Sejm election flyer from the election committee of the United Socialist Bloc, slate #44
Sejm election flyer from the election committee of the United Socialist Bloc, slate #44
Flyer from the election committee of the United Socialist Bloc, slate #44. Addressed to “workers and laborer.” “It is the number of the socialist block around which all workers and peasants of the Bialystok election district have united: Poles, Jews, Belorussians, Germans, and Russians.” Election takes place on March 4.
RG 28 F 16 Sejm election 44 socialist yid
YIVO
Undated
Envelope with the words “United Religious Block” in Yiddish and Polish.
Envelope with the words “United Religious Block” in Yiddish and Polish.
Envelope with the words “United Religious Block” in Yiddish and Polish.
RG 28 F 16 Relgious bloc envelope
YIVO
Undated
Kehile election flyer, Slate 17
Kehile election flyer, Slate 17
Flyer for list #17 (unclear which party). “In the last hours the Agudah wants with a hue and cry to break the sure mandate of Reb Rubinshteyn. / Jews, voters! Don’t let your common sense be twisted [...]”.
RG 28 F 16 Kehile flyer 17
YIVO
Undated
Envelope promoting the Bund in Kehile election
Envelope promoting the Bund in Kehile election
Envelope promoting Bund list #4. For elections on November 30.
RG 28 F 16 Bund envelope kehile election
YIVO
Undated
Kehile election flyer, Zionist party
Kehile election flyer, Zionist party
Flyer for Zionist list #1. “Who paid travel costs for 250 poor immigrant to the Land of Israel? [...] Who helped the German refugees and led the boycott of German goods? [...] turns away from the Agudah’s boot-lickers who misled you with the politics of submissiveness. / Turns away from those who helped rob the Jewish woman of the right to vote in the kehilah. / Turns away from the “Bund,” which together with Italian fascism leads a vain rabble-rousing propaganda against Zionism and the Jewish build-up in the Land of Israel.”
RG 28 F 15 Zionist flyer, kehile elections 1937
YIVO
1937
Election flyer for the Democratic Union list #15
Election flyer for the Democratic Union list #15
Flyer for the Democratic Union list #15. With a list of “our slogans.” “If you want to put an end to the dictatorship of the old-fashioned gabbais [...]”
RG 28 F 15 Unzere lozungen party list for kehile reps
YIVO
Undated
Ration card for potato allotments
Ration card for potato allotments
Ration card for potatoes, valid for March 1917. Three allotments of 5 Polish pounds each.
RG 28 F 15 Ration card 1917
YIVO
March 1917
Ration card for sugar allotments
Ration card for sugar allotments
Ration card for four allotments of sugar, a quarter Polish pound each, for April, May and June 1917.
RG 28 F 15 Ration card 4-5-6 1917
YIVO
Summer 1917
Kehile election flyer, Poale-tsien (Left Labor Zionists)
Kehile election flyer, Poale-tsien (Left Labor Zionists)
Flyer for the Labor Zionist list #5. Addressed to the “worker, craftsman, retailer, working intellectual!” “But the community had an evil majority. An evil clique of various gabbais and small-time representatives (<em>vinkl-forshteyers</em>) occupied it. The center parties were traitorous in tens of cases and voted with the right-wingers.”
RG 28 F 15 Poalei-tsien kehile election flyer
YIVO
Undated
Letter from Polish authorities to Union of Jewish Merchants regarding licensing
Letter from Polish authorities to Union of Jewish Merchants regarding licensing
Letter from the Polish authorities - the director of a division -- explaining why a union of Jewish merchants had their application for a certain license rejected: mainly because they always apply at the last minute.
RG 28 F 15 Letter in Polish
October 29, 1926
Announcement regarding taxes paid to the Kehile.
Announcement regarding taxes paid to the Kehile.
An announcement in the name of the city administrator (<em>shtot hoyptman</em>): taxes must be paid by November 20, or else the the city captain will demand it by force with a 5% increase.
RG 28 F 15 Kehile tax announcement 1928
YIVO
1928
Kehile request for support for soup kitchen
The Bialystok soup kitchen has re-opened, with a budget of 7000 zlotys a month. But the city only gives 1000 a month, and that only for 5 months - enough for 100-150 lunches a day.
RG 28 F 15 Kehile request for support for soup kitchen
YIVO
Undated
Kehile election flyer, Zionist party
Kehile election flyer, Zionist party
Reminder to vote for Slate 6, Zionist party in Kehile elections.
RG 28 F 15 Kehile elections Zionist flyer
YIVO
Undated
Flyer for the organization “Democratic youth”
Flyer for the organization “Democratic youth”
Flyer for the organization “Democratic youth” (youth union) list #12.
RG 28 F 15 Kehile elections Youth party flyer
YIVO
Undated
Flyer for the Jewish Socialist Workers’ Party
Flyer for the Jewish Socialist Workers’ Party
Flyer for the Jewish Socialist Workers’ Party (s”s) list #2. “The Zionist list has urged the workers to vote for them, saying that they are running workers, weavers, and the workers will defend the interest of the workers together with the Zionists. That was a shameful tricks of the Zionists to fool the Jewish workers.”
RG 28 F 15 Kehile elections socialists vs. zionists
YIVO
Undated
Kehile elections flyer, Shlomei das ve'emune
Kehile elections flyer, Shlomei das ve'emune
Flyer for list #3. Calls for creating a central committee of all synagogues, whose representatives will be elected from each synagogue and be in constant contact with the representatives of the community.
RG 28 F 15 Kehile elections Shlomei das ve'emune flyer
YIVO
Undated
Kehile elections flyer, Orthodox party
Kehile elections flyer, Orthodox party
Flyer for the Orthodox Religious Block list #3.
RG 28 F 15 Kehile elections Orthodox party flyer
YIVO
Undated
Kehile elections flyer, Merchant party
Kehile elections flyer, Merchant party
To all merchants, store-keepers and industralists!” Flyer for list #21. For community elections on November 30. Candidates will fight for: rational putting together an carrying out of the budget. Fair and even division of the budget. Satisfying all Jewish social, cultural and philanthropic institutions. “Don’t let yourself be influenced by the reckless demagogic promises of those who run for office every season.”
RG 28 F 15 Kehile elections Merchant party flyer
YIVO
Undated
Kehile elections flyer for Master Craftsman party meeting
Kehile elections flyer for Master Craftsman party meeting
Flyer for the craftsmen list #14.
RG 28 F 15 Kehile elections Master Craftsman party meeting flyer
YIVO
Undated
Kehile elections flyer, Landlord party
Kehile elections flyer, Landlord party
Flyer for the owners’ (balebatim) list #13. Apparently, property owners (as opposed to renters). To owners of khanaykes [?], pyaskes [?], Argentina [!]. Opposed to a second party of so-called “balebatim.”
RG 28 F 15 Kehile elections Landlord party
YIVO
Undated
Kehile elections flyer, Landlord party
Kehile elections flyer, Landlord party
Flyer for the Landlords (balebatim) list #13. Opposed to a second party of so-called “balebatim.”
RG 28 F 15 Kehile elections Landlord party
YIVO
Undated
Kehile elections flyer, Jewish Democratic Party
Kehile elections flyer, Jewish Democratic Party
Flyer for the Jewish Democratic Party, list #11.
RG 28 F 15 Kehile elections Jewish Democratic Party flyer
YIVO
Undated
Kehile elections flyer, Hasidic party
Kehile elections flyer, Hasidic party
Flyer for the Hasidic list #8. “If you want Hasidim, you’ll find them in No. 8.”
RG 28 F 15 Kehile elections Hasidic party flyer
YIVO
Undated
Kehile elections flyer, Craftsmen's (Hantverker) Union
Kehile elections flyer, Craftsmen's (Hantverker) Union
Flyer for the craftsmen, list #14. Nobody can represent the Jewish craftsmen except themselves - “because the Jewish craftsmen are apolitical.” It appears that these craftsmen were formerly allied with another list, but then went their own way.
RG 28 F 15 Kehile elections Hantverker flyer
YIVO
Undated
Kehile election flyer, Folkspartey
Kehile election flyer, Folkspartey
Flyer for the Folkspertey, list #4. “For the lists 2, 5 and 7 vote the Jewish workers. / For the lists 3, 6, and 11 vote the fanatics and big capitalists. / For whom should the broad Jewish folk masses vote?”
RG 28 F 15 Kehile elections folkspartey
YIVO
Undated
Kehile elections flyer, Clerks party
Kehile elections flyer, Clerks party
Flyer for the clerks’ party, slate #15.
RG 28 F 15 Kehile elections Clerks party flyer
YIVO
Undated
Kehile elections flyer, Bund
Kehile elections flyer, Bund
Bund Declaration in the temporary Bialystok community council. “For tens of years the Bund has been standing on the Jewish street, like a pillar of fire, and wrestling against the overpowering forces of darkness. For tens of years the Bund has been striving to free the Jew from his inner ghetto and lead him out into the sunlight, to the free, wide world [...].” “The revolution in Germany opens broad possibilities (perspektivn) also for the Jewish masses in Lithuania for a ree, unhindered national life [...].” “How should the Jewish community look, what should it deal with? / Not with mikvas, synagogues, cantors, rabbinic judges, ritual slaughterers etc. [...].” “On account of their special religious needs, the religious Jews can unite in a separate religious community, whose existence needs to be ensured in the limites of the general state laws.” The Bund is also against making the kehilah responsible for hospitals and general welfare institutions -- those are the responsibility of city and village autonomous authorities (zelbst-farvaltungen). Also opposed to any special function associated with helping Jews emigrate. “The Jewish community should build kindergartens and orphanages. It should build good secular elementary and secondary schools. It should build technical, professional, and evening schools, gymnasiums and universities, it should see to it that the masses have a cheap and good book. It should organize libraries, publishing houses, museums, theaters, it should concern itself with Jewish scholarship (yidishe visnshaft), with Yiddish literature, language and art. / In a word, the Jewish community unites into a central national organ, has the colossal task of building Jewish national culture in all its many-sided forms.” “The Bund is entering the Jewish community in order to accomplish that the national culture not become the property of a few, of individuals. The Bund will work in the Jewish community for Yiddish culture to be transformed into a powerful instrument which the Jewish masses will use in their cuntinuing fight for their final liberation -- for socialism.”
RG 28 F 15 Kehile elections Bund flyer
YIVO
Undated [probably late 1918 or early 1919]
Kehile election flyer, Zionist party
Kehile election flyer, Zionist party
Flyer in support of the Zionist list #6 in the community elections. The Histadrut of Zionists in Bialystok is organizing five public meetings, mostly in synagogues, as well as in the Zionist “Folks-hoyz.” Speakers will be Comrades Muntsik, Iznberg, Rozenboym, Ilivitski, Hurvits, Epshteyn, Toyb and Fayans.
RG 28 F 15 Kehile election flyer zionist
YIVO
Undated
Kehile election flyer, Craftsmen's (Hantverker) Union Slate
Kehile election flyer, Craftsmen's (Hantverker) Slate
Flyer of the Central Jewish Craftsmen Union. Invitation to a gathering on Wednesday December 21, where Comrade Vider will speak about the meetings of the central committee of the Craftsmen’s Center in Warsaw, about a conference of representatives of the craftsmen (kamern) in Warsaw which took place a week earlier, about the question of amending the industry law, about amending a certain tax and other craftsmen problems. Speakers will be Comrades Melnitski, Goldberg, Spektor, Grinberg and more. Craftsmen are encouraged to vote for list #4.
RG 28 F 15 Kehile election flyer hantverker list
YIVO
Undated
Kehile election flyer, Craftsmen's (Hantverker) Union
Kehile election flyer, Craftsmen's (Hantverker) Union
Flyer in support of Zionist list #6 for the community elections. “[...] therefore we cannot vote for the socialist lists, because their programs are aimed against our existence.” “Don’t vote for list #16, which bears the name ‘craftsmen society’ - those aren’t apolitical craftsmen, but rather disguised candidates of the Folkspartey, which sucks up to the socialist parties and conducts agitation against our national holy things, against the Land of Israel, against the Language of Holiness etc.” “[...] no vote should be lost, also work on your wives so that they use their right [...].”
RG 28 F 15 Kehile election flyer Craftsmen's Union.
YIVO
Undated
RG 28 F 15 Kehile election complain from hantverker 6
RG 28 F 15 Kehile announcment regarding saccharine distribution w/ addresses
Kehile announcement, 1918 elections
Kehile announcement, 1918 elections
Announcement in German, Hebrew, and Yiddish regarding the rules for fielding candidates for the Kehile board. November, 1918.
RG 28 F 15 Kehile announcement, elections 1918
YIVO
1918
Kehile announcement regarding typhus
Kehile announcement regarding typhus
Announcement regarding the prevention of typhus.
RG 28 F 15 Kehile announcement regarding typhus
YIVO
Kehile announcement explaining how to make erstatz tea
Kehile announcement explaining how to make erstatz tea
Instructions on how to make ersatz tea, likely produced during wartime.
RG 28 F 15 Kehile announcement how to make erstatz tea
YIVO
Financial Report of the Bialystok Kehile
Financial Report of the Bialystok Kehile
Financial Report of the Bialystok Kehile, 1926.
RG 28 F 15 Kehila financials 1926
YIVO
1926
RG 28 F 15 Kehila elections Zioist flyer
Invitation to Sukkot festival at Orah hayim synagogue
Invitation to Sukkot festival at Orah hayim synagogue
Invitation to a Simkhas beys hashoeva (Celebrations held during the intermediate days of Sukkot) at the Orah Hayim Synagogue, 1926.
RG 28 F 15 Invitation to Sukkot festival at Orah hayim
YIVO
Fundraising/Administration letter from the Groyser shul
Fundraising/Administration letter from the Groyser shul
Fundraising form letter to Mr. Noyekh Zabludovski from the Groyser Shul’s secretary, Nokhem Shmukler, that calls for a general meeting in order to elect a new board and to raise funds.
RG 28 F 15 Fundraising/Admin letter from Groyser shul
YIVO
1926.
Fundraising for renovation, Groyser shul
Fundraising for renovation, Groyser shul
Fundraising appeal due to plaster falling off the ceiling of the cupola, endangering congregants.
RG 28 F 15 Fundraising for renovation, Groyser shul 1926
YIVO
1926
Fundraising appeal for the Groyser shul (Shtot-shul)
Fundraising appeal for the Groyser shul (Shtot-shul)
Fundraising appeal marking the tenth anniversary of the Groyser Shul.
RG 28 F 15 Fundraising appeal, Shtot=shul
YIVO
RG 28 F 15 Folkspartey flyer, kehile elections
Flyer to vote for the Craftsman (<em>Hantverker</em>) List for Kehile elections
Flyer to vote for the Craftsman (<em>Hantverker</em>) List for Kehile elections
All Craftsmen vote for Slate 4 in the Kehile elections.
RG 28 F 15 Flyer to vote for the Craftsman List for kehile elections
YIVO
Undated
Flyer in support of the new Polish Constitution
Flyer in support of the new Polish Constitution
“Long live the Polish Constitution of May 3rd!
Long live the Polish Republic!
Long live the principle of national equality in Poland!”
RG 28 F 15 Flyer in support of the new Polish constitution 1921
YIVO
1921
Election flyer attacking Agudas yisroel
Election flyer attacking Agudas yisroel
“A Response to the Election Committee of the Aguda (Slate 18)” argues that in the currently contentious battle for Kehile election votes, the Agudas yisroel party is accused of cursing other candidates like market women and that they published a flyer claiming that the current Kehile management abandoned the Home for the Aged and that the Women’s Committee served rotten fish to the elderly. This response, published by the Women’s Committee, accuses the Aguda of spreading lies for political purposes.
RG 28 F 15 Flyer attacking Agudas yisroel
YIVO
RG 28 F 15 Election rules/instructions c 1918
Election flyer, Slate 23 call for meetings
Election flyer, Slate 23 call for meetings
Slate 23 calls three election meetings: one, a general meeting, another for women, and the third for orthodox Jews.
RG 28 F 15 Election flyer slate 23 call for meetings
YIVO
Election flyer, Slate 23 b
Election flyer, Slate 23
List of reasons to vote for Slate 23.
RG 28 F 15 election flyer, Slate 23 b
YIVO
Election flyer, Slate 23, a
Election flyer, Slate 23
Calls on unaffiliated religious Jews to vote for Slate 23, the “Unity Slate.”
RG 28 F 15 Election flyer slate 23
YIVO
Kehile Election flyer, Slate 17
Kehile Election flyer, Slate 17
Message to Jewish voters to disregard “lies and rumors” spread about Slate 17, apparently by Agudas yisroel, and reminding them that it is their “duty” to vote for 17.
RG 28 F 15 Election flyer slate 17
YIVO
Kehile election flyer, Slate 16
Kehile election flyer, Slate 16
“Go to the polls and vote only for Slate 16”
RG 28 F 15 Election flyer slate 16
YIVO
Election flyer, Slate 17
Election flyer, Slate 17
“All Jews of the Bialystok region will only be voting for slate 17, which is the only Jewish list that can implement a Jewish mandate.”
RG 28 F 15 Election flyer 17
YIVO
Demands of Hasidic community to new Kehile.
Demands of Hasidic community to new Kehile.
Circular published by Bialystok’s Hasidic community listing demands on the Kehile. 3 December 1918. Among them are demands that schools attended by Hasidic children should be under Hasidic control and supported by the Kehile; that the Kehile organize a bureau dedicated to dealing with issues of religious laborers; and that the Kehile should support religious Jews who would like to emigrate to the Land of Israel.
RG 28 F 15 Demands of Hasidic community to new kehile 1918
YIVO
1918
Craftsman (Hantverker) Union election meeting announcement
Craftsman (Hantverker) Union election meeting announcement
Craftsman Union announcement for a Kehile election meeting.
RG 28 F 15 Craftsman Union election meeting announcement
December, 1932.
Call for a public protest meeting against German minister
Call for a public protest meeting against German minister
Call to join a public protest on 21 September 1930 against a German declaration that called for a change in its borders with Poland.
RG 28 F 15 Call for a public protest meeting against German minister 1930
YIVO
1930
RG 28 F 15 Announcement regarding procurement of matzos 1918
Announcement regarding matzos
Announcement regarding matzos
Request that those who are in need of matzo flour from the Kehile bring their matzo cards in order to exchange them for flour. One sack of flour requires 44 cards and one empty sack. Matzo will also be made available to those on community stipends.
RG 28 F 15 Announcement regarding matzos
1918.
Announcement regarding kehile funding
Announcement regarding kehile funding
Request that people pay their fees on time in order that the Kehile can supply indigent Jews with their needs. Winter, 1918.
RG 28 F 15 Announcement regarding kehile funding 1918
Winter, 1918.
Announcement regarding flour for Passover
Announcement regarding flour for Passover
Announcement regarding the amount of matzo flour to be distributed to residents by the Kehile.
RG 28 F 15 Announcement regarding flour for Passover 1928
1928
Announcement from kehile/rabbinical court to pay fees
Announcement from kehile/rabbinical court to pay fees
Request that all homeowners pay 10 groshen per week for each room they own. The money is necessary to support the destitute in the community.
RG 28 F 15 Announcement from kehile/rabbinical court to pay fees
Announcement for 10 year anniversary event for the Groyser shul
Announcement for 10 year anniversary event for the Groyser shul
Announcement for celebrations marking the 10 year anniversary of the opening of Der groyser shul (The Great Synagogue).
RG 28 F 15 10 year anniv event for Groyser shul
YIVO
1921
Bialistoker almanakh
Bialystok Almanac
An annual almanac detailing the cultural, economic, and political goings-on of the Jewish Community of Bialystok.
YIVO Library
1931
"Live From Brooklyn" by Isle of Klezbos
Listen on <a href="https://klezbos.bandcamp.com/track/hert-zikh-aynet-kostakowsky-7" title="Hert Zikh Aynet" target="_blank">Bandcamp</a> to Isle of Klezbos' version of the street singer’s tune "<a href="http://exhibitions.yivo.org/items/show/4876?query=hert&onlysite=4&np=5661" title="Oy, hert zikh ayn" target="_blank">Hert Zikh Aynet</a>", collected from Yankl Zipper by <span>Ruth Rubin in 1955</span>
Amanda Miryem-Khaye Seigel "Toyznt tamen" (A thousand flavors)
More about the album on <a href="https://amks.wordpress.com/album/" title="AMKS" target="_blank">Miryem-Khaye Seigel's website</a><br />Listen to the song "Furn fursti mir avek" on <a href="https://amks.bandcamp.com/track/furn-fursti-fin-mir-avek" title="Furn fursti mir avek" target="_blank">Bandcamp<br /></a>
Yiddishe Fantazye
<iframe width="400" height="250" src="https://www.youtube.com/embed/JxJjP8aSFi0" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe>
Tsibele
<a href="https://tsibele.bandcamp.com/track/indroysn-iz-finster-its-dark-outside" title="In droysn iz finster" target="_blank">Listen on Bandcamp</a>
"Raysn" by Litvakus
The song "Es Vet Zayn Sheyn un Fayn" on the album: <br /><a href="https://litvakus.bandcamp.com/track/khosidl-es-vet-zayn-sheyn-un-fayn" title="Es vet zayn sheyn un fayn" target="_blank">Listen on bandcamp</a>
The Strauss Warschauer Duo "Rejoicing"
Daniel Kahn & The Painted Birds
<iframe width="400" height="250" src="https://www.youtube.com/embed/pB6fnT252S0" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe>
Voices of Ashkenaz
<a href="http://ashkenaz.eu/" title="Voices of Ashkenaz" target="_blank">Website<br /></a><br /><iframe width="400" height="250" src="https://www.youtube.com/embed/PWTe5Fu3T40" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe>
Alpen Klezmer
Alpen Klezmer is a unique project devoted to songs that have, either directly or indirectly wandered from the Bavarian tradition into Yiddish culture or the other way around, featuring some of the most important musicians of the new Bavarian folk music scene!
"It's Klezmer!" by You Shouldn't Know From It
Five musicians from different countries got together in Berlin to form “You Shouldn´t Know From It!”. Taking their inspiration from Klezmer music of the first half of the 20th century they dig into the music played at weddings and other festivities in the Eastern European shtetls. The title of their album says it all: „It’s Klezmer!“<br /><br /> <iframe width="400" height="250" src="https://www.youtube.com/embed/shqIH3xjyM4" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe>
Yerushe
The inspiration for this musical project formed in 2014 by Eleonore Biezunski was retrieved from the repertoire of Yiddish songs and Klezmer that have lain practically dormant among folklore archives (Ruth Rubin, Moshe Beregovski, Zusman Kisselgof). Each of these songs is a short story in a great history of lived experiences, of battles fought, of hopes for the future. The songs collected by Ruth Rubin (1906-2000) are vivid portraits of the popular imagination; of a world inhabited by young rebellious women, furtive lovers, men cheated in love, workers and craftsmen, thieves and revolutionaries, and who each in their turn sing, soothe, chant, intone or harangue, sometimes all within the same song. Profundity is balanced by playfulness, distilling an immediacy which can at times be disconcerting.<br /><br /> <iframe width="400" height="250" src="https://www.youtube.com/embed/Z29PPbv6nQg" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe>
"Apikorsim" by the Klezmatics
From review on <a href="http://www.klezmershack.com/bands/klezmatics/apikorsim/" title="Klezmer Shack" target="_blank">Klezmershack</a>: "It has been a lot of years since we've heard a recording containing entirely new Klezmatics material—even more if you set aside special projects such as the Woody Guthrie Archive collaborations or their 25th anniversary party. From the opening swirls of "Der Geler Fink," followed by a slightly speeded up "Zol shoyn kumen di geulah" this is a celebration. The sound is occasionally dark; the words span life and love. The music vintage Klezmatics. It sounds good. In keeping the sometimes darker theme of the recording, we have Chava Alberstein's setting of Zishe Landau's "Ver firt di ale shifn" (who guides the ships?). The song sinks in, in waves, as the listener reflects on lost children in too many places around the globe. Elsewhere on the album, we encounter not just old and new poems set to new music, but older songs, including some gathered in the last century by folklorists Ruth Rubin and Moishe Beregovski. Fittingly, the album closes with a quiet version of an American Yiddish theatre tune, "Mazltov," with which we wish not only ourselves, but the Klezmatics good mazl." The song "Kemeshl in Ades" (Party in Odessa) on the album was collected by Ruth Rubin, and arranged by Matt Dariau, Frank London and Lorin Sklamberg.
"Far dem nayem dor!" Yiddish Children's Songs
For centuries the Yiddish speaking world has had an immense repertoire of children’s songs. The majority of melodies and texts disappeared together with the people who sung them and the children for whom they were composed. Such collections as remain in writing or recording are a treasure trove for lovers of the Yiddish word. The “<a href="https://yiddishsummer.eu" title="Yiddish Summer Weimar" target="_blank">Yiddish Summer Weimar</a>” festival in 2012 and 2013 created the opportunity to unearth many beautiful children’s songs and bring them back to life. They were transcribed to make them accessible, and sung by those that they were intended for: the children themselves, their parents, grandparents, teachers and friends. Our aim is to return these children’s songs back where they belong, in the families where they can be part of everyday life and not the artistic expression of a single performer during a concert.<br /><br /><a href="http://www.kinderlider.com" title="Kinder lider - website" target="_blank">LISTEN HERE</a>
"Tsigele Migele" by Ruth Levin
Ruth Levin is the recipient of the Segal Prize for Yiddish culture, and one of the leading interpreters of the Yiddish song in Israel.A great part of her repertoire is chamber music written by her father Leibu Levin, a well-known Czernowitz born Yiddish actor, singer and composer. She is also a translator of Yiddish and Hebrew poetry and drama, and she writes poetry in Yiddish and Russian. On the album "Tsigele Migele," she shares "a glimpse of the childhood world, how it used to be in the Jewish Atlantis.<br /><br /> <iframe width="400" height="250" src="https://www.youtube.com/embed/idOg7MFg-xE" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe>
Saints & Tzadiks
Following on the heels of their Grammy Award-winning work with the Klezmatics, vocalists Susan McKeown and Lorin Sklamberg present <a href="https://www.amazon.com/Saints-Tzadiks-Susan-McKeown-Sklamberg/dp/B002GM6MXO" title="Saints & Tzadiks" target="_blank">Saints & Tzadiks</a> -- a fascinating album combining Yiddish and Irish songs. Culled from the rare archive material and old recordings, McKeown and Sklamberg have selected songs on various themes from the Jewish and Irish traditions: love, death, betrothal, betrayal and the demon drink. The bulk of the Jewish material is drawn from the Ruth Rubin Archive at the YIVO Institute for Jewish Research, where Sklamberg serves as Sound Archivist. The Irish songs come from both the popular and the ancient Gaelic sean nos traditions. Susan McKeown has recorded ten albums of original and world music and built an impressive career through her many releases, extensive touring and performances. Her World Village album Sweet Liberty was nominated for a BBC Folk Music Award. Lorin Sklamberg has been the lead singer of the Jewish American roots band the Klezmatics since its founding in 1986.<br /><br /> <iframe width="400" height="250" src="https://www.youtube.com/embed/zeQ0mRCMkTM" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe>
Forshpil
Created in 2003 in Latvia, Forshpil re-energizes traditional Yiddish songs, Hassidic nigunim and klezmer tunes with modern rhythms, harmonies and instruments. Age-old songs of love and despair induce themselves with psychedelic rock, funk, jazz and other addictive substances. Deeply rooted in tradition, this unlikely fusion feels weirdly authentic. If Pink Floyd and The Doors had ever jammed together at a Jewish wedding it would have sounded like this!<br /><br /> <iframe width="400" height="250" src="https://www.youtube.com/embed/y5btcNPW7to" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen=""></iframe>
Tape 51 - Berish Katz, badkhn
Tape 43 - Zionist Songs (Pro and Con)
Tape 42 - Lullabies III and Children's World VI
Tape 41 - Lullabies II
Tape 40 - Lullabies I
Tape 45 - Rachel Grover-Spivack II
Tape 44 - Soldiers and Wars
Tape 32 - Poverty and Work
Tape 33 - Social Significance I
Tape 31 - Love Songs V
Tape 35 - Social Significance III
Tape 34 - Social Significance II
Tape 37 - Daniel Lipkovitsh II
Tape 38 - Daniel Lipkovitsh III
Tape 39 - Miscellaneous VII
Tape 46 - Rachel Grover-Spivack III
Tape 47 - Humorous Songs I
Tape 48 - Humorous Songs II and Dancing Songs
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
Children learning at a trade school.
Children learning at a trade school.
"Jewish children of Bialystok being taught machine work in a trade school......supported largely by American `landslayt' [former residents of the city]."
Textile Workers
Workers
"Jewish textile workers after work in Triling's Factory."
Forverts Rotogravure
10.26.1924
Boys on a streetcorner.
Children
Boys on a Bialystok street corner.
Alter Kacyzne
Forverts Rotogravure
10.26.1924
The Haymarket
The Haymarket
c. 1920s
Suraz Street.
Suraz Street.
Suraz Street. The street where many labor organizations resided. Once the `headquarters' of the Bialystok revolutionaries.
10.24.1926
Laborer laying paving stones
Laborer laying paving stones
A new Jewish livelihood in Bialystok paving the streets once only Christians were employed at this work.
Alter Kacyzne
Forverts Rotogravure
12.14.1924
ya-rg120-poFw41896.jpg
Children of the Bialystok Yiddish folkshul
Children of the Bialystok Yiddish folkshul
Children of the Bialystok Yiddish folkshul [community elementary school] playing games," seated around tables outside.
Forverts Rotogravure
4.29.1923
ya-rg120-poFw41962.jpg
ya-rg120-poFw42212.jpg
ya-rg120-poFw42541.jpg
ya-rg120-poFw42785.jpg
Family of Weavers
Family of Weavers
"A Bialystok weaver family, which is now weaving only hopes for a better time" (Yiddish caption). (Part of a photo essay in the "Jewish Daily Forward" entitled "Bialystok, During The Present Unemployment Period.")
Alter Kacyzne
Forverts Rotogravure
5/30/1926
ya-rg120-poFw42789.jpg
ya-rg120-poFw42790.jpg
Waiting for work.
Waiting for work.
"Lookouts..." "Textile workers. Waiting for jobs to turn up." ("Jewish Daily Forward' captions in Yiddish and English.) (Part of a photo essay entitled "Bialystok, During The Present Unemployment Period.")
Alter Kacyzne
Forverts Rotogravure
5/30/1926
Home of Ludvik Zamenhof
Zamenhof
Home of Ludvik Zamenhof
YIVO
Bundists.
Bundists.
Studio portrait: "Organizers of the [Jewish Socialist] Bundist party in Bialystok... From right to left: Solomon Berditshever, A. Rubin, and Epshteyn (Ben Yakir)." (Part of a photo essay in the "Forward," 1927: "Bundist Men And
Women Of The Past.")
Forverts Rotogravure
c. 1907.
Jewish Men of Bialystok.
Jewish Men of Bialystok.
"Jewish beaus of Bialystok... all now in America. The first two on the left (brothers) live in Chicago; the rest in New York." (From a "Forward" photo essay, 1932: "Striking Photographs Of The Vogues Of Yesteryear Submitted By Our Readers.")
Forverts Rotogravure.
c. 1910.
Jewish Revolutionaries.
Jewish Revolutionaries.
Studio portrait of "Jewish revolutionaries... Far right, Ruvke the Baker, who in 1906 shot the police chief of Bialystok and was later killed in the awful pogrom that June. 3rd from right, Berl the carpenter, now of Detroit." ("Forward" caption, 1932)
Forverts Rotogravure.
Early 1900s
Jewish Revolutionaries
Jewish Revolutionaries
Studio portrait of "Jewish revolutionaries... Far right, Ruvke the Baker, who in 1906 shot the police chief of Byalistok and was later killed in the awful pogrom that June. 3rd from right, Berl the carpenter, now of Detroit." ("Forward" caption, 1932)
Forverts Rotogravure
early 1900s
ya-rg120-poFw43611.jpg
A variety of Jewish leftists.
A variety of Jewish leftists.
Labor Zionists, Jewish Socialist Bundists, Polish Socialist Party members. (Front, rl): Tsalkov, Halpern, Polonski, Rafalovski, Shpiner; (back) Dovidovitsh, Pitkovski, Pripshteyn, Kushner, Melovitski, Bapkes. ('Forward': "Jewish Revolutionaries...")
Forverts Rotogravure.
c. 1913
Revolutionary butchers.
Revolutionary butchers.
Studio portrait: (English caption) "Organized butcher workers..." (Yiddish caption) "Revolutionary butcher workers... (Seated) 2nd from left is Zaydl Goldberg, now of Colchester, N. Y." ('Forward' spread, 1936: "Jewish Revolutionaries Of The Past...")
Forverts Rotogravure.
c. 1904.
Tsholnt
Tsholnt.
Housewives carry `tsholnt', a dish of meat, potatoes and beans, to the baker's oven on Friday afternoon. The heat retained by the oven slowly cooked the`tsholnt' and kept it hot for the meal on Saturday, when cooking was prohibited.
11/20/1932
Yiddish Art Theater Troupe
Yiddish Art Theater Troupe
Studio portrait of the Yiddish Art Theater Troupe.
c. 1908.
PO 197 - Bialystok, 1924 - ph. Polski, B - Outdoor group portrait of the mandolin orchestra of the I.L. Peretz school, a secular Yiddish primary school.jpg
Kacyzne 8.jpg
ya-rg120-po7897.jpg
ya-rg120-po7898.jpg
Kacyzne 7.jpg
Portrait study of an unemployed seamstress sitting beside her Singer sewing machine.
Portrait study of an unemployed seamstress sitting beside her Singer sewing machine.
Portrait study of an unemployed seamstress sitting beside her Singer sewing machine.
Alter Kacyzne
1926
Lines hatsedek (First Aid Organization)
Lines hatsedek
Members of the Jewish `Lines hatsedek' (First Aid) Association pose with their emergency ambulances in front of their headquarters.
B. Loznicki
1928
PO Album 14 - 7700 - Jaroszowka, 1930's - Two women pose in a pharmacy - From an album on the activites of TOZ-OZE. ph. I Rendel.jpg
ya-rg120-po184.jpg
ya-rg120-po7699.jpg
ya-rg120-po7701.jpg
ya-rg1270-f009.jpg
ya-rg1270-f012.jpg
Tape 29 - Love Songs III
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
Tape 30 - Love Songs IV
Tape 28 - Love Songs II
Tape 27 - Love Songs I
Tape 26 - Miscellaneous VI
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
Tape 25 - Miscellaneous V
Tape 24 - Miscellaneous IV
Tape 23 - Miscellaneous III
Tape 22 - Miscellaneous II
Tape 21 - Miscellaneous I
Tape 20 - Dance, Drink and Riddle Songs
Tape 19 - Drinking Songs
Tape 18 - Children's World V
Tape 17 - Rachel Grover-Spivack I
Tape 16 - Marriage Ballads
Tape 15 - Children's World IV
Tape 14 - Children's World III
Tape 13 - Children's World II
Tape 12 - Children's World I
Tape 11 - Hasidic Tunes V
Tape 10 - Hasidic Tunes IV
Tape 09 - Hasidic Tunes III
Tape 08 - Hasidic Tunes II
Stella
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
Pavillion Theatre
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
Weichert
The Modern Yiddish Theater is Established in Russia and Romania in 1876
The modern Yiddish Theater dates back to 1876 when the Russian-Jewish intellectual and impresario Avrom Goldfaden (1840-1908) produced the first Yiddish-language operettas first in Romania and then in Russia. For a short while, Yiddish theater became a boom business. In 1883, the Czar banned the Yiddish theater, causing the emigration of many the theater's actors from the Russian Empire and shifting the center of Yiddish theatrical activity from Eastern Europe to the United States. By the late 1890s, New York emerged as the capital of the Yiddish theater. Goldfaden eventually reached New York City in 1888, but when he arrived he was frozen out of New York's Yiddish theater life by disgruntled ex-actors. He spent most of the rest of his life in Europe, but returned to New York City before his death in 1908.<br /><br />He was buried in Brooklyn's Washington Cemetery. Above is a photograph taken at the unveiling of his gravestone.
ARTEF Arbeter Teater Farband (Workers Theater Association, 1925-1940)
Organized by the Young Workers' League, the ARTEF was the Yiddish workers' art theater that operated within the orbit of the American Jewish communism. It was most active during the Depression years. According the theater historian Edna Nahshon, "it was one of the most prominent organizations of the American Yiddish stage" and, with time, "one of the pillars of the Theatre of Social American." (<span style="text-decoration: underline;">Yiddish Proletarian Theatre</span>, xii). <br /><br />It was influenced by Communist groups and staged political theater.
Note From Pete Seeger to Adrienne Cooper and Phyllis Berk
Pete Seeger writes to Adrienne Cooper and Phyllis Berk to apologize that he cannot come to an event organized for Ruth Rubin, possibly a memorial concert. He writes: "Ruth was one of the greatest folklorists of the 20th Century. Her work lives on." (Oct. 10, 2000).
YIVO RG 2051 Adrienne Cooper's Papers
Ben Ami
Grodner
American Yiddish literary drama: Asch and Pinski
Among the most literary of Yiddish playwrights that surface at the beginning of the twentieth century are Dovid Pinski and Sholem Asch.
Dovid Pinski (1872-1959)
Pinski emigrated to America in 1899, remaining there until finally settling in Israel in 1949. His extensive literary output in America included short stories, novels, plays, and essays. Pinski’s nationalist Jewish and Zionist ideology were major factors in his fondness for historical topics, both in his prose and in his dramatic works. Among the many plays he wrote, Der oytser (The Treasure) and Yankl der shmid (Yankl the Blacksmith) attained the greatest popularity. Der eybiker yid (The Eternal Jew), with its messianic content, was among the first plays produced by the Hebrew-language Habimah Theater in Moscow (Ha-Yehudi ha-nitsḥi; 1920).
Sholem Asch
actors in america
Schiller
Benny Adler
Mata Hari, 1934
A play about the double agent who used her powers of seduction to extract military secrets from her many lovers. Her life had inspired two films by the time Dina Halpern appeared in the play by the same name in Scala Theater in Warsaw. One in Germany (1927) and one in Hollywood that starred Greta Garbo (1931). No manuscript of the play survives. Zylbercweig describes it as a work of reportage done by Dovid Globus.
Shmuel Mohilever
Shmuel Mohilever
Landau
Belasco
Immigration
Bina
Dreyfus Affair
Derner un blumen
Derner un blumen
Manuscript for Goldfaden's comedy <em>The Fanatic or The Two Kuni-Lemls </em><span style="text-decoration: underline;"></span>
Ludvik Zamenhof
Ludvik Zamenhof
Photograph of Ludvik Zamenhof with Esperanto text, c. 1910
Bernhardt
Portrait of Goldfaden
American-Yiddish literary playwrights I: David Pinsky and Sholem Asch.
<p><strong>David Pinsky (1893-1949)</strong></p>
<p><span style="font-weight: 400;">David Pinsky was born in Mogilev in the Russian Empire (present-day Belarus) and was raised in nearby Vitebsky. At first destined for a career as a rabbi, he had achieved an advanced level in Talmudic studies by the age of 10. Pinsky left home at age 19 originally intending to study medicine in Vienna, Austria, but a visit to the writer and cultural activist Y.L. Peretz in Warsaw convinced him to pursue a literary career instead. He briefly began studies in Vienna but soon returned to Warsaw where he established a strong reputation as a writer and as an advocate of <a href="http://www.yivoencyclopedia.org/article.aspx/Zionism_and_Zionist_Parties">Labor Zionism</a>. He then moved to Berlin in 1896 and, finally, to New York City in 1899.</span></p>
<p><span style="font-weight: 400;">Pinsky's dark comedy </span><i><span style="font-weight: 400;">Der Oitzer (The Treasure)</span></i><span style="font-weight: 400;">, written in Yiddish between 1902-1906, was first staged in German by Max Reinhardt in Berlin in 1910. </span><i><span style="font-weight: 400;">Der Oitzer </span></i><span style="font-weight: 400;">tells of a sequence of events in which the people of a town dig up and desecrate their own graveyard because they have come to believe there is a treasure buried somewhere in it. Rich and poor, secular and religious, all participate in the frenzy; a supernatural climax involves the souls of the dead that are annoyed by the disruption. </span><i><span style="font-weight: 400;">Family Tsvi</span></i><span style="font-weight: 400;"> (1904), written in the wake of the Kishinev pogrom, is a call for Jews not to passively accept violence against them. In this tragedy, various Jews—a religious zealot, a socialist from the <a href="http://www.yivoencyclopedia.org/article.aspx/Bund">Bund</a>, a <a href="http://www.yivoencyclopedia.org/article.aspx/Zionism_and_Zionist_Parties">Zionist</a>, and a disillusioned <a href="http://www.yivoencyclopedia.org/article.aspx/Assimilation">assimilationist</a>—resist the onslaught in different ways, and for different ideologies, but they all resist. The play could not be officially published or openly performed in Imperial Russia but circulated there surreptitiously and was even given clandestine amateur productions. </span></p>
<p><span style="font-weight: 400;">Another one of Pinsky’s plays, </span><i><span style="font-weight: 400;">Yenkl der Schmid (Yankel the Smith</span></i><span style="font-weight: 400;">, 1906), set a new level of frankness in Yiddish-language theater in dealing with sexual passions. Although Yiddish theater was more open to such themes than the English-language theater of the same era, it had mostly entered by way of works translated from miscellaneous European languages. The central couple of the play must balance their passion for each other against their marriages to other people. Ultimately, both return to their marriages, in what Sol Liptzin (1901-1995), a scholar and educator of German and Yiddish literature, describes as "an acceptance of family living that neither negated the joy of the flesh nor avoided moral responsibility”<br /><br /></span></p>
<p><strong>Sholem Asch (1880-1947)</strong><o:p></o:p></p>
<p>Born in Kutne (Kutno), Poland, Asch was raised at home “between two worlds." On one side, Asch had full brothers who did business with butchers and gentiles and later moved to the United States. From the other side, he had several step-brothers who prayed in Hassidic conclaves and walked around dressed in their gabardines. Ten children were raised in his home. After elementary school, he moved on to the synagogue study house where he studied on his own. At age fifteen or sixteen, he began to read non-religious books. “Until that time,” explained Asch of himself, “I was a strictly Orthodox, believing Jew. Later I became convinced that the simple Jew, the common man, stood on a higher ethical level compared to the well-educated Hassid.” Asch departed for relatives in a village, studied there with the children, and paid attention all the while to the lives of Polish peasants. As he recounted, “this was my elementary school in life.” <br /> <br /> In the first months of 1900, Asch traveled by ship along the Vistula to Warsaw to meet Y. L. Peretz and to show him his own writings. Perets advised Asch to write in Yiddish. In passing, when he was in Peretz’s home, he happened to meet H. D. Nomberg and Avrom Reyzen. Several months later, Asch returned again to Warsaw from Włocławek and read out loud for Peretz his first two stories in Yiddish. In 1904, Asch began his career as a playwright. He composed “theatrical piece in two acts” with the title <em>Tsurikgekumen</em> (Returned) and<em> Mitn shtrom</em> (With the current). In the summer of 1904, Asch made the acquaintance of Polish writers in Zakopane. One of them, Stanisław Witkiewicz, translated Asch’s drama into Polish, and in December 1904 it was staged at a Polish theater in Cracow. <br /> <br /> Asch’s next theatrical piece was <em>Meshiekhs tsaytn</em> (Messianic times), a tragedy in three acts (in a subsequent printing with the subtitle: “A kholem fun mayn folk” [A dream of my people]; in a further edition: “A tsaytshtik in dray aktn” [A timely piece in three acts], Vilna, 1906; second edition, Vilna, 1907). <em>Meshiekhs tsaytn</em> was almost simultaneously translated into Polish, Russian, and German, and on February 12, 1906—with the Russian title: “Na puty v Sion” (On the Path to Zion)—it was performed in St. Petersburg with the actress Vera Fyodorovna Komissarzhevskaya in the role of Yustina, and on July 15, 1906 on the Polish stage in Warsaw. In 1907 the publisher “Tsukunft” in Vilna brought out Asch’s play <em>Got fun nekome</em> (God of Vengeance). It was performed in various theaters around the world. A fierce dispute arose in the Yiddish press surrounding this work. In 1908, Asch read aloud before writers in Berlin his play, <em>Shapse tsvi</em> (Shabetai Zvi), published in the third number of <em>Literarishe monatshrift</em> (Monthly literary writings)—an effort to depict the conflict between earthly passion and heavenly purity on the field of the Shabetai Zvi movement. The images were too philosophical, and the drama was never performed on the stage. <br /> <br /> During those years, Asch lived in a number of different countries in Europe, and thereafter settled as a resident in Paris, but with the outbreak of WWI he moved to New York where he wrote the play Undzer gloybn (Our beliefs) and a string of new novels (published serially in Forverts) and stories. In 1916 in book form he published (Forverts Publishers) Motke ganef (Motke, the thief), a social novel; the first two parts of it, in which Asch portrays Motke’s childhood, were high art, while the last part rings as if it was artificially added on and reminds one more of literary crime stories. (Taken from YleksikonBlogpost.com).<o:p></o:p></p>
<p><span style="font-weight: 400;"> </span></p>
Matura, László Fodor
Henri Tarlo (b. 1898)
Born in Warsaw, Tarlo went to an all-boys gymnasium and eventually fell in with an amateur theater group. He acted with Hazamir and played the role of Mendl in Hirshbeyn's <em>Carcass</em> under Dovid Herman's direction and attended classes with the Polish actor-directo Zelverovitsh. He also acted on the Polish stage. For a time, Tarlo was a member of the Vilner Troupe and performed in Romania. In 1926, he devoted himself to directing and introduced the theatrical works of the Italian playwrights Pirandello and Niccodemi in his own translation to Yiddish audiences. In 1929, he became the resident director of the state theater in Kharkov.
1925, The Highpoint of Commercial Yiddish theater in America
<strong>1925 in American Yiddish Theater Life</strong><br /><br /><span style="font-weight: 400;">While Second Avenue in Manhattan became synonymous with Yiddish theater, Yiddish theater spread into New York City’s five boroughs, following the migration of its mostly Jewish patrons. Four Yiddish theater houses opened in Brooklyn and another four opened in Upper Manhattan and the Bronx. This brought the tally of the number of active Yiddish theater houses in New York City to its height at 14. In the late 1920s, Yiddish theater in New York City began to contract, and by the 1940s, the rate of this shrinking intensified. One important reason for this was language. As Jewish immigrants in the United States learned English and sought to assimilate they lost their mastery of Yiddish. Other reasons account for the theater's diminishing audiences. Since the turn of the century, new boat loads of immigrants replenished the numbers of those audience members who went the way of linguistic assimilation, sustaining the level of New York's Yiddish speakers. The Immigration Act of 1924 stopped this process when it closed the gates to Jewish immigrants. Also, the rise of the moving-pictures--both English- and Yiddish-language movies-- served another blow to theater audiences. While the Yiddish theater itself contracted, it fed English-language entertainment and the budding Yiddish-langauge film business with stores of talent, actors and writers, many of whom began their careers in the Yiddish theater only to move into other areas of American entertainment industry.</span>
Mark Schweid and the founding of the Bronx Art Theatre (1930)
Mark Schweid (1891-1969) was one of the most prolific figures to New York City's Yiddish theater and an important cultivator of art theater before going on to direct Yiddish movies.
The founding of "Our Theater" (Undzer Teater), 1923
The theater society Our Theater was founded in 1923 in New York City by such luminaries of the Yiddish theater as Peretz Hirshbein, H. Leivik, and Mendel Elkin. Their mandate was to create and sustain art theater, dramatic studios, and a peiodical, the latter of which was "Tealit," a journal that lasted from 1923 to 1924 and put out only five issues. Our Theater managed to sponsor three important liteary works of theater (1925-1926) included an ensemble production of <em>Day and Night (</em>discussed elsewhere in this gallery). The society and the theater both folded in 1926.
A Steady Stream of Materials
Throughout its existence, the Esther-Rachel Kaminska Theater Museum benefited and grew from a steady incoming stream of materials from collectors throughout the world. Many materials bear signatures and stamps of their "<em>zamlers</em>,<em>"</em> or collectors. Actors also donated their personal archives, including many scrapbooks of reviews of their shows.<br /><br /><br />On the right is a note by a collector written on the back of photograph identifying its subject:<br /><br /><strong>Zuni Maud and Yosl Kotler- the founders and artists of the first Yiddish Marionette Theater in New York. <br /><br /></strong><strong>A gift to the theater museum at the YIVO Institute from Nechama Epshteyn (? surname unclear). Vilna. March 4, 1931.</strong><br />
Yiddish Marionette Theater
The Early American Yiddish Theater: Music, Dance, and Pageantry (1880s and 1890s).
The first period of American Yiddish theater is defined by the entrepreneurial work of two composer/impresarios: self-annointed "Professor" Moyshe Hurwitz (pictured above, 1844–1910) and Joseph Lateiner (1853-1935). Both had begun their careers in Romania and Russia, but were squeezed out by Goldfaden who wielded power with the theater's Russian-Jewish audiences, financiers, and with the government. But Horowitz and Lateiner would give him his comeuppance: emigrating earlier to America, they set up shop, and held a virtual monopoly on Yiddish theater in New York City. When Goldfaden arrived in 1888, they and their actors shut him out. Both impresarios served their immigrant audiences biblical or historical operettas and <em>tsaytbilder, </em>depictions of topical events. Their shows were punctuated by a variety of entertainment—horseplay, slapstick, and an abundance of singing and dancing. Each man staged more than 100 plays, some original, others adaptations from German, English, and and French sources.
<em>Freud's Theory of Dreams</em>, Antoni Cwojdzinski
<span style="font-weight: 400;">Antoni Cwojdzinski (1896-1972) was a Polish comedian and theatrical actor (active under the pseudonym Antoni Wojdan) and a director of theater and film as well as a playwright. He studied drama in Warsaw, Cracow, and Lviv, and, at one point, studied under the director Leon Schiller, who himself was engaged with participants of Poland’s Yiddish theater. </span>
A set design for the Yiddish Art Theater
This is a maquette of a theater set designed by Robert Van Rosen for the Yiddish Art Theater
Remnants of the Theater Museum are Discovered by the U.S. Army after World War II
After the war, the American Monument Men discovered thousands of feet of material that they traced to the YIVO Institute of Jewish Research. In 1954, the materials arrived in large crates and were temporarily housed in Manischewitz's Factory.
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<em>All God's Chillun Got Wings</em> (<em>Shvartse Geto</em>), 1924
This item is a review by Zalmen Reyzen of the Vilna Troupe's adaptation of Eugene O' Neill's <em>All God's Chillun Got Wings, </em>an Expressionist play about miscegenation inspired from an old negro spiritual. Arguably one of O'Neill's most controversial of plays, it starred Paul Robeson in the premiere, in which he portrayed the black husband of an abusive white woman, who, resenting her husband's skin color, destroys his promising career as a lawyer.
The Rising Fame of Kaminska, 1909
This newspaper article appeared in the Forward in August of 1909, on Kaminska's arrival in the United States. As the editor explains in his introduction to an interview the reporter conducted with Kaminska, the newspaper sent the reporter to the boat for an exclusive interview with the arriving Yiddish actress. Only recently, Kaminska had earned rave reviews from Russian, Polish, and Yiddish-speaking audiences that had infected American theater-goers with great curiosity about the 37 year-old actor. The reporter took a chug boat to the Lucitania in order to interview the actress before she reaches the pier and clears customs. Dovid Kessler...who will play opposite her on the stage at the Thalia Theater waits for her on the pier.
<em>Love and Eros</em>, Anton Wildgans
<em>Love and Eros</em> is a four-act play by the Austrian playwright and poet Anton Wildgans (1881-1932). Wildgans’ work mingles expressionism with a focus on daily life.
Three acts or four: the publication of The Dybbuk in Yiddish
<em>The Dybbuk</em> was published for the first time in 1920 after the playwright's death. Edited by the photographer Alter Kacyzne, himself a writer and playwright, it was included in a multi-volume edition, <em>The Collected Works of S. Y. An-ski</em>. An-ski entrusted Kacyzne to publish his work as well as to complete his mentor's play <em>Day and Night</em>. Before his death, An-ski had completed the composition of <em>The Dybbuk</em> in manuscript as a four-act play. <br /><br />Curiously, the Vilna Troupe, the first to perform the play, performed it in three acts instead of four. Kacyzne showed the manuscript to Vilna Troupe actor Avrom Morevski and complained to him that the Troupe's director David Herman had urged him to publish the play according to his three-act interpretation. Morevski writes in his memoirs about this episode:<em> At that moment I lay my right hand on the table and said to Alter: "Let my right hand lose its cunning should I step onto the stage of a three-act Dybbuk." <br /><br /></em>Theater programs from this period demonstrate that the play was often played "according to David Herman's direction" which meant, in part, that it would play as a three-act play, as other programs reflect Morevski's 4-act interpretation.<br /><br />This is the only known surviving fragment of an original Yiddish manuscript of <em>The Dybbuk.</em>
<em>Boston/Sacco and Vanzetti,</em> 1933
<span>Based on Bernhard Blume’s </span><i>Boston</i><span> (original title, </span><i>Im Namen des Volkes!</i><span> [In the Name of the People!]), <em>B</em></span><em>oston or Sacco and Vanzetti</em> premiered in 1933 in a small theater on Warsaw's Dluga Street. The play was about <span>Nicola </span><span>Sacco</span><span> and Bartolomeo </span><span>Vanzetti, </span><span>Italian-born American anarchists who were convicted of murdering a guard and a paymaster during the 1920 armed robbery of the Slater and Morrill Shoe Company in Braintree, Massachusetts. They were executed in the electric chair seven years later. Their trial and execution became an international cause celebre. It was the first production of Mikhl Weichert's Young Theater.<br /><br />Tsipora Tsipkin participated in the first performance of the play. She writes: <br /><br /></span><em>The action did not all take place on a proscenium stage, but was scattered in different parts of the theater. And, since the setting of the play was a courthouse, the actors who played the parts of witnesses sat among the audience. I was one of those actors. It wasn’t easy to simultaneously maintain an artistic distance from the audience while creating the illusion of being one among them. The setting was spare, with a minimal amount of scenery. This production was quite original and experimental, as well as being consummately crafted, and it excited Warsaw’s Yiddish theater circles. Even people who rarely went to the Yiddish theater now streamed to the “Young Theater” to see our work. With its very first production, the “Young Theater” established its importance and created its audience.</em>
Sambatyon Cabaret Theater
<span>Sambatyon was established in Vilna</span><span> in 1926 but moved to Warsaw several months later. It was made up exclusively of professional performers—Yitskhok Feld, Khane Grosberg (1900–?), Khane Levin </span><span>(1900–1969), Khayim Sandler, and others—under the direction of the actor and director Yitskhok Nożyk (1889–?), who also wrote much of the material; other writers included Der Tunkeler, Der Lustiker Pesimist (Yosef Shimen Goldshteyn), Moyshe Nudelman, S. Kornteyer (189?–194?), and Bontshe (Avrom Rozenfeld; 1884–1941/42). Nożyk aimed to offer a popular audience an alternative to American Yiddish and European operetta </span><a href="http://www.yivoencyclopedia.org/article.aspx/Operetta"></a><span>fare, staging well-known Yiddish songs and writing comical and melodramatic sketches. But Sambatyon also performed more literary and “experimental” material; for several months, the poet Yisroel Shtern</span><a href="http://www.yivoencyclopedia.org/article.aspx/Shtern_Yisroel"></a><span> was its literary director. Under various names and with varying personnel, the company performed in Warsaw and toured Poland until the end of 1929, when it disbanded.</span>
Yiddish Theater Takes Root in America, 1883
Although the America Yiddish theater would not gather institutional momentum unitl the late 1880s, Boris Thomashefsky (1866-1939) is rightly credited with spearheading the first Yiddish theatrical productions in the United States. Thomashefsky had not participated in the Yiddish theater before he left Russia in 1881. He had, however, trained as a synagogue choristser in the famous Berdichev choir of Cantor Nisn Belzer. Once in New York, on hearing about the Yiddish theater through word of mouth and letters, Thomashefsky, together with some friends, put on a rendition of Avrom Godfaden's <em>The Sorceress in</em> 1883.<em> </em><span>By the turn of the century, Thomashefsky, a poor Jewish immigrant to New York City off the boat in 1881, had become a legendary American-Yiddish matinee idol. <br /></span>
Maurice Schwartz in Leivik's <em>Rags</em>
The Founding of the Yiddish Theater in 1876
The work of historians including Shatzky canonized the date of 1876 as the year the modern Yiddish theater was founded by Avrom Goldfaden.<br /><br />Above: <br />Photograph of Avrom Goldfaden (seated, at center) with members of his early theater troupe. Goldfaden is known as "the father of Yiddish theater."
YIVO Collections Plundered by the Nazis
On 24 June 1941, the Nazis captured Vilna. In March 1942, representatives of the Einsatzstab Rosenberg (Rosenberg Operation Group), the body charged with looting Jewish cultural property for the Institut zur Erforschung der Judenfrage (Institute for the Study of the Jewish Question) in Frankfurt, established a sorting center in the YIVO building. Workers were forced to select the most valuable objects from the collections of YIVO and other local Jewish institutions to be sent to Frankfurt, while the remaining items would be destroyed. Among the laborers were Ume Olkenitski (1899-1943), director of the Esther-Rachel Kaminska Theater Museum. Among the thousands of items plundered were the collections of the Theater Museum.
Variety Shows or KLEYNKUNST
S.Y. An-ski writes (and re-writes) <em>The Dybbuk</em>
The Russian-Jewish writer, ethnographer, and political activist, Shloyme-Zanvl Rapoport (1863-1920), known by his pseudonym S. Y. An-ski, wrote and revised <em>The Dybbuk</em> over a number of years, beginning in 1911 until his death in 1920. In <em>Three Literary Generations</em>, the literary historian Sh. Tsitron recounts that An-ski first wrote the play in Russian and then in Yiddish. An-ski integrated ethnographic material he collected from his expeditions throughout the Pale. The basis of the synagogue scene in the first act, however, came to An-ski in 1914 during the humanitarian missions he conducted during World War I in destroyed Jewish communities throughout Galicia. He wrote the first act in Tarnow and the last two acts in Moscow.
The Vilna Troupe in New York with <em>The Dybbuk</em>, 1926
While <em>The Dybbuk</em> would be translated into many languages, its greatest success was on the Yiddish-language stage. During the Vilner Troupe's tour across Europe between 1922 and 1927, it remained the pinnacle of their repertoire. On seeing the Vilna Troupe's Dybbuk performance in Vienna, famous theater director Max Reinhardt said, "Das ist nicht theater, das ist ein Gottes Dienst." On September 1, 1921, the play had its American premiere in the New York Yiddish Art Theatre of Maurice Schwartz. Celia Adler, Bar Galilee, Schwartz, and Julius Adler appeared as Leah, Khanan, Azriel, and the Messenger. It ran for several months.
The Vilna Troupe's Dybbuk
The Dybbuk has been referred to as the<em> Romeo and Juliet</em> of the Yiddish theater. It takes place in the towns of Brinnits and Miropolye around the turn of the century. At its core is the unspoken love between Khonen, a poor, orphaned yeshiva student, and Leah, the daughter of Sender, the town's rich man, who prepares to marry her into a still wealthier family. Amid fasting and kabbalistic manipulations designed to win the hand of his beloved, Khonen falls dead. As the wedding ceremony reaches its climax, Khonen's spirit enters Leah in the form of a <em>dybbuk</em> (a spirit, literally, a Hebrew loanword meaning to cleave) and refuses to leave. Teh Holy Mirpolyer Tsadik convenes a court before which Sender and the soul of Khonen are summoned. It emerges that when Khonen and Leah were yet unborn, their fathers pledged to marry them to each other. Sender begs forgiveness for his transgression of the oath, but his contrition is not accepted and the lovers will not part: Leah dies to be with Khonen.<br /><br />From this tightly structured plot-line, An-ski weaves many threads of exposition and digression that include Hasidic lore and philosophy, and, through them, explores questions of divine justice and the redeemabilty of man. He also weaves in history and folk material that he, no doubt, amassed from the expeditions he lead through seventy towns and cities in the Ukrainian provinces of Volhyn, Podolia, and Kiev.
The Dybbuk has been referred to as the Romeo and Juliet of the Yiddish theater. Its takes place in the towns of Brinnits an Miropolye around the turn of the century. At its core is the unspoken love between Khonen, a poor, orphaned yeshiva student, and Leah, the daughter of Sender, the town's rich man, who prepares to marry her into a still wealthier family. Amid fasting and kabbalistic manipulations designed to win the hand of his beloved, Khonen falls dead. As the wedding ceremony reaches its climax, Khonen's spirit enters Leah in the form of a dybbuk (a spirit, literally, a Hebrew loanword meaning to cleave) and refuses to leave. Teh Holy Mirpolyer Tsadik convenes a court before which Sender and the soul of Khonen are summoned. It emerges that when Khonen and Leah were yet unborn, their fathers pledged to marry them to each other. Sender begs forgiveness for his transgression of the oath, but his contrition is not accepted and the lovers will not part: Leah dies to be with Khonen.
From this tightly structured plot-line, Anski weaves many threads of exposition and digression that include Hasidic lore and philosophy, and, through them, explores questions of divine justice and the redeemabilty of man. He also weaves in history and folk material that he, no doubt, amassed from the expeditions he lead through seventy towns and cities in the Ukrainian provinces of Volhyn, Podolia, and Kiev.
The Dybbuk Tours Europe
This article (undated) is a first-person acount by the director Dovid Herman of his experience directing The Dybbuk in Oslo, Norway. In 1927, the actor and theater pioneer Agnes Mowinckel (1875-1963), ran the Balkongen Theater, a short-lived avant-garde theater located in Oslo. After attending a performance of The Dybbuk in Berlin Mowinckel traveled to Poland to track down Herman and invite him to direct a version of The Dybbuk, presumably in Norwegian. The Norwegian actress and singer Ragnihold Caroline Monrad (1879-1950) played the lead role of Leah. The article does not specify the time of this performance. Since the Balkongen Theater lasted on two years—from 1927-1928—we know that sometime during these two years Herman introduced The Dybbuk to Norwegian audiences!
The Rise of Yiddish Moving Pictures
The first synchronous Yiddish-language talkie was produced in 1929, only 18 months after the first (ever) talkie, <em>The Jazz Singe</em>r, which, remarkably, centered on the experiences of a Jewish performer. The thirties saw the accelerated growth of the Yiddish-language film industry that brought movie-makers and directors from America to shoot scenes of authentic Jewish life in Poland. The biggest hits of the Golden Age of Yiddish Moving Pictures (1935-1939) were <em>Yidl With His Fiddle</em> (<em>Yidl mitn fidl</em>), <em>Green Fields</em> (<em>Grine felder</em>) and <em>The Dybbuk</em>. In <em>Yidl mitn fidl</em>, Molly Picon's character (pictured in the above poster) disguises herself as a boy in order to escape an arranged marriage and perform with a band of traveling musicians. The film was shot in Eastern Europe and, with the exception of Picon, the rest of the cast was drawn from Warsaw's various theatrical ensembles.
A Scene from a production of Y. L. Peretz's <em><strong>At Night in the Old Marketplace</strong></em>
The Azazel Cabaret Theater
It is unclear when the Azazel Cabaret Theater was founded, with some historical sources claiming that it was founded as early as 1918. It was the brainchild of the cabaret performers Ola Lilit (1906-) and her husband Władysłav Godik (1906-1980). The Biblical word "Azazel" refers to the destination of the goat released into the desert on Yom Kippur by the High Priest. The second goat is sacrificed. But the word Azazel is also the name of a fallen angel (mentioned in the Book of Enoch) where it is written in Chapter 10 verse 8: "<span><span>The whole earth has been corrupted through the works that were taught by Azazel: to him is ascribed all sin." Eventually, Lilit and Godik settled in the Unites States. The celebrated actor </span></span>Josef Strugacz also acted and directed in Azazel. He was born in Odessa in 1893, the son and grandson of cantors and sang in synagogue choirs but also attended gymnasium and acted in Russian amateur theater groups. <br /><br /><br /><span><span>Azazel made use of texts by Peretz and Sholem Aleichem </span><span>as well as contemporary material written by Moyshe Broderzon, Itsik Manger, Alter Kacyzne, </span><span>Y. M. Nayman, Der Tunkeler (Yoysef Tunkel</span><a href="http://www.yivoencyclopedia.org/article.aspx/Tunkel_Yoysef" title="Tunkel, Yoysef"></a><span>), Yankev Oberzhanek (1891–1943), and Moyshe Nudelman (1905–?). The cabaret quickly became very popular, especially among artists and intellectuals, Jewish and occasionally Polish as well. Particularly celebrated was a number called the “Azazel-Shimmy,” by Broderzon and Kon, and Godik’s bagel-seller skit. The latter was related to efforts by Warsaw police to rid the streets of unlicensed bagel vendors. By 1927, however, financial difficulties forced the company to go on tour and to disband soon after. </span></span>
Esther-Rachel Kaminska, Yiddish Actor Extraordinaire
<p><span style="font-weight: 400;">Perhaps Esther-Rachel's greatest cultural significance was as a pioneer of literary Yiddish theater. In 1905, for instance, when official restrictions waned, she began to perform a new kind of play from the artistic repertoire championed by the Warsaw-based herald of literary Yiddish, Y. L. Peretz (1852-1915). Kaminska staged dramatic works by the most literary dramatists of her day, including Sholem Aleichem (1859-1915), Jacob Gordin, David Pinsky (1872-1959), and the Polish-Jewish writer-director Mark Arnsteyn (Arnsztejn) (1879-1943). She also performed some of the earliest translations into Yiddish of such writers as Maxim Gorky (1868-1936), Stanisław Przybyszewski (1868-1927), and Henryk Ibsen (1828-1906). </span></p>
<p><span style="font-weight: 400;">In 1907, with the collaboration of Arnsteyn, Esther-Rachel's husband, Avrom-Yitskhok Kaminski, founded the Literary Troupe. This was the first company to turn away from the classics of the operetta composer Avrom Goldfaden, who had laid the theater's cornerstone, and to dedicate itself to the new literary repertoire. The company toured the Russian Empire from 1908 to 1909; its two engagements in St. Petersburg were acclaimed in the Russian liberal press. According to her daughter, Ida, Esther-Rachel eschewed the pathos and posing of many of her contemporaries who were nurtured on the "great repertoire." Instead, she favored acting that was "natural and simple." Performances in the eponymous matriarch roles like Mirele (by Gordin) Serkele (by Ettinger), and Mother Courage (by Bertolt Brecht) led to her canonization by adoring audiences as "Di Mame Ester-Rokhl," the mother of the Yiddish theater.</span></p>
Yiddish to English crossover actor Paul Muni, c. 1930
Bas Sheva
<em>Bas Sheva</em> is a four-character opera composed by Henech Kon with a libretto by Moyshe Broderzon. It focuses on the relationship between King David and his desire for Bath Sheba, married when he falls in love with her at first sight (in the Book of Samuel 2). Their son Solomon later rises to be king after David and builds the Temple in Jerusalem. But David and Bas Sheva have a baby before Solomon that dies at childbirth, a punishment for David's sin of sending Bas Sheva's husband to the front lines of battle--to certain death--in order to free her to become his wife. The opera explores this lesser-known narrative, especially through the eyes of Bas Sheva's character.<br /><br /><em>Dovid un Bas Sheva</em> premiered on May 24, 1924 at the Kaminska Theater in Warsaw under the direction of Dovid Herman. Lacking strings and other elements that would give it its full operatic dimension--nothwithstanding its cast of only four--Kon played the piano sang base and a chamber version of the Shnur Choir participated. In <em>Literarishe bleter, </em>Alter Kacyzne declared that the opera achieved "a great purity of expression."
Translations on the American Yiddish Art Stage
The membership card of actor Zygmunt Turkov to Poland's Union of Yiddish Actors, 1922.
A photograph of the first members of Habimah (The Stage) the Hebrew Theater founded in 1918
Mauricę Schwartz Founds the Yiddish Art Theater
Maurice Schwartz founded the Yiddish Art Theater in 1918
<span style="font-weight: 400;">Yiddish theater producer, director and star performer, Maurice Schwartz (1888-1960) began his career in 1905 at an amateur dramatic club in Brooklyn. He worked his way up the Yiddish theater ladder in regional theater until David Kessler (1860-1920), a major actor-manager, invited him to join his company in New York City in 1912. In 1918, Schwartz, with theater manager Max Wilner (1895-1958), leased the Irving Place Theatre on East 15th Street, formerly a German theater house, and organized a group of dedicated young ensemble actors. They chose the name the Yiddish Art Theatre as homage to Konstantin Stanislavsky's (1863-1938) much-admired Moscow Art Theatre. Schwartz remained a pivotal figure in the world of American Yiddish art theater and was not far off the mark when he commented, "...Yiddish art theatre is Maurice Schwartz and Maurice Schwartz is Yiddish art theatre."</span>
Postcard of Mlawa during World War I, Russian prisoners of war lead by Germans
Leyb Kadison, seated in foreground, among others in the Café Royale, New York City, c. 1940.
Peretz Hirshbein, 1880-1948
During his stay in Łódź [1908], Hirshbein together with the director Dovid Herman, announced the founding of "a literary-dramatic theater". Not finding enough popularity, however, Hirshbein returned to Odessa and, on the initiative of the poet Kh. N. Bialik (1873-1934), and the support of a group of Yiddish students from the Russian dramatic school, he founded the literary theater troupe "The Dramatic Troupe Under the Leadership of Peretz Hirshbein", or, as it later was popular: "The Hirshbein Troupe". In the course of its existence (Spring 1908 to July 1910) the troupe functioned under the artistic direction of Hirshbein and Jacob Ben-Ami (1890-1977).
Men, women and children pose in front of destroyed property after the pogrom Kishinev, 1903.
Crossover Stars
Since its beginnings, the modern Yiddish theater generated "crossover actors," men and women who moved (in both directions) between the Yiddish-language stage and stages of other language. In the United States, however, the movement of Yiddish actors flowed almost always from Yiddish to English: that is, from the Yiddish theater into successful careers on the English-language stage or into Hollywood movies. Perhaps the most important crossover success story was the actor-director-and acting theoretician Stella Adler, who shares a name with Yiddish theater star and pioneer, Jacob Adler that became even more famous for her acting studio. Others include Ida Kaminska and Molly Picon, and, pictured here, Paul Muni and Bertha Kalisch. While the shift of Yidish theater's greatest talent to the English stage was most visible, this crossover movement took place on every stratum, in every area of expertise. The Yiddish theater generated talent for which it had less and less of an audience. Even as the Yiddish theater declined, it experienced a kind of success as a shaper of mainstream English-language entertainment culture.
The Establishment of the Hebrew Actors Union (HAU), 1889.
The Hebrew Actors’ Union (HAU) was the first theatrical union in the United States to protect actors from exploitation by managers, bar none. It was originally founded in New York City in 1888. During a December 1899 strike held by the actors at the People’s Theatre against the managers, Jacob Adler, Boris Thomashefsky, and Joseph Edelstein, the United Hebrew Trades sent Jewish labor leader Joseph Barondess to organize the actors and reorganize the union. After a few weeks, Thomashefsky recognized the union and the strike ended. The Hebrew Actors’ Union Local 1 received its charter from the American Federation of Labor on December 31, 1899, and soon started collecting dues and holding weekly meetings. It was also a member of the United Hebrew Trades, and assisted striking unions belonging to the UHT. Prior to the founding of the HAU, Yiddish theater actors could be fired without notice and received commissions based upon the success of their performances and popularity instead of receiving regular salaries. They were not compensated for their rehearsal time, worked seven days a week, and were often treated quite poorly by theater managers. The HAU established rules for working conditions, fair wages, and payment schedules and was closely affiliated from its beginning with the American Federation of Labor (AFL) and with the general and Jewish labor movement.
The World Zionist Conference of 1905. The World Zionist Organization was founded in 1898
Dramatic Yiddish Theater in America (1890-1910): Jacob Gordin and Jacob Adler
<strong>Jacob Gordin</strong> (1853-1909) forged a new path for Yiddish theater by introducing realism in place of Hurwitz and Lateiner's crowd-pleasing operettas. Among the more popular of Gordin's dramas were his literary adaptations like <em>The Jewish King Lear</em>, about a rich Jewish merchant (instead of a king) and about the corrosive effects of capitalism on the family. And in Gordin's interpretation of the Shakespeare classic, the elderly tyrant, exiled from his family, returns, chastened and triumphant, and the love between parents and children transcends the divisive power of money and greed.<br /><br /><strong>Jacob Adler</strong> (1855-1926) was a pioneer of the modern Yiddish theater in its earliest days in the Russian Empire. Although he was not a practiced singer, he played leading men, emphasizing and developing his talent for acting. When the Russian government banned public Yiddish performance, Adler left the empire to pursue or create opportunities to perform in Yiddish. He lived in London for a period of time, and then moved to New York City. Here, Adler rose to be an important entrepreneurial force in commercial theater, and an advocate of better Yiddish drama or, as he put it, <em>emese kunst</em>, true art. The cornerstone of this was his relationship with the playwright Jacob Gordin whose early works walked a thin line between art and commerce. They introduced realism to the Yiddish stage by stripping Yiddish performance of its music and oversized stories and fanfare. Of course, audiences came to learn that Gordin's work featured salacious plots that were just as much of a draw.<br /><br />Adler and Gordin continued to work together into the twentieth century, but, with the exception of his drama <em>True Power</em> (<em>Emese kraft</em>, 1904), the plays he wrote for the Grand Theater all fell through and closed within a few weeks (some even within a few days). Fortunately for Adler, the Gordin classics from the 1890s remained popular and hence figured prominently on the bill.
Etching of Avrom Goldfaden, founder of the modern Yiddish theater
A portrait of Avrom Goldfaden (seated, middle) with some of his first actors, including Dina Abramovicz (to his right)
The first productions of modern Yiddish theater take place in Iasi, Romania and other cities throughout Romania under the playwright and impresario Avrom Goldfaden. The productions grow with the influx of Russian Jews into Romania during the Russo-Turkish War
Shaʻare Binyamin
Poland - Jewish Publishing
Dictionaries - Hebrew
Strashun Library
Shaʻare Binyamin (Gates of Benjamin). Binyamin Zeʼev ben David. Żółkiew: Bi-defus Gershon ben Hayim David Segal, David ben Menahem Man ve-Hayim David ben Aharon Segal, ca. 1752.
Żółkiew was one of the three major centers of Hebrew printing in Poland. (The others were Krakow and Lublin). The first Hebrew printing house was established in Żółkiew in 1692 by a printer from Amsterdam, Uri ben Aharon Fayvesh (1625–1715). Most of the books published in Żółkiew by the Fayvesh family and associated printing branches continued proudly using “Amsterdam” fonts on their title pages. Shaʻare Binyamin, the alphabetically arranged dictionary to the Bible, Talmud, Midrash and the Kabbalistic works was compiled by R. Binyamin Zeʼev ben David who lived in the 18th century.
Binyamin Zeʼev ben David
YIVO Library
YIVO Institute for Jewish Research
1752
Hebrew
Book
YIVO Library Rabbinic Collection (וו/19א־ ש81)
Shirim Ahadim
Poetry, Hebrew
Karaites
Strashun Library
Shirim Ahadim (A Few Poems). Casas, Elijah. Leipzig: K. B. Lork, 1857.
Born in Armyansk, Crimea, Elijah ben Elia Kasas (1832–1912) was a Karaite scholar and director of a Karaite cantorial school in Eupatoria. One of the few Karaite contributors to secular Hebrew literature, Kasas published numerous poems in maskilic periodicals. However, he later tried to sever all connection between the Karaites and the mainstream of Jewry. He asserted that the Karaites were not Semites, but a Tatar or Khazar tribe which had become converted to the Jewish faith. His works include a Hebrew textbook, Le-Regel ha-Yeladim (1869), intended for the Karaite youth speaking the Tatar language, among others. He also translated the Karaite prayer book entitled Ketoret Tamid into Russian (1905).
The book contains original poems by Elijah Casas, as well as his Hebrew translations of Russian, German and French poems by other authors.
Casas, Elijah
YIVO Library
YIVO Institute for Jewish Research
1857
Hebrew
Book
YIVO Library Rabbinic Collection (וו/25־ ש 48)
Omek Halakhah
Rabbinical Works
Strashun Library
Omek Halakhah (The Depths of Halakhah). Koppelman, Jacob ben Samuel Bunim, 1555-1594.Amsterdam: Tsevi Hirsh b. ha-r. R. Gershon, ca. 1709.
This profusely illustrated work by Rabbi Jacob ben Samuel Bunim Koppelman examines a number of different Talmudic tractates and is based on the commentaries of Rashi, Tosafot, Rambam, among others. The text, which is arranged in a manner allowing easy navigation, appears in a single column in rabbinic type. Illustrations appear on nearly every page and clarify complex issues in the relevant tractates. Koppelman draws on contemporary mathematics, botany, engineering, and geography in order to help explicate difficult issues.
Born in Brisk, Poland, Jacob ben Samuel Bunim Koppelman was a well-known Talmudic scholar and translator who also studied mathematics and science. He also authored the book Ohel Ya’akov (Freiburg, 1584).
Koppelman, Jacob ben Samuel Bunim
YIVO Library
YIVO Institute for Jewish Research
1709
Hebrew
Book
Amsterdam 1710
Perushim le-Rashi (Sefer Kanizal.)
Rabbinical Commentaries
Jews -- Spain
Strashun Library
Perushim le-Rashi (Sefer Kanizal.) Supercommentaries to Rashi’s Commentary on the Pentateuch by Shemuel Almosnino, Ya’akov Kanizal, Aharon Abulrabi, Moshe Albelda et al. Istanbul (Constantinople), ca. 1525.
This extremely rare work consists primarily of four supercommentaries on Rashi's Torah commentary by Aharon Abulrabi (Abu al Rabi), Shmuel Almosnino, Ya’akov Kanizal, and Moshe Albelda, as well as brief passages by several other commentators. Abulrabi (c.1376- c.1430) was a Sicilian of Spanish origin, whose commentaries reveal a facility in grammar, astronomy, philosophy, and mysticism. Almosnino (d. 1551) served as a rabbi in Salonika during the sixteenth century. Less is known of Abelda (d. 1549), who is often confused with his similarly named, more prominent grandson. Lastly, Canizal served as the head of the Talmudic Academy in Avila de Campos in Northwestern Spain at the time of the expulsion, but remains best known for the commentary printed here.
Almosnino, Shemuel
Kanizal, Ya'akov
Abulrabi, Aharon
YIVO Library
YIVO Institute for Jewish Research
1525
Hebrew
Book
Istanbul 1525
Mateh Dan: ha-Kuzari ha-Sheni
Judaism and Science
Rabbinical works
Jews -- England
Strashun Library
Mateh Dan: ha-Kuzari ha-Sheni. Nieto, David. London; Thomas Ilive, c. 1714.
Rabbi of the Bevis Marks Synagogue and one of the major intellectual forces in 18th-century Jewish life in London, David Nieto (born in Venice in 1654, died in London in 1728) published this defense of Jewish law based in part on contemporary science. Relying on rabbinic sources, Nieto argues that science and Judaism complement one another and shows that rabbis have consistently used the sciences to bolster their arguments regarding Jewish law.
The top of the title page has the figure of R. Yehuda Hanassi, the compiler of the Mishnah, holding a volume of the Mishnah. To the right it is written “For the knowledge of the generations of the children of Israel,” and to the left, “So they will hold the Torah of the Lord.” This same volume appeared in a Spanish and in a bilingual Spanish-Hebrew edition.
Nieto, David
YIVO Library
YIVO Institute for Jewish Research
1714
Hebrew
Book
London 1714
Sefer ha-Noten Imre Shefer
Rabbinical works
Strashun Library
Sefer ha-Noten Imre Shefer:Derashot ‘al ha-Torah. Elijah ben Hayyim, 1530?-1610? Frankfurt am Main: Johann Kellner, c. 1713.
Rabbi Elijah ibn Hayyim was known as Maharanah or Morenu ha-Rav ibn Hayyim. He was born in Adrianople and in about 1575 was appointed chief rabbi of Constantinople.
Elijah ben Hayyim
YIVO Library
YIVO Institute for Jewish Research
1713
Hebrew
Book
Frankfurt am Main 1713
Sefer mishpate shevuot
Rabbinical works
Strashun Library
Sefer Mishpete Shevuʻot (The Laws of Shavuoth). Hai ben Sherira. Hamburg: Moshe von Segal, ca. 1782.
This volume was written by Rabbi Hai ben Sherira (939-1038), who was also known as Hai Gaon, a sage best known for having served as the head of the Talmudic Academy in Pumbedita during the 11th century. In addition to writing extensively on Talmudic matters, Hai Gaon was the recipient of numerous religious queries from all over the Jewish world and authored numerous responsa dealing with a wide variety of legal topics. Originally published in Arabic as Kitab al-Ayman, this book deals with oaths relating to business dealings and was subsequently translated into Hebrew and printed in Venice (1602) and in Altona (1782). Includes many handwritten notes by former owners which include variants from other manuscripts.
Hai ben Sherira
YIVO Library
YIVO Institute for Jewish Research
1782
Hebrew
Book
YIVO Library Rabbinic Collection (וו/11ב- מ 81)
Shomer Emunim
Kabbalah
Strashun Library
Sefer Shomer Emunim (Keeper of the Faithful). Ergas, Joseph ben Emanuel, 1685-1730. Amsterdam: ʻImanuʾel ve-Avraham Irgas, ca. 1736.
Joseph ben Emanuel Ergas was a prominent rabbi and kabbalist of possibly Marrano descent from Livorno, Italy. His books on kabbalistic matters were praised for their distinctive clear writing style and logic, and they greatly influenced later generations of Kabbala and Chassidic scholars. His opus Shomer emunim is written in the form of dialogue between two scholars, while explaining the foundations of kabbalistic doctrine.
Ergas, Joseph ben Emanuel
YIVO Library
YIVO Institute for Jewish Research
1736
Hebrew
Book
Amsterdam 1736
Sod Yesharim
Strashun Library
Rabbinical works
Sod Yesharim. Modena, Leone, 1571-1648. Venice: Danielle Zanetti, c. 1599.
100 remedies and amulets and 50 riddles by Italian scholar, rabbi, and poet Leone Modena, a rationalist who opposed mysticism and kabbalism.
Modena, Leone,
YIVO Library
YIVO Institute for Jewish Research
1599
Hebrew
Book
Venice 1599
Kehunat Abraham
Strashun Library
Italy -- Jewish Publishing
Poetry, Hebrew
Kehunat Abraham (Abraham's Priesthood), Abraham ben Shabbetai Cohen of Zante, Venice, 1719.
Poems, based on the Hebrew Psalms, written by Abraham ben Shabbetai, born in 1670 in Crete, when the island was ruled by Venice. Like many fellow Jews, he studied medicine at the University of Padua. As a Renaissance man, he was not only a physician, but also an artist, poet and philosopher. His portrait on the title page, as well as the engraving illustrating the 5th day of the Creation, are believed to have been made by him.
Cohen, Abraham ben Shabbetai
YIVO Library
YIVO Institute for Jewish Research
1719
Hebrew
Book
Venice 1719
Mark Arnshteyn (1879-1943)
<p><span style="font-weight: 400;">Playwright and theater director Mark Arnshteyn was celebrated in both the Polish and Yiddish-language theater worlds. He was most influential in the world of entertainment with his play </span><i><span style="font-weight: 400;">Singers</span></i><span style="font-weight: 400;">, which was the model for the first American talkie, Samuel Raphaelson's (1894-1983) </span><i><span style="font-weight: 400;">The Jazz Singer</span></i><span style="font-weight: 400;">. </span></p>
<p><span style="font-weight: 400;">In the Polish world, he used the pseudonym Andrzej Marek. His extended family included a Yiddish actress, Roze Arnshteyn, and a Polish poet, Franciszka Arnsztajnowa. He was educated in both Jewish and Polish schools and, at an early age, began publishing literature and criticism in both the Yiddish and Polish press. A disciple of Stanisław Przybyszewski (1868-1927), considered the “high priest” of Polish modernism, Arnshteyn launched his theater career by writing Polish plays on Jewish themes for the Warsaw stage. These included </span><i><span style="font-weight: 400;">Wieczna bajka</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Eternal Story</span></i><span style="font-weight: 400;">; 1901), a one-act drama about working-class life; and the popular </span><i><span style="font-weight: 400;">Pieśniarze </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Singers</span></i><span style="font-weight: 400;">; 1902), based on the legendary life of a nineteenth-century Vilna cantor said to have been destroyed by his success on the Warsaw opera stage. Arnshteyn translated these plays into Yiddish respectively titled </span><i><span style="font-weight: 400;">Dos eybike lid </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">The Eternal Song</span></i><span style="font-weight: 400;">) and </span><i><span style="font-weight: 400;">Der vilner balebesl</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Little Vilna Householder</span></i><span style="font-weight: 400;">). They were frequently staged by Yiddish companies throughout the world. </span></p>
<p><span style="font-weight: 400;">Inspired by a group of theater reformers centered around the Yiddish writer Y. L. Peretz (1852-1915), Arnshteyn in 1905 became the first modern stage director of Yiddish theater. He worked with the Esther-Rachel Kaminska Troupe in its early efforts at “literary” theater as well as with groups of young amateurs who laid the foundations for Yiddish dramatic theater during the interwar period. In those years, Arnshteyn was also a pioneer in the Polish film industry, directing features based on Yiddish dramatic productions. </span></p>
<p><span style="font-weight: 400;">Between 1912 and 1924, Arnshteyn directed and wrote for Yiddish theater in Russia, England, and the Americas. Returning to Poland, he translated and directed a number of celebrated Yiddish plays for the Polish stage, including S. An-ski’s </span><i><span style="font-weight: 400;">Der dibek</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Dybbuk</span></i><span style="font-weight: 400;">) in 1925 and H. Leivik’s (1880-1962) </span><i><span style="font-weight: 400;">Der goylem</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Golem</span></i><span style="font-weight: 400;">) in 1928. The latter, produced in the Warsaw Circus Arena, marked the first use of a circular stage in the history of Polish theater. Though critically acclaimed, these productions inspired controversy, including accusations in the Yiddish press that they undermined Yiddish theater and encouraged Jewish assimilation. Apparently stung by these accusations, Arnshteyn withdrew to Łódź, where he worked during the 1930s. </span></p>
<p><span style="font-weight: 400;">Arnshteyn excelled with the nonverbal elements of stagecraft: the spectacular and the painterly. His career was unique among Polish Jewish artists for its devotion to works in both Yiddish and Polish. His dream, Arnshteyn declared, was to build a bridge between Polish and Jewish societies on the basis of dramatic art.</span></p>
<br />
<p><span style="font-weight: 400;">Information pulled from Michael Steinlauf’s “Polish-Jewish Theater: The Case of Mark Arnshteyn.”</span></p>
<em>The Dybbuk</em> on the Polish Stage (1925)
The Polish premiere of <em>The Dybbuk</em> was less well-received than the Yiddish version, though this seemed to be largely due to the fact that by 1925, the theatre-going community was already well- or overly-saturated with the production. In <em>Der Moment</em>, the theater critic known as Karlinius found it to be significant at least from the Jewish perspective - because he saw it as the first serious Jewish production on the Polish stage that calls into question Polish stereotypes of Jewish characters - and in fact says at one point that the play choice is not so important as the dynamic staging and characterization of Jews it offers, in which Jews "cease to be merely ethnographic or exotic." Here, the critic Jakub Appenszlak (later, the accomplished Polish-Jewish writer), also reviewed the production favorably in the Polish-language Jewish periodical, <em>Nowi Preszglad</em>.
Dybbuk mania in Poland
<span><em>The Dybbuk </em>premiered in Warsaw in 1920 in a production by the Vilna Troupe. Its plot revolved around the young Leah, daughter of the rich merchant Sender, and the poor yeshiva student and kabbalist Khonen. They fall in love when he comes to her house as a dinner guest. When Sender chooses another groom for Leah, Khonen--in the thrall of dangerous mystical ideas--kills himself and takes possession of her body during the wedding festivities. <br /><br />The play turned into a massive success, drawing large audiences for over a year, from all the shades of society, including a considerable number of Christians. A Yiddish columnist in Warsaw remarked that "of every five Jews in the city, a dozen watched </span><i>The Dybbuk</i><span>. How could this be? It is not a play you attend merely once." In the Polish capital alone, it was staged over three hundred times. </span>
Rehearsing <em>The Dybbuk</em>, 1919
<p>After An-ski’s death in 1920, Vilna Troupe members convened and devised a plan to mount <em>The Dybbuk </em>before the end of the deceased playwright's <em>shloshim</em>, the thirty-day period during which the living may earn merit for the recently deceased through Torah learning. On December 9, at the end of the thirty days, David Herman, with the help of the managerial skills of Mordechai Mazo, staged the world premiere of <i>The Dybbuk</i> in Yiddish, at the Warsaw Elizeum Theater. Actors Miriam Orelska, Alexander Stein, Avrom Morevski, and Noach Nachbush portrayed Leah, Khanan, Azriel and the Messenger. <br /> <br /> This photo features the cast of the premiere, but the date written on it (1919) hints that there may have already been costumed rehearsals (at the very least) earlier than the Warsaw production. <br /> <br /> <em>Everyone was falling over their feet, day and night in rehearsal. We didn't eat, we didn't sleep. Mazo argued with the set-builders and shouted, "I'm going to split heads!" -B. Kutsher </em></p>
<p><em> </em></p>
Shefa‘ tal
Kabbalah
Hebrew publishing -- Poland
Shefa‘ tal (Abundance of dew; also means priestly hand blessing), by Shabetai Sheftel ben Akiva Horowitz, Bilzorka, 1807. This kabbalistic work was issued by one of the many small presses that emerged in the Russian Empire in the late eighteenth century and is printed on the type of cheap, blue-tinted paper often used by indigent printers. The stamp at center, right, indicates that the book at one time belonged to the library of Yisroel Halevi Kitover, rabbi of Felsztyn (now Skelivka, Ukr.). (Bottom) Russian censor's stamp. (Top) Inscription by another owner of the book, "Moyshe of the village of Holvits" (Golevichi?, Bel.).
Horowitz, Shabetai Sheftel ben Akiva
YIVO Library
YIVO Institute for Jewish Research
1807
Hebrew
Book
Bialozorka 1807
Street in the Jewish quarter, Vilna
Vilna (Poland)
A cobblestoned street in the Jewish quarter, Vilna.
Kacyzne, Alter
YIVO Archives
YIVO Institute for Jewish Research
1930s
Courtesy of the Forward Association.
Photograph
RG 1270 00566
Strashun Library
Strashun Library
Vilna (Russia)
The Strashun Library with the Great Synagogue in the background.
Bulhak, J.
YIVO Archives
YIVO Institute for Jewish Research
1915 ca.
Photograph
RG 120 PO 5032
Ruins of the Strashun Library
Strashun Library
Holocaust -- Lithuania
Ruins of the Strashun Library, Vilnius, Lithuania, 1944.
Sutzkever, Avrom
YIVO Archives
YIVO Institute for Jewish Research
1944
Photograph
RG 223 710.25
Hidden materials recovered after the war
Holocaust -- Nazi Looting
Vilnius (Lithuania)
YIVO - History
Sutzkever, Avrom
Avrom Sutzkever, Israel Zelikman, and Gershon Abramowicz bringing artifacts recovered from hiding places after the liberation of Vilna from the Nazis to the site of the Jewish museum they were working to establish.
YIVO Archives
YIVO Institute for Jewish Research
1944
Photograph
RG 223 710.24a
Jews forced to sort books by the Nazis, Vilna, ca. 1942
Holocaust -- Nazi Looting
YIVO - History
Vilna (Poland)
Jews sorting books and other documents in the YIVO building, where the Nazis established a sorting center for Jewish cultural treasures looted from YIVO and other Jewish institutions, Vilna, ca. 1942. Members of this sorting team risked their lives to smuggle out and hide materials, some of which were recovered after the war.
YIVO Archives
YIVO Institute for Jewish Research
1942
Photograph
29ia1
Sefer Arbaah ve-esrim
Strashun Library
Bibles
Rabbinical Literature
Italy--Jewish Publishing
Sefer Arbaah ve-esrim [Four and Twenty] by Rabbi Jedidiah Solomon Raphael ben Abraham Nortzi. Mantua, First edition.
One-volume Five Books of Moses, Megillot, Prophets, Bible contains four parts of the Chamisha Chumshei Torah, Megillot, Nevi’im and Writings. Essays on Hebrew grammar.
This frontispiece depicts scenes from bible stories, such as Moses receiving the tablets of law and Daniel in lion's den.
Norzi, Jedidiah Solomon Raphael ben Abraham, ca. 1560-ca. 1626.
YIVO Library
Refaʾel Ḥayim me-Iṭalya ha-rofe [Raphael Hayim from Italy, the doctor]
1742
Hebrew
Book
yl-000007213
Sefer Elim
Strashun Library
Mathematics
Astronomy
Hebrew literature
Amsterdam -- Jewish publishing
Lunski, Khaykl
Page from Sefer Elim by Joseph Solomon Delmedigo. Amsterdam, 1628.
Born in Crete to a distinguished Sephardic family, Delmedigo was the son of Rabbi Elija Delmedigo. After receiving a traditional Jewish education, he was admitted at age 15 to the University of Padua, where he studied mathematics and astronomy under Galileo (1564-1642). Astronomy and astrology were legitimate diagnostic tools at that time. In 1613 he went back to Crete to practice medicine, but did not stay there long. He traveled to Cairo and Constantinople, and became acquainted with several Arab and Jewish mathematicians and scientists.
In 1620 he was invited to live in Vilna and became the personal physician of Albert III Radziville (1589-1636), ruler of the Kingdom of Poland.
Sefer Elim discusses problems in mathematics, natural philosophy and metaphysics. It also includes the first explanation in Hebrew of the theories of the Polish astronomer, Copernicus (1473-1543).
Sefer Elim was published in Amsterdam, where the restless Delmedigo moved in 1628. It was edited and printed by another Renaissance man, the famous Talmudic scholar Manasseh ben Israel (1604-1657). Manasseh, son of a Portuguese Converso who returned to Judaism, established the first Hebrew printing press in Amsterdam in 1626.
This copy of the book bears the stamp of Khaykl Lunski, last head librarian of the Strashun Library.
Delmedigo, Joseph Solomon
YIVO Library
Menasheh ben Yisraʾel
1628
Hebrew
Book
yl-000040369
Sefer Itim le-vinah
Strashun Library
Calendars -- Jewish
Itim le-vinah by Joseph ben Moses Aaron Ginzberg, Warsaw, 1886.
Itim are appointed times (seasons, months, times of the day) in the Jewish calendar and vinah or binah means wisdom. This book is a fine example of a sefer evronot, a genre that uses rabbinic chronology for determining how to calculate the Jewish calendar and times for prayer. Sifre evronot often included astronomical data and perpetual calendars. This edition also provides data to use in determining the times of sunrise and sunset in various locations in the Russian Empire.
This genre of Jewish literature focused both inward on Jewish life and culture and outward, in its awareness of the calendars of the non-Jewish world and utilization of secular sciences such as astronomy. As Elisheva Carlebach notes in Palaces of Time: Jewish Calendar and Culture in Early Modern Europe (Harvard University Press, 2011), her book-length study of sifre evronot,
Jewish calendar literature… demonstrates how a minority culture creatively and simultaneously embraced and distanced itself from the majority culture… Calendars served as agents as well as mirrors of the Jewish experience. Their pages contained a graphic representation of the fundamental duality of their lives in time, with the neatly arrayed rows of Hebrew months alongside the Christian or Muslim, Jewish holidays along with non-Jewish, portraying a double consciousness that has symbolized Jewish life for much of its history.
Ginzberg, Joseph ben Moses Aaron
YIVO Library
Y. Goldman
1886
Hebrew
Book
Rescue of a Book
Strashun Library
Sutzkever, Abraham
Kaczerginski, Shmerke
World War II -- Nazi Looting
Label in a book in the YIVO Library:
From the Sutzkever-Kaczerginski Collection at YIVO
This book is from the YIVO Library in Vilna. During the years of the destruction, friends of YIVO hid it from the Germans, and after the war A. Sutzkever and Sh. Kaczerginski sent it to YIVO in New York.
There is special collection of books and documents rescued by the poets and partisans Abraham Sutzkever and Shmerke Kaczerginski at YIVO.
YIVO Institute for Jewish Research
YIVO Library
YIVO Institute for Jewish Research
Yiddish
Book
yl-000004108
Inscriptions from Sefer Shaʻare Teshuvah
Strashun Library
Marginalia, Hebrew
Sha'are Teshuvah (The Gates of Repentance), by Yonah ben Abraham Gerondi, (Rabbenu Yonah, d. 1264) is a guide for those who wish to repent and return to a life of Torah. This edition was published in Krakow in 1581. The book was owned by several other men before passing into Matityahu Strashun's hands in the 19th century.
It is not unusual to find inscriptions and marginalia in old Hebrew books. Here are several from this book:
“Nosn Nete,” a pre-Strashun owner of Sha'are Teshuvah, notes that even though the sages say that it is forbidden to write in books, the fact that there are book thieves in the world compels him to write in the book that it belongs to him.
Another Hebrew inscription that quotes passages from the Talmud and other sources about thieves seems also designated as a warning to book pilferers and may be in the hand of Shemu'el Strashun, Matthias's father, an important rabbinical scholar and communal activist.
In one inscription, Shmu'el Strashun crosses out the ex libris inscription of a former owner of the book, Mikhl son of Avrom, and appends his own name instead.
Occasionally, there is evidence that not every reader paid much heed to the idea that books were to be revered and treated as holy objects. It is not that uncommon to come across penmanship practice or bits of arithmetic in the fly-leaves of some books: This grocery list from 1802 records prices for milk, eggs, and [poor quality?] cherries.
Gerondi, Yonah ben Abraham
YIVO Library
Yitsḥaḳ ben Aharon mi-Prosṭits
1581
Hebrew
Book
yl-000004108
Sefer Shaʻare Teshuvah
Strashun Library
Rabbinical Literature
Poland -- Jewish Publishing
Shaarei Teshuvah (The Gates of Repentance), by Yonah ben Abraham Gerondi, (Rabbenu Yonah, d. 1264) is a guide for those who wish to repent and return to a life of Torah. This edition was published in Krakow in 1581. The book was owned by several other men before passing into Strashun's hands.
Gerondi, Yonah ben Abraham
YIVO Library
Yitsḥaḳ ben Aharon mi-Prosṭits
1581
Hebrew
Book
yl-000004108
Sefer Kol Bo
Strashun Library
Rabbinical Works
Italy -- Jewish Publishing
Jewish Customs
Sefer Kol Bo Book [All is Within] by an unknown 13th or 14th-century author is a commentary of Jewish customs and rituals.
This edition was printed in Rimini ca. 1526 by Gershom Soncino. The illustration of the tower on the frontispiece is Soncino's trademark. It depicts the Tower of Rimini along with a passage from Proverbs 18:10: "The name of the Lord is a strong tower: the righteous run into it, and are saved."
YIVO Library
Gershom Soncino
1526
Hebrew
Book
yl-000007541
Sefer Isur Veheter
Sefer Isur ve-heter (What is forbidden and permitted) is a treatise on Jewish dietary laws written by Yonah Ashkenazi, thought to be the son of Rabbi Israel of Regensburg, a student of Rabbi Israel Isserline. (This work is sometimes erroneously attributed to the Catalan rabbi Yonah Gerondi , d. 1264).
This copy of Isur ve-heter was printed in 1555 and is the earliest edition of the work. The YIVO Library also has later editions published in the 18th and 19th centuries. The 1555 edition was printed in Ferrara, Italy, by Avraham Usque, during a short period (lasting only a few years) in the 16th century when Jews were permitted to publish books in the city.
The anchored globe in the center of the illustration is framed with a verse from Isaiah (40:31): “But they that wait for the Lord shall renew their strength; they shall mount up with wings as eagles; they shall run, and not be weary; they shall walk, and not faint.” The banner wrapped around the anchor is a line from Psalms 130: “I wait for the LORD, my soul doth wait, and in His word do I hope.”
Like many of the rare books in YIVO’s collection, Isur ve-heter contains stamps and inscriptions that attest to the many hands it passed through before ending up in the YIVO Library in New York. In addition to the stamp identifying it as being from the Strashun Library, the book also bears the stamp (left) of Rabbi Benzion Ettlinger, the son of Rabbi Jacob Ettlinger, the Chief Rabbi of Altona (1798-1871), a noted leader of Orthodox Judaism and early opponent of Reform Judaism.
Some time between the 16th and 20th centuries, a page of the book became damaged and someone repaired it with a hand-lettered patch.
Ashkenazi, Yonah
YIVO Library
Avraham Usque,
1555
Hebrew
Book
yl-000001205
Netiv lashon ‘ivrit
Strashun Library
Dictionaries, Hebrew-German
Haskalah
Prussia -- Jewish Publishing
The stated purpose of Netiv lashon ‘ivrit (Path of the Hebrew language) was to teach Jewish children Hebrew. The anonymous author imagined the book being put to use in Jewish schools. There is no year of publication noted but it is believed that this book was printed in Dyhernfurth, Prussia (presentday Brzeg Dolny, in southwestern Poland) in the late 18th century. The town had a long tradition of Jewish printing. The dictionary only goes up to letter “G” and it isn’t known if any additional volumes were ever published.
This book follows in the footsteps of leading light of the Berlin Haskalah Moses Mendelssohn’s 1783 translation of the Pentateuch (the Torah) into German, Netivot ha-shalom (Paths of Peace), which had Hebrew text and the German translation (in Hebrew letters) printed side by side. The “Path” in the title Netiv lashon ‘ivrit was likely an homage to Mendelssohn.
The book is extremely rare (there are less than half a dozen known copies in libraries around the world). The book may also have been previously part of a library in Radoszkowice (presentday Belarus), as attested to by the Russian inscription on the title page, which notes that the book was cleared by the rabbinate of Radoszkowice for the Russian censor in 1838.
YIVO Library
18th century
Hebrew
German
Book
yl-000002316
Sefer Meshal ha-Kadmoni
Spain -- Jewish publishing
Literature, Hebrew
Sefer Meshal ha-Kadmoni [Parables of Antiquity] by Isaac ben Solomon (1244-1300?). With 80 woodcuts. Venice, Paranzoni, 1547.
Parables with moral lessons written in 1281 by a Castilian Hebrew poet, scholar, and kabbalist as a response to the popular Arabian Nights. To increase its popularity, the book was embellished with miniature woodcuts, making it the first illustrated Hebrew book ever printed.
Isaac ben Solomon
YIVO Library
YIVO Institute for Jewish Research
1547
Hebrew
Book
Venice 1546 1546
Books Awaiting Digitization at YIVO in New York
Edward Blank YIVO Vilna Collections Project
Strashun and other books awaiting digitization for the Edward Blank YIVO Vilna Collections Project in New York.
YIVO Institute for Jewish Research
YIVO Institute for Jewish Research
2015
Photograph
Strashun Library books being conserved at the Martynas Mazvydas National Library of Lithuania
Edward Blank YIVO Vilna Collections Project
Martynas Mazvydas National Library of Lithuania
Strashun Library books being conserved at the Martynas Mazvydas National Library of Lithuania for the Edward Blank YIVO Vilna Collections Project.
YIVO Institute for Jewish Research
YIVO Institute for Jewish Research
2016
Photograph
View of St. George Church in Vilnius from Gediminas Prospekt
Vilnius (Lithuania)
Martynas Mazvydas National Library of Lithuania
Edward Blank YIVO Vilna Collections Project
View of St. George Church in Vilnius from Gediminas Prospekt. It was in this church that the Strashun Library books remained hidden for over 40 years.
Newman, Roberta
YIVO Institute for Jewish Research
2016
Photograph
St. George Church in Vilnius.
Edward Blank YIVO Vilna Collections Project
Vilnius (Lithuania)
Martynas Mazvydas National Library of Lithuania
St. George Church in Vilnius. It was in this church that the Strashun Library books remained hidden for over 40 years.
Newman, Roberta
YIVO Institute for Jewish Research
2015
Photograph
Bibliographic Center at the St. George Church in Vilnius.
Edward Blank YIVO Vilna Collections Project
Vilnius (Lithuania)
Martynas Mazvydas National Library of Lithuania
YIVO Director of Library and Archives Lyudmila Sholokhova and National Library of Lithuania Kristina Dudaite in the Bibliographic Center at the St. George Church in Vilnius. It was here that the Strashun Library books remained hidden for over 40 years.
Newman, Roberta
YIVO Institute for Jewish Research
2015
Photograph
Bibliographic Center at the St. George Church in Vilnius
Edward Blank YIVO Vilna Collections Project
Vilnius (Lithuania)
Martynas Mazvydas National Library of Lithuania
Bibliographic Center at St. George Church in Vilnius. Books stored in the nave. It was here that the Strashun Library books remained hidden for over 40 years.
Newman, Roberta
YIVO Institute for Jewish Research
2015
Photograph
Hebrew Books at the Martynas Mazvydas National Library Bibliographic Center Awaiting Conservation
Edward Blank YIVO Vilna Collections Project
Martynas Mazvydas National Library of Lithuania
Hebrew Books at the Martynas Mazvydas National Library Bibliographic Center of Lithuania awaiting conservation for the Edward Blank YIVO Vilna Collections Project.
YIVO Institute for Jewish Research
YIVO Institute for Jewish Research
2016
Images
Strashun Library Book Being Digitized in New York
Edward Blank YIVO Vilna Collections Project
Strashun library book being digitized for the Edward Blank YIVO Vilna Collections Project in New York by Smooth Solutions, Inc.
YIVO Institute for Jewish Research
YIVO Institute for Jewish Research
2015
Photograph
Strashun Library Book Being Digitized in New York
Edward Blank YIVO Vilna Collections Project
Strashun library book being digitized for the Edward Blank YIVO Vilna Collections Project in New York.
YIVO Institute for Jewish Research
YIVO Institute for Jewish Research
2015
Photograph
Arrival in New York of Looted YIVO Materials
Nazi Looting
YIVO Institute for Jewish Research
Officials and staff of YIVO inspecting crates of materials rescued from Frankfurt-am-Main by the U.S. Army and shipped to YIVO in New York. The books and documents were looted by the Nazis during World War II.
Archer, Alexander
YIVO Archives
YIVO Institute for Jewish Research
1947
Photograph
RG 100.1947.2
Sefer Zeved Tov Perush ʻal Binyan Yehezkel
Poland -- Jewish publishing
Book of Ezekiel
Book of Joshua
Biblical commentary
Temple, Jerusalem
Zeved Tov: Perush ʻal Binyan Yehezkel by Rabbi Zev Wolf Altshul. Warsaw: Tsvi Hirsh, 1814.
Sefer Zeved Tov provides commentary on the building of the Temple in Jerusalem as described in the Book of Ezekiel and an explanation of tribal land division as delineated in Book of Joshua. Zev Wolf Altshul was the maggid of the congregation of Lutzin (Ludza, Latvia). Illustrations at the end feature sketches of Temple architecture, as delineated by both Rashi and the author.
Altshul, Zev Wolf
YIVO Library
YIVO Institute for Jewish Research
1814
Hebrew
Book
Sefer hanoten imre shefer
Stamp of the private library of Matityahu Strashun
Strashun Library
Stamp of the private library of Matityahu Strashun
Strashun, Matityahu
YIVO Library
YIVO Institute for Jewish Research
JPEG
Hebrew
Stamped image
Strashun stamp
Matityahu Strashun
Strashun, Matityahu
Portrait of Matityahu Strashun (1817-1885)
YIVO Archive
YIVO Institute for Jewish Research
JPEG
Photograph
RG 121 Strashun M
Khaykl Lunski
Lunski, Khaykl
Last librarian of the Strashun Library, Khaykl Lunski.
YIVO Archives
YIVO Institute for Jewish Research
1930s
JPEG
Photograph
RG 121 - Lunsky
The Reading Room of the Strashun Library
Strashun Library
Vilna (Poland)
Wilno (Poland)
Libraries, Jewish
The reading room of the Strashun Library in Vilna (Wilno), Poland.
YIVO Archives
YIVO Institute for Jewish Research
1930s ca.
JPEG
Photograph
PO5786
Tape 07 - Hasidic Tunes I
Tape 06 - Ballads IV
Tape 05 - Ballads III
Tape 04 - Ballads II
Tape 03 - Ballads I
Tape 02 - Anti-Hasidic II
Tape 01 - Anti-Hasidic I
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
Ararat
<em>Butterside Down</em>, 1936
<em>One Little Kid</em> (<em>Khad Gadyo</em>), 1922
<em>Butterside Down </em>was a play written and mounted in 1936 by the experimental Yiddish puppet theater called Khad Gadyo (founded in 1922). Moyshe Broderzon wrote the macaronic script (of Polish, Yiddish, and Hebrew) and the artist Yitskhok Broiner created the set and marionettes including marionettes of Hitler, Albert Einstein, and Zev Jabotinsky. The content of the play was political commentary and it was mounted on the Eve of Purim as a modern-day purim shpil. <br /><br />This photo is one of a number of images and reviews that someone had glued into a scrapbook that includes the complete manuscript of the play.
Young Theater (Yung Teater)
<strong>Young Theater</strong> was an experimental studio founded by Michał Weichert (see directors) in Warsaw in 1929 to teach theater to budding actors with working-class backgrounds. Weichert experimented with the staging of its works, especially in decentralizing it. He organized "stages" throughout the hall or venue and among audience members. He used lighting to indicated which stage the audience should pay attention to at a given time.<br /><br />Below is an interview with Weichert clipped from an unidentified Soviet Yiddish newspaper in 1929. The occasion of his visit was a theater festival in Moscwo in which he and his troupe participated.
Popular
This is text for the "POPULAR" playlist!
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
Ary, Sylvia
(1923, Moscow - 2015, Montreal) <br /><br />Handwritten in blue index [RG 620, box 30]: "artist-painter who learned her Yiddish songs from her mother and later from her husband <a href="https://exhibitions.yivo.org/categories/browse/Item+Type+Metadata/Performer/Ary%2C+Harry?site=site-r" target="_blank" rel="noopener">Harry Ary</a>. Daughter of a well known painter now deceased."<br /><br />Read about Sylvia Bercovitch Ary:<br />
<ul>
<li>on the <a href="http://www.baronbynghighschool.ca/alumni/sylvia-ary-2/" target="_blank" rel="noopener">Baron Byng High School Museum website</a></li>
<li>on <a href="https://fr.m.wikipedia.org/wiki/Sylvia_Ary" target="_blank" rel="noopener">Wikipedia</a> (in French)</li>
</ul>
<br />In her book "Farbitene vor: lider," published in 1977 in Tel Aviv by Yisroel-bukh. <a href="http://www.yivoencyclopedia.org/article.aspx/Korn_Rokhl">Rokhl Korn</a> dedicated a poem to the artist Sylvia Ary, and accompanied the poem with one of her artworks.<br /><br /><strong>Shvalbn vi tunkele fayln</strong>
<div style="text-align: left;">Far der kinstlerin Sylvia Ary</div>
<br />Shvalbn, vi tunkele fayln<br />Hobn geviret di luft<br />In der leng,<br />In der breyt<br />Far dem mildn farnakht,<br />Vos vet aynzamlen<br />Der umru,<br />Di zorgn fun tog<br />Eyder er gargeyt<br /><br />S'hot ayngehaltn dem otem di erd,<br />Zi zol kenen derhern<br />Dos rizlen fun zaftn<br />In shtamen fun beymer,<br />Vos zenen geshtanen forkhtik un fartrakht<br />Un gevart oyf der rege geheymer,<br />Ven s'vet der himl<br />Zeyer kop bakroynen<br />Mit di yunge shtern.<br /><br />
<div style="text-align: left;">July 15th, 1975<br />Rokhl Korn</div>
Grandmother Elka
Chp XIX p. 149 of Seedlings by RR
RG 620 box 31A
pdf
Habimah's <em>The Dybbuk</em> in Hebrew
The Habimah theater troupe mounted their version of <em>The Dybbuk</em> in their resident city of Moscow in 1922, two years after its Yiddish-language premiere. The Hebrew poet Hayim Nachman Bialik translated it.<br /><br />When first approached to do the translation, Bialik was reluctanct. On reading The Dybbuk, he found that it was not in keeping with the spirit of building a new highbrow text-based culture that believed and sought himself to pursue. Instead, he told An-ski, the play made him out to be a garbage collector "who collects scraps of folklore and peices them together." Perhaps out of a sense of regret for his harsh public criticism of An-ski, Bialik agreed to to do the translation in 1916. He drew from Yiddish and Russian versions of the play and so it diverges, although minimally, from the Yiddish version. An-ski loved the translation. When Bialik observed rehearsal of the play by Habimah, he changed his mind about it, finding it to be wonderful. Meanwhile, the Moscow Art Theater delate the staging of <em>The Dybbuk </em>because they found it too sad fo an audience that sought out entertainment and distraction during the instability brought on by the Revolution. The Russian Revolution would force Stanislavsky to abandon the project entirely. <br /><br />The preeminent Russian director Yevgeny Vakhtangov (1883-1922) directed the production (even though he did not speak Hebrew) with the assistance of the Polish-Yiddish theater director Marek Arnshteyn. The Russian-Jewish composer Yoel Engel composed the music.
Mordkhe Mazo, 1880-194?
Mordkhe Mazo was born in Borisov in Minsk Province to a traditional family. He attended yeshiva in Mir and, as an extern, earned a diploma to be a tutor. He dabbled in both Zionism and Bundism and, upon moving to Vilna, became a community activist. He then devoted himself to gymnastics and became a gymnastics instructor and, eventually, a co-founder of Makabi. As he continued to teach gymnastics--and create a vocabulary of words in Yiddish for the field of gymnastics--Mazo acted as the principal of a girls' school called Yehudis. During WWI, Mazo became the secretary of the YEKOPA (Russian acronym, Jewish Relief Committee for War Victims) in Vilna and eventually a founding member of PADA which would become the Vilner Troupe. He is credited as the administrative manager who injected the troupe with discipline and order, enforcing these with an iron fist.
Dovid Herman, director (with moustache)
Freud
Freud
"Songs of the Warsaw Ghetto" April-May 1963
Ghetto Songs (actually from the Vilna Ghetto) published in "Sing Out" April-May 1963. Published with permission from "Sing Out".
Field recordings photo
Photo of Ruth Rubin's field recordings and logs on reel-to-reel tapes (YIVO RG 620)
We Survive (Zog Nit Keynmol)
English singable translation of Hirsh Glik's Yiddish partisan song, as published in the Jewish Currents, April 1963. With music and text.
April 1963
Published with the permission from Jewish Currents
Fox, Michael
(Student, teacher) [From blue index, RG 620, box 30]
[Note on typewritten tape log in box:] Michael, aged 22 years old when he recorded for Ruth Rubin, was born in Kazakhstan. His father and mother and older brothers were evacuated from Poland, during the German occupation years, into Soviet Central Asia. Michael and his parents came to the United States when he was 8 years old, after having lived in France a few years. In English, he relates that the family -his parents and older brother - lived in Lodz, then Byalistock - then in Russia (Kazakhstan) a year. Then Poland 2 years, but there was nothing left, so went to Paris - the Rothchilds had given a house to artists and writers - and then another Paris location. Then they emigrated to the U.S. - Pittsburg, then NYC. He was 8.5 years-old when he came to the U.S. He spoke Russian, Polish, French, Yiddish at home. He was surprised to learn that not everybody spoke a different language at home. His mother was from Konyan (sp.?) - near the German border. His father was from Lodz. Michael is a teacher in a secular Yiddish school. 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. [Ed. note:] <br /><br /><img src="/files/cimages/ll15061c.jpg" width="175" height="155" /><br />He continued writing songs. He also performed Yiddish theater, and participated in the production of the album <a href="https://www.amazon.com/Kids-Yiddish-Musical-Adventure-Folksbiene/dp/B001ELFXN8">"Kids in Yiddish" (2002 - A Folksbiene Production)</a>. <br /><br /><a href="https://www.amazon.com/Kids-Yiddish-Musical-Adventure-Folksbiene/dp/B001ELFXN8" title=""Kids and Yiddish""><img src="/files/cimages/51AKB9kW5wL._SX425__.jpg" width="175" height="178" /></a>
New gallery space
<span style="font-weight: 400;">In 1933, YIVO moved to a new, modern building. There, it dedicated two rooms to the Esther-Rachel Kaminska Theater Museum Collection: one for its holdings and another as a permanent exhibit space. The museum also had its own staff of six archivists. This photograph is of an exhibit its curators created about Shalem Asch's (1880-1957) play </span><i><span style="font-weight: 400;">God of Vengeance</span></i><span style="font-weight: 400;"> and David Nomberg's (1876-1927) </span><i><span style="font-weight: 400;">The Family</span></i><span style="font-weight: 400;">.</span>
Ida and Zygmunt Donate the Theater Museum to YIVO in Vilna (1927)
<p><span style="font-weight: 400;">The collections of the Esther-Rachel Kaminska Theater Museum grew considerably in a very short time. In 1927, Ida and Zygmunt donated the museum to YIVO (then known as the Yiddish Scientific Institute and located in Vilna). This led to Yiddish theater becoming one of the institute's important priorities. </span></p>
<p><span style="font-weight: 400;">Max Weinreich (1894-1969), one of YIVO's founders, sought to expand the Esther-Rachel Kaminska Theater Museum Collection by soliciting donations of materials from associates around the world, as well as from the general public. In particular, Weinreich sought out ephemera collected by Jacob Shatzky (1893-1956) to the Yiddish Theatrical Museum that he had established a year earlier in New York. Among the items he sent was the letter Shatzky wrote to potential contributors to his soon-defunct museum on "Yiddish Theatrical Museum" letterhead. Weinreich actively cultivated the growth of the museum until the outbreak of World War II. <br /><br />Above:<br /></span>This is an undated part of an inventory of the items in the museum. In a 1929 article she published in YIVO's inhouse newspaper <em>Yedies</em>, the theater museum's archivist, Fanny Epstein, boasted an inventory of 1,200 items, of which 400 had been placed on exhibit. The museum would continue expanding over the course of the following ten years, until the outbreak of the war.</p>
<p><span style="font-weight: 400;"> </span></p>
Yugnt Hymn (Hymn of the Ghetto Youth)
Yiddish by: Shmerke Kaczerginski
English by: Ruth Rubin
Tune: Basya Rubin
Ruth Rubin's Papers
YIVO RG 620 box 39
1964
My Shoes Are Torn, My Shoes Are Worn
Singable English translation of the Yiddish folksong "Hot zikh mir di shikh tserisn." Lyrics with annotations. Copyright E 985634 3/16/67
Ruth Rubin's Papers
YIVO RG 620 box 39
3/16/67
My Shoes Are Torn, My Shoes Are Worn
Singable English translation of the Yiddish folksong "Hot zikh mir di shikh tserisn." Handwritten music.
Ruth Rubin's Papers
YIVO RG 620 box 39
3/16/67
March of the Veterans of the Warsaw Ghetto Uprising (lyrics)
Words: Ruth Rubin, Music: Anonymous (Popular in Israel during 1948 fighting). Typed lyrics with annotations.
Ruth Rubin's Papers
YIVO RG 620 box 39
March of the Veterans of the Warsaw Ghetto Uprising
Words: Ruth Rubin, Music: Anonymous (Popular in Israel during 1948 fighting). Music and words.
Ruth Rubin's Papers
YIVO RG 620 box 39
Warsaw Ghetto Memorial March. March of the Survivors
Text and tune by Ruth Rubin, N.Y.C 1962
Ruth Rubin's Papers
YIVO RG 620 box 39
1962
The March of the Survivors (Warsaw Ghetto Memorial March)
Lyrics by Ruth Rubin. Typed with annotations.
Ruth Rubin's Papers
YIVO RG 620 box 39
1962
Victory March of the Survivors
Hand written music with annotations (referring to this tune written in Paris in 1943)
Ruth Rubin's Papers
YIVO RG 620 box 39
1962
Ruth Rubin - Yiddish Songs of the Holocaust
“Yiddish songs of the Holocaust: The struggle to survive” an illustrated lecture presentation by Ruth Rubin, on cassette; privately issued; 1980
"A lid" (Zyamele)
Ruth Rubin collected this song from Dora Wasserman. She recorded it on the album "Ruth Rubin - Yiddish Songs of the Holocaust - A Lecture/Recital" (Global Village Music). On the document, she writes that the tune was written by a 11 year-old unknown partisan. On the lecture she gave and recorded for Global Village, she acknowledges that the song was written by Bernardo Feuer (1910-1967) Born in Levov on May 1, 1910 and died November 23, 1967 in Buenos Aires, Argentina.
Ruth Rubin's Papers
YIVO RG 620 box 39
Yiddish
White and Silent is the Starry Night (Partizaner Lid)
English Lyrics based on the Yiddish ballad by Hirsh Glik. With music.
Ruth Rubin's Papers
YIVO RG 620 box 39
Copyright 1967
White and Silent is the Starry Night (Partizaner Lid)
English Lyrics based on the Yiddish ballad by Hirsh Glik. With music.
Ruth Rubin's Papers
YIVO RG 620 box 39
Copyright 1967
Typed manuscript of the introduction text for publication in "Sing Out" (March 1963)
Typed manuscript of the introduction text for publication in "Sing Out" (March 1963)
Ruth Rubin's Papers
YIVO RG 620 box 39
March 1963
English
Letter to Irwin Silber, editor of "Sing Out", Feb. 13, 1963
Letter sent by Ruth Rubin to Irwin Silber (editor of Sing Out) preparing the publication of her English translations of Yiddish songs. She mentions the Jewish Resistance under the German occupation and the historical debates regarding this topic, using songs as "the most dramatic evidence of a constant resistance in many forms."
Ruth Rubin's Papers
YIVO RG 620 box 39
YIVO Institute for Jewish Research
Feb. 13, 1963
English
Grover-Spivack, Rachel
Born: Khotin, Bessarabia in 1886.<br />Died in January 1971.<br />Ruth Rubin's mother.<br />[From blue index, RG 620, box 30]<br /><br /><img src="/files/cimages/Screen_Shot_2017-05-30_at_6.50_.11_PM_.png" width="250" height="165" /><br /><br /><img src="/files/cimages/ruth_rubin_with_mother.png" width="180" height="255" /><br /><br />Ruth Rubin with her parents:<br /><img src="/files/cimages/Ruth-Rubin-parents.png" width="180" height="247" />
Program for a memorial concert for Joel Engel (1868-1927), composer and leading figure in the Modern Jewish Art Song Movement
1928
Program from a performance of Goldfaden's Shulamis in Chicago
C. 1930
A literary miscellany devoted to "The Vilna Troupe in Lodz"
C. 1930
A poster of a timeline of the plays directed by the literary director Dovid Herman for use in an exhibit at the YIVO Institute after his death in 1937.
Moyshe Lipman B. 1893
<p>Lipman was born in Radomir Gubernia to Hasidic parents. He came to Warsaw at the age of seven and as a teenager began learning clock-making. As a young Yiddish theater-goer, Lipman enjoyed the pageantry of the historical operettas that were then the fashion on the Yiddish stage. In 1909, he began acting, first with the impresario Sam Adler and then Nahum Lipovski. Lipman traveled to the far reaches of Russia (near Siberia) and, separately, performed for communities in South Africa. In Poland during the 1930, he performed a translation of the controversial play <em>Cyankali</em> and also staged works by Stanislav Wyspianski, like<em> Daniel</em>, <em>Love and Eroticism</em> by the playwright Anton Wildgans, as well as a work by his own pen, described as a “reportage” entitled “The Ten from Paviak.” </p>
A censored manuscript of The Four Lost Ones for play in Nahum Lipovski's theater in Vilna (1914-1917)
A THEATER IN TWENTIETH-CENTURY ARGENTINA THAT SHOWCASED YIDDISH PERFORMANCE
A YIDDISH THEATER TROUPE UNDER THE DIRECTION OF SOLOMON GENFER (MINSK, 1912)
1912
A PORTRAIT OF AMERICAN-YIDDISH PERFORMERS INCLUDING 1. ANSHEL SHOR, 4. MOYSHE SKULNIK AND 8. SHOLEM SECUNDA
The Era of The Big Four of Second Avenue, 1930s and 1940s
<p>Above is a photo of actor and director <strong>Anshel Shor (1871-1942)</strong> and his troupe at the Liberty Theater, located in Brooklyn at the corner of Liberty and Stone Avenues. Shor is standing on the right. His wife, actress Dora Weisman, is seated in the middle-right. Next to Shor is the supremely talented performer Pesach Bernstein (1896-1986), and middle-left is <strong><strong>Menashe Skulnik</strong> <strong>(1890-1970)</strong> </strong>dubbed the "East Side's Chaplin" by the <em>New York Evening Journal</em> in 1935. Standing at the far left is Sholom Secunda. Along with Abraham Ellstein (1907-1963), Joseph Rumshinsky, and Alexander Olshanetsky, <strong>Sholom Secunda (1894-1974)</strong> was one of the "Big Four of Second Avenue." They are most remembered for their hit songs, but were engaged as resident composers in theaters, orchestra conductors, arrangers, and accompanists. </p>
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<p align="left"><span face="Georgia" style="font-family: Georgia;">Seated: Clara Gold, Bertha Gutentag, Annie Toback, Dora Weissman, <br />Annie Lubin and Sara Skulnik;<br />Standing: Sholem Secunda, Morris Nasatir, Max Badin, William Schwartz, <br />Menasha Skulnik, Harry Hochstein, Pesakh Bernstein , Anshel Schorr; </span></p>
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The Warsaw Yiddish Art Theater (Varshever Yidisher Kunst Teater, VYKT)
<span><span style="font-weight: 400;">The Warsaw Yiddish Art Theater was a </span>critically acclaimed Yiddish dramatic company active in interwar Poland </span><a href="http://www.yivoencyclopedia.org/article.aspx/Poland"></a><span>from 1924–1925, 1926–1928, and 1938–1939. The extraordinary success of The Vilner Troupe with <em>The Dybbuk</em></span> made <span>clear that a considerable audience existed in Poland for Yiddish theater </span><span>with artistic aspirations. But was this new theater to confine itself specifically to Jewish subjects and style? The Warsaw Yiddish Art Theater was founded by two of the leading young representatives of Yiddish dramatic theater, Ida Kaminska and Zygmunt</span><span> who believed that the new theater should open itself to the themes and styles of contemporary European theater. Kaminska and Turkow had already assembled a company that performed at the Tsentral Theater in Warsaw in 1922–1923. The VYKT began to perform as such in 1924.</span>
Zalmen Zylbercweig, center, editor of the seven-volume Encyclopedia of Yiddish Theater (<em>Leksikon fun yidishn teater)</em>
1931
<p>Tsipe Abelman as Shulamis C. 1910. <br /><br /></p>
<p>Shulamis premiered under Avrom Goldfaden in 1880 in the Russian Empire. Shulamis became the most enduring operetta on the Yiddish stage</p>
<em>We, Women,</em> Maria Morozowicz-Szczepkowska
<span style="font-weight: 400;">Like her mother, Ida Kaminska sought out powerful women’s roles. And, in 1932, Ida Kaminska translated a work by one of Poland's radical feminist thinkers, Maria Morozowicz-Szczepkowska, into Yiddish and adapted it for the Yiddish stage. Morozowicz-Szczepkowska advocated “the struggle against love” as the only way for women to combat male oppression and develop authentic agency. As the play’s heroine puts it: “One can’t be free, or be a modern person, and at the same time remain a little female dependent on a single smile, a single lie, a single male betrayal.” And, given its radical ideas, </span><i><span style="font-weight: 400;">We, Women</span></i><span style="font-weight: 400;"> was banned by Mussolini in Italy. For the Yiddish version, entitled </span><i><span style="font-weight: 400;">Mir Froyen (We, Women)</span></i><span style="font-weight: 400;">, Kaminska imitated the production of the original by ensuring that all aspects of the play were executed by female participants. </span>
Cyankali, 1931
<span style="font-weight: 400;">First performed in its original German in the Berlin Lessing Theatre by a group of young actors, </span><i><span style="font-weight: 400;">Cyankali</span></i><span style="font-weight: 400;"> became one of the most controversial plays of the 1920’s. Its author, Friedrich Wolf, an Expressionist playwright and medical doctor,wrote the play to protest the law against abortion. In 1928, Wolf joined the Communist Party and published a volume of essays entitled </span><i><span style="font-weight: 400;">Art as a Weapon</span></i><span style="font-weight: 400;">, and Cyankali was the first of them. The play's production led to Wolf’s arrest and subsequently caused a sensation from New York to Tokyo and from Moscow to Paris. And, while the play was outlawed in some countries, </span><i><span style="font-weight: 400;">Cyankali</span></i><span style="font-weight: 400;"> was produced in Poland in both Polish and Yiddish, the Yiddish-language version being produced by the writer and director Moyshe Lipman.</span>
Michał Weichert (Mikhl Vaykhert, 1890-1967)
<p><span style="font-weight: 400;">Michał Weichert (Mikhl Vaykhert, pictured in the above article on the right) was a theater director, historian, critic, and communal activist. Born in Podhajce in eastern Galicia and raised in Stanisławów, Weichert received his education at heder and in Polish schools. He attended law and humanities programs at universities in Lwów, Vienna (receiving his J.D. in 1916), and Berlin; in the latter city, he studied avant-garde theater with the preeminent German director Max Reinhardt. </span></p>
<p><span style="font-weight: 400;">In 1918, Weichert settled in Warsaw. Weichert directed plays for leading Yiddish dramatic companies, including the Vilner Trupe. Among his productions were his own dramatization of Sholem Asch’s </span><i><span style="font-weight: 400;">Sanctification of the Name,</span></i> <i><span style="font-weight: 400;">1928 </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Kiddush ha-Shem</span></i><span style="font-weight: 400;">), </span><i><span style="font-weight: 400;">Shylock </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Shaylok</span></i><span style="font-weight: 400;">, 1929), Arn Zeitlin’s contemporary historical drama </span><i><span style="font-weight: 400;">City of Jews</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Yidn-shtot</span></i><span style="font-weight: 400;">, 1929), and Moyshe Lifshits’s comedy </span><i><span style="font-weight: 400;">A Tale of Hershele Ostropolyer </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">A mayse mit Hershele Ostropolyer</span></i><span style="font-weight: 400;">, 1930). Focusing on Jewish themes, Weichert’s productions were staged in an epic style that used lighting, music, and stage design to create a coherent theatrical vision. Frequent collaborators were the composer Henekh Kon (1890-1972) and the visionary stage designer Władisław Weintraub (1891-1942) (pictured left). </span></p>
<p><span style="font-weight: 400;">In the 1920s, Weichert organizeda theater technium in Warsaw. The graduates, idealistic youth committed to political activism and experimental art, became the core of Yung-teater (Young Theater), which Weichert directed from 1932 to 1939. Yung-teater dramatized favorite themes of the international Left, including the trial of Sacco and Vanzetti and the Scottsboro trial. Weichert also produced plays based on Yiddish literary works that were acclaimed in the Yiddish and Polish press for their energy and innovation. Often staged in tight spaces, the productions featured sequences of rapidly changing scenes, briefly illuminated, sometimes simultaneously, and staged on every side of the audience. Through these techniques, the audience was to be provoked to abandon neutrality and act on the plays’ lessons. The company came under continuous government pressure to alter its activist repertoire; in 1937, it was forced to move to Vilna and change its name to Nay-teater (New Theater), under which it performed until 1939.</span></p>
<p><span style="font-weight: 400;">In an interview published in the newspaper , Weichert commented thus on his acting studio:</span></p>
<p><i><span style="font-weight: 400;">In 1929, I renewed the activity of my drama school that had existed from 1922-24, a school that had instructed a gallery of distinguished actors. Thew new studio took on as its task not only prepare actors for Yiddish theater but also a specific Yiddish artistic approach . I assembled thirty young people, mostly working-class. For a three-year period with fanatical devotion, we studied diverse theatrical studies. </span></i></p>
<p> </p>
<p><span style="font-weight: 400;">Information pulled from Jeffrey Veidlinger’s “From Boston to Mississippi” in </span><i><span style="font-weight: 400;">Inventing the Modern Yiddish Stage</span></i><span style="font-weight: 400;">. Eds. Joel Berkowitz and Barbara Henry.</span></p>
Moyshe Lipman
Jakub Rotbaum (Yankev Rotboym), 1901-1994
<p><span style="font-weight: 400;">Rotbaum, Jewish theatrical director and painter, was born in Wroclaw. He was the older brother to Lia (Lisa) Rotbaum, a choreographer and director whose name also recurs in the programs of the Esther-Rokhl Kaminska Collection. After high school, he attended the School of Decorative Arts, The School of Fine Arts and the Film School in Warsaw. In 1923, he went to Berlin to study painting and met with the Vakhtangov Theatre. He made his directorial debut in 1925, acting as an assistant director in Warsaw’s Azazel cabaret theater, and the following year "The Post Office" also in Warsaw. In 1928, Rotbaum was commissioned by a private Jewish film producer from New York to direct a documentary film on Jewish life in the small towns and villages of Poland. </span></p>
<p><span style="font-weight: 400;">While in Moscow in the same year, Rotbaum completed drama studies and, in particular, focused on the workings and directing methods of the famous Soviet theatre of Meyerhold Tairow and Stanisławski. After returning from Moscow in 1929, Rotboym began his professional career staging Eugene O'Neill plays with the famed Vilna Troupe. During this time in Europe, many productions he directed were filled with dramatic conflicts that seemed to evolve from the sociopolitical themes of the day. In 1930, he directed the troupe in a number of successful productions including a Yiddish translation of </span><i><span style="font-weight: 400;">All God’s Chillun’ Got Wings </span></i><span style="font-weight: 400;">by Eugene O'Neill. </span></p>
<p><span style="font-weight: 400;">From 1930 to 1938, Rotbaum devoted much time to his other passion, painting, and he organized exhibitions of his own work in many Polish cities (Warsaw, Łódź, Katowice, Lublin, Vilno, Kovno, Róvne, Gdańsk, and others). His work comprised characteristic portraits: Jewish, Polish, Russian, Ukrainian, peasant-types and a large collection of theatrical portraits (the majority from the Jewish theatre), such as that of Itzik Manger (1901-1969) and Nahum Zemach, founder of "Habima”, Shlomo Mikhoels (1890-1948) and many others. Throughout his life, Rotbaum continued to paint the Jewish faces he remembered from his youth; this work received numerous awards. </span></p>
<span style="font-weight: 400;">In 1938, Jakub Rotbaum directed a few Yiddish shows at the then avant-garde Jewish theater P. I. A. T., or </span><i><span style="font-weight: 400;">Parizer yidisher avant garde Teater</span></i><span style="font-weight: 400;">. In 1940 he was invited by Yiddish great Maurice Schwartz to direct his Yiddish Art Theatre troupe in three plays: Sholem Aleichem's </span><i><span style="font-weight: 400;">Sender Blank</span></i><span style="font-weight: 400;">, Sholem Asch’s </span><i><span style="font-weight: 400;">Uncle Moses </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Onkl Mozes</span></i><span style="font-weight: 400;">), and Bergelson's </span><i><span style="font-weight: 400;">We Want to Live</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Mir viln lebn</span></i><span style="font-weight: 400;">).</span>
c. 1933
Starshun
Test from Jamie
Chayim-Wolf Vayntraub (b. 1891-194? Władysław Zew Wajntraub)
Set designer for Yiddish theater in interwar Poland. V. was born Lyuvitsh Poland to Hasidic parents. From a young age, he was drawn to sketching and painting. A Polish art critic Tortshinksi recognized his early talents and the Polish artist, Stshenski took him under his wing, taught him about the craft of painting as well the role of nature. Vayntroyb benefited from the support of Poland’s Society for the Encouragement of Fine Arts that supported his studies in France. In Paris, V. met the Russian artist and set designer Leon Bokst (1866-1924) whose influence is responsible for his decisive comitmentto the decorative arts and theater design. V. returned to Poland before WWI and then spent the subsequent four years on the front fighting in the Russian army. After the war he teamed up with decorative arts Moshe Appleboym (a monograph was written by Herman (Khayim) Goldberg (artist who had a photo studio and produced greeting cards and sought to reform the appearance of the Hebrew/Yiddish alphabet). Joseph Sandel writes of Vayntroyb:
V. was a fantasist, an Expressionist with mystic overtones,...V. belonged to the artistic group that produced the futuristic artistic literary journal Khaliastra and Albatross. He belonged to the not so big group of Polish modernists who drank from the waters of Western Positivist painting...In Warsaw, V. devoted himself to the Yiddish theater, especially the Kleynkunst stage and painted sets for Azazel and Sambatyon as well as the sets for Uriel Acosta, Rollands Wolves, Broderson’s opera David and Batsheva and Peretz’s At Night in the Old Marketplace (among others 5: 4321).”
Vayntraub
Kultur lige stamps
Culture
Fundraising stamps for the Kultur-lige organization
c 1930
Ruth Rubin notebooks (RG 620 box 30)
Pictures of Ruth Rubin's notebooks, from her papers (YIVO RG 620)
Yiddish Folksongs from the Ruth Rubin Archive
Cover of Chana Mlotek, Mark Slobin (eds.), <i>Yiddish Folksongs from the Ruth Rubin Arvhive </i>(Detroit, 2007)<br />Purchase the book on <a href="https://www.yivo.org/Yiddish-Folksongs" target="_blank">YIVO website</a>
Yehudah Leib Cahan (1881–1937)
Photo from <em>Shtudyes vegn yidisher folksshafung</em>, by Y. L. Cahan, published in 1952 by YIVO, NY.
Jewish Folk Songs
Cover of <em>Jewish Folkson Songs in Yiddish and English</em>, compiled and edited, with English adaptations by Ruth Rubin, with guitar accompaniments by Ethel Raim, Oak Publications (New York, 1965).
A Treasury of Jewish Folksong
Cover of <em>A Treasury of Jewish Folksong</em>, selected and edited by Ruth Rubin, Piano setting by Ruth Post, Schocken Book (New York, 1964)
Moisei Beregovskii (1892 – 1961)
Read more about Moisei Beregovskii in the <a href="http://www.yivoencyclopedia.org/article.aspx/Beregovskii_Moisei_Iakovlevich" target="_blank">YIVO Encyclopedia</a><br />Picture from the blog <a href="http://yleksikon.blogspot.com/2015/04/moyshe-beregovski-moisei-beregovsky.html" target="_blank">"Yiddish Leksikon"</a>
Avraham Tsevi Idelsohn (1882-1938)
Voices of a People
Cover of <em>Voices of a People. The Story of Yiddish Folksong</em>, by Ruth Rubin (Philadelphia, 1979). The book was reprinted with foreword by Mark Slobin (Illinois, 200).
Yiddish Love Songs
Yiddish Love Songs (Ruth Rubin, vocals -- Fred Hellerman, guitar), Riverside Folklore Series [cat. RLP 12-647]/Washington Records [cat. 726] (33 1/3 rpm), New York; 1958
YIVO cat. LP 0563/0564
Ruth Rubin (1906-2000)
Ruth Rubin's Portrait
Ruth Rubin (1906-2000)
Ruth Rubin's Portrait
Jewish Folk Songs
Jewish Folksongs III (Ruth Rubin, vocals -- Richard Neumann, arranger and conductor), Oriole, New York; 1954 / Folkways Records [cat. FW 8740] (33 1/3 rpm), New York; 1957
YIVO cat. LP 0633/0634
78 rpm
Jewish Folk Songs
Jewish Folksongs II ["Jewish Folk Songs Album No. 2”] (Ruth Rubin, vocals -- R. Post, arrangement and piano accompaniment), Oriole Records [cat. 100-1 to 100-6] (78 rpm), New York; 1950
YIVO cat. 3054
78 rpm
Yiddish Folksongs
Yiddish Songs for Young People (sung a capella by Ruth Rubin), a set of five records (7-inch 33 1/3 rpm), privately issued with booklets of texts and annotations; 1968
YIVO cat. LP 0565
33 1/3 rpm
Jewish and Palastinan Folk Songs
"Ruth Rubin - Jewish and Palestinian Folk Songs", Disc Records [3 disc set - album #937] (78 rpm), New York
YIVO cat. 2977
78 rpm
Jewish Folk Songs - Asch
Jewish Folksongs (sung by Ruth Rubin, with chorus and instruments), Asch Records [3 disc set - album #607] (78 rpm), New York; 1945
YIVO cat. 2799
78 rpm
Ruth Rubin (1906-2000)
Ruth Rubin's Portrait
Yiddish Love Songs
Yiddish Love Songs (Ruth Rubin, vocals -- Fred Hellerman, guitar), Riverside Folklore Series [cat. RLP 12-647]/Washington Records [cat. 726], New York; 1958
YIVO cat. LP 0563/0564
33 1/3 rpm
Ruth Rubin sings Yiddish Folk Songs
Ruth Rubin Sings Yiddish Folk Songs (Ruth Rubin, vocals -- Dick Weissman, banjo, guitar, mando-cello -- Hedy West, flute, piccolo), Prestige/International Records [cat. 13019], Bergenfield (New Jersey); 1959
YIVO cat. LP 0565
33 1/3 rpm
Yiddish Folk Songs sung by Ruth Rubin
Yiddish Folk Songs sung by Ruth Rubin (Ruth Rubin, vocals), Folkways Records [cat. FW 8720], New York; 1978
YIVO cat. LP 0073
33 1/3 rpm
Jewish Children Songs ans Games
Jewish Children’s Songs and Games (sung by Ruth Rubin, with Pete Seeger on the banjo), Folkways Records [cat. FC 7224], New York; 1957
YIVO cat. LP 0566
33 1/3 rpm
Jewish Life: "The Old Country"
Jewish Life: “The Old Country “ Ethnic Recordings, Collected and Edited by Ruth Rubin (sung by informants, as collected by Ruth Rubin), Folkways Records [cat. FG 3801], New York; 1958/1964
YIVO cat. LP 0567
33 1/3 rpm
Marriage
Nahum Lipovski (1874-1928)
<p><span style="font-weight: 400;">Nahum Lipovski was a celebrated theater impresario, master of multiple languages, and mathematical savant who energized the Yiddish theater scene during the many decades of his activity. He was born in Nesvizh, Russia to pious parents but was orphaned at the young age of nine. He learned in the Talmud Torah in Vilna, then in the yeshiva, and then taught himself worldly literature that lead him to study drama in Moscow. </span></p>
<p><span style="font-weight: 400;">In 1892, he fell in with Esther-Rachel Kaminska's wandering troupe and displayed his acting chops as well as a keen ability to manage the theater's business affairs. After completing his military service, he returned to acting. After 1900, Lipovski coordinated theatrical productions with Kaminska, as well as other directors such asRudolf Zaslavski (b. 1886). </span></p>
<p><span style="font-weight: 400;">In 1904, Lipovski moved to Germany. Here, he worked in German theater and took courses at the Freie Universitat, where he discovered his exceptional skills of memorization. While he put his memory to use with a number of projects, including writing a perpetual calendar, Lipovski returned to Vilna and founded what he considered his most important achievement: his Jewish People's Theater ("Yidishe Folks Teater"), which offered Yiddish theater at a price accessible to the working class. There, he directed shows while also offering a venue for other Yiddish theater troupes. It existed until the outbreak of World War I, at which point Yiddish was deemed by the Russian military "a language of the enemy." However, it resumed after the war and continued to operate after his death in December, 1928.</span></p>
RG8
YIVO Institute for Jewish Research
Polish
Yiddish
<strong>Ida Kaminska and Zymunt Turkov donate the Ester-Rokhl Kaminska Theater Museum to the newly-established YIVO Institute in Vilna by 1927.</strong>
Mississippi, 1935
Commissioned by the avant-garde director Michal Weichert, Leib Malach's <em>Mississippi</em> recounts the story of the "Scottsboro Boys" of Alabama, falsely accused of rape in 1931.First staged in Warsaw in 1935, Weichert staged the action among theater-goers throughout the theater space on two-level platforms that emphasized the power dynamic between whites and blacks in America. Spotlights were used to shift the action…and even parallel conversations took place on different sides of the performance space.<br /><br />Although devoid of any Jewish themes, Mississippi is, nonetheless, an original Yiddish play. It was written by L. Malakh (Leybl Zaltsman, 1894-1936), a poet and playwright. Born to a Hasidic father, Malakh left his home province of Radom and eventually reached Warsaw before working as a wallpaper hanger, a baker's apprentice, and painter. He eventually began publishing poetry. Malakh's plays were produced in New York and in Argentina where he was active in the 1920s. There, he wrote a controversial play about female prostitution and another play, T<em>he Maid of Ludmir</em>, a play about <span>Hannah Rochel Verbermacher, famous as the only woman in the three-hundred-year history of Hasidism to function as a rebbe—or charismatic leader—in her own right. <em>The Maid of Ludmir</em> was mounted successfully. Besides <em>Mississippi </em>and <em>The Maid of Ludmir</em>, Malakh gained a literary reputation for his drama <em>The Dregs </em>(<em>Opfal</em>) about Warsaw's Jewish underworld and his controversial depiction of a brothel in Argentina (in <em>Ibergus</em>) that publicly criticized and provoked the lords of the prostitution industry in Buenos Aires. </span><br /><br /><em>Mississippi w</em>as staged in Warsaw in early 1935 and hundreds of times thereafter at various theaters in Poland, Israel, and the Americas. While the Scottsboro Trial of 1928 played out in the state of Alabama, the playwright thought it best to set the play in Mississippi, a name still closely associated with the American South. A direct reference to The Scottsboro Boys might have been considered a flagrant reference to a cause that was then embraced by the International Left and a red flag on the part of Polish authorities. Henoch Kon composed original music for the production. <br /><br /><br />Reviewing the play in <em>Literarishe Bleter</em>, Nakhmen Mayzel wrote, "<em>L. Malakhs succeeds in representing a piece of history in an interesting play, and... invokes the tragedy of the cursed negro question in America and through it, the entirety of the cruelty, the lyingness (lignershkayt), and hypocrisy of the bourgeois society with its "morals" and "ethics" which it uses against an entire race."</em>
<strong>He</strong>,<strong> She, and I: An Erotic, Futuristic, Cubist Play, A Kaleidoscope in One Act </strong>by Korntayer, theater program
A program for an evening that featured a production of <strong>Fishke the Lame</strong>, an adaptation of the nineteenth-century novel by Mendele Moykher-Seforim, and <strong>He, She, and I </strong>by a playwright, operetta-composer, and dramaturg known only as S. Korntayer. Active in the literary Yiddish theater in the 1920s and 1930s, Korntayer and his family were killed by the Nazis and most of his work was unpublished and lost in the chaos of war. Korntayer translated Shakespeare's <strong>Othello</strong> for the Yiddish stage and also wrote original work (including the one showcased here) for various Yiddish theater companies. A suriving copy of Korntayer's <strong>He, She, and I</strong> has not yet been recovered, but its title points to the experimental orientation of the theater. This production was staged in the People's Theater in Vilna.
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YIVO Institute for Jewish Research
Yiddish
document
<strong>THE KETTLE: the Satirical Theater Troupe of the Land of Israel, leaflet</strong>
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YIVO Institute for Jewish Research
1928
Hebrew
Box #79
Younin, Wolf
(c. 1908-2012)
Occupation: Journalist.
Handwritten: "A literary type person, Wolf Younin, in his rendition of folk songs, attempts to render them in a manner in which he heard them first from others."
[From blue index, RG 620, box 30]
See <a title="Wolf Younin (c. 1863-2012)" href="http://yivoarchives.org/?p=collections/controlcard&id=34389" target="_blank" rel="noopener">his biography in the "Guide to the YIVO Archives"</a><br /><br />Wolf Younin himself collected Yiddish folksongs, which you can listen to on the website <a href="https://yiddishsong.wordpress.com/tag/wolf-younim/" target="_blank" rel="noopener">Yiddish Song of the Week</a>.<br /><br />His <a href="https://www.nytimes.com/1984/06/02/obituaries/wolf-younin-76-yiddish-poet-lyricist-and-playwright-dies.html" target="_blank" rel="noopener">obituary in the New York Times</a>.
Kaczerginsky, Shmerke
(1908–1954)
Born: Vilna.
Poet-partisan-folklorist.
Killed in airplane crash in Argentina, 1952.
Handwritten: "Compiled over 300 Yiddish songs gathered [?] during the German occupation. A number of his lyrics were set to music at that time and were current as 'folk songs.'"
[From blue index, RG 620, box 30]
See <a title="Shmerke Kaczerginski's biography" href="http://www.yivoencyclopedia.org/article.aspx/Kaczerginski_Shmerke" target="_blank" rel="noopener">his full biography in the YIVO Encyclopedia</a>
Fibich, Felix
(1917-2014)
Born: Warsaw, Poland.
Came to the U.S.A. in 1951
Occupation: professional dancer.
[From blue index, RG 620, box 30]
Felix Fibich was a dancer and one of the few professional choreographers who worked in the Yiddish theater. Together with his wife and partner Judith Berg (1905-1992) he collaborated with well-known Yiddish theater figures in Poland, such as the comedy team Dzigan and Shumacher and the composer Henekh Kon. They performed in Russia during World War II and then came to the United States. The couple drew from Jewish sources for inspiration for their dance pieces.
Tape 71 - Songs about Marriage II
Tape 70 - Songs about Marriage
Tape 69 - Michael Fox, Tape 2, New York, 1967
Note on typewritten tape log in box:] Michael, aged 22 years old when he recorded for Ruth Rubin, was born in Kazakhstan. His father and mother and older brothers were evacuated from Poland, during the German occupation years, into Soviet Central Asia. Michael and his parents came to the United States when he was 8 years old, after having lived in France a few years. In English, he relates that the family -his parents and older brother - lived in Lodz, then Byalistock - then in Russia (Kazakhstan) a year. Then Poland 2 years, but there was nothing left, so went to Paris - the Rothchilds had given a house to artists and writers - and then another Paris location. Then they emigrated to the U.S. - Pittsburg, then NYC. He was 8.5 years-old when he came to the U.S. He spoke Russian, Polish, French, Yiddish at home. He was surprised to learn that not everybody spoke a different language at home. His mother was from Konyan (sp.?) - near the German border. His father was from Lodz. Michael is a teacher in a secular Yiddish school.
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.
[Ed. note:] He continued writing songs. He also performed Yiddish theater, and participated in the production of the album "Kids in Yiddish" (2002 - A Folksbiene Production).
Tape 68 - Michael Fox, tape 1 New York, 1967
Note on typewritten tape log in box:] Michael, aged 22 years old when he recorded for Ruth Rubin, was born in Kazakhstan. His father and mother and older brothers were evacuated from Poland, during the German occupation years, into Soviet Central Asia. Michael and his parents came to the United States when he was 8 years old, after having lived in France a few years. In English, he relates that the family -his parents and older brother - lived in Lodz, then Byalistock - then in Russia (Kazakhstan) a year. Then Poland 2 years, but there was nothing left, so went to Paris - the Rothchilds had given a house to artists and writers - and then another Paris location. Then they emigrated to the U.S. - Pittsburg, then NYC. He was 8.5 years-old when he came to the U.S. He spoke Russian, Polish, French, Yiddish at home. He was surprised to learn that not everybody spoke a different language at home. His mother was from Konyan (sp.?) - near the German border. His father was from Lodz. Michael is a teacher in a secular Yiddish school.
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.
[Ed. note:] He continued writing songs. He also performed Yiddish theater, and participated in the production of the album "Kids in Yiddish" (2002 - A Folksbiene Production).
Tape 67 - Herman Rabin's Interview - Part 2
Tape 66 - Herman Rabin's Interview - Part 1
Tape 65 - Slavic Influence
Tape 64 - Love Songs
Tape 63 - Ballads, Love Songs, Dancing Songs
Tape 62 - Mixed Language
Tape 61 - Michael Yudelevitch
Tape 60 - Dance, Drink and Riddle Songs
Tape 59 - Mixed Language Songs
Tape 58 - Composed in Europe, Sung in America (b)
Tape 57 - Sung in America (a)
Description
Tape 55 - Yiddish Folktales
Tape 54 - Shmerke Kaczerginsky
(1908–1954) See <a title="Shmerke Kaczerginski's biography" href="http://www.yivoencyclopedia.org/article.aspx/Kaczerginski_Shmerke" target="_blank">his biography in the YIVO Encyclopedia</a>
Tape 53 - Songs of the Underworld (2)
"The folksongs created in and around the environment of the Jewish underworld communicate the sentiments and experiences of its members and their world. Their songs tell us about uncertainties, hazards and risks involved, apprehensions and fears of arrests and jail terms. They also reflect bravado and cockiness, humour and mischievousness, the nostalgia for a childhood that was once safe with God-fearing, caring parents. They also reveal the deeper sentiments of love for a woman."
(From Yiddish Folksongs from the Ruth Rubin Archive, p. 262).
Tape 52 - Songs of the Underworld (1)
"The folksongs created in and around the environment of the Jewish underworld communicate the sentiments and experiences of its members and their world. Their songs tell us about uncertainties, hazards and risks involved, apprehensions and fears of arrests and jail terms. They also reflect bravado and cockiness, humour and mischievousness, the nostalgia for a childhood that was once safe with God-fearing, caring parents. They also reveal the deeper sentiments of love for a woman."
(From Yiddish Folksongs from the Ruth Rubin Archive, p. 262).
Habimah's <em>The Dybbuk</em><em>,</em> on the cover of <em>Our Illustrated Review</em>
The cover of the Polish-Jewish illustrated periodical from March 1926 that featured an image from the third act of S.Y. Ansky's <em><strong>The Dybbuk</strong></em> as it was performed in Hebrew by Habimah Theater in Warsaw. In 1917, Ansky discussed a first staging of the play in Moscow by the famous Russian director Stanislavski but that idea collapsed under political forces. Ansky died suddlenly in 1920 in Warsaw, and within a month of death, The Vilna Troupe performed the play in Yiddish for the first time in Warsaw. Ansky had viewed a reading of the play, but never lived to see a full-blown production. In little time, it became a sensation, first in Yiddish, than in other languages and on stages throughout the world.
RG8
1926
YIVO Institute for Jewish Research
Polish
<strong>Yiddish Theater in Russia before 1919. </strong>The Four Who Were Lost: Comic Operetta in 3 Acts by Dr. Soapbubble, c. 1914 and 1917.
A manuscript of a comic operetta that was staged in Nahum Lipovski's People's Theater before the advent of Independent Poland. The manuscript has several stamps attesting to the permission for its performance granted by the Russian government. Figures like Lipovski and Esther-Rokhl Kaminska were known for their ability to navigate government officials and secure permission to perform their shows.
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YIVO Institute of Jewish Research
1914, 1917
Yiddish and Russian
<strong>The Happy Night, </strong> program
RG8
YIVO Institute for Jewish Research
Shabtai Tsvi
The historical figure Shabtai Zvi (1826-1876), a spiritual leader who claimed to be the long-awaited Jewish messiah and then. Active throughout the Ottoman Empire, Shabtai Tsvi was eventually arrested and imprisoned by the grand vizier Ahmed Koprulu who gave him the option of death or converting to Islam. Shabtai Tsvi converted to Islam, as did 300 families among his followers.<br /><br />Shabtai Zvi is the subject of a number of Yiddish-language plays during this inter-war era; his attraction lay in part in his marginal status. This manuscript of a Shabtai Zvi play pictured here is one of a number of Shabtai-Zvi items contained in the museum collection. It is signed by the name Yankev Nayman, <em>Ish Khosid </em>(lit. Pious Man), a pseudonym of director Dovid Herman. <br /><br /><br /><br />
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YIVO Institute for Jewish Research
1925
Yiddish
Photo, Tomashevsky
RG8
YIVO Institute for Jewish Research
The Yiddish Film Industry
The first synchronous Yiddish-language talkie was produced in 1929, only 18 months after the first (ever) talkie, <em>The Jazz Singer</em>, which, remarkably, centered on the experiences of a Jewish performer. The interwar period saw the accelerated growth of the Yiddish-language film industry that brought movie-makers and directors from America to shoot scenes of authentic Jewish life in Poland. The biggest hits of the Golden Age (1935-1939) were <em>Yidl With his Fiddle</em> <em>(Yidl Mitn Fidl)</em>, <em>Green Fields </em>(<em>Grine Felder)</em> and <em>The Dybbuk</em> (<em>Der dibek</em><em>).</em><br /><br />In <em>Yidl Mitn Fidl</em>, Picon's character disguises herself as a boy in order to escape an arranged marriage and perform with a band of klezmorim. With the exception of Picon, the rest of the cast was drawn from Warsaw's various theatrical ensembles. Here, Picon also cross-dresses to play the title character Shmendrik, a movie based on the 1877 operetta composd by the theater's founder, Avrom Goldfaden.<br /><br /><br />Actress Molly Picon (1898-1992) in <em>Shmendrik</em><em>;</em> Rokhl Holzer in <em>Al Khet</em>; and Ida Kaminska as <em>The Jazz Singer </em>on the Polish-Yiddish stage
RG8
YIVO Institute for Jewish Research
The Golem
<p>"The Jewish Frankenstein," t<em>he Golem,</em> describes a rabbi in seventeenth-century Prague who creates a living statue to protect his community from harm. By the time Leivik wrote this play in 1921, he was living in the United States. He was born in Chervyen, Belarus, the oldest of nine children in a traditional home. Leivik joined the Jewish Bund in 1905 and was arrested in 1906 by the Russian authorities and sentenced to four years of forced labor and permanent exile in Siberia. He was smuggled out of Siberia and to America in 1913 where he wrote poetry and drama for several Yiddish dailies. The Golem was first staged in Hebrew in 1925 by Habimah in Moscow and some of the same participants put on a Yiddish version through the theater studio "Free Art" (Fraykunst), also in Moscow, in 1927.</p>
<p>The second professional production was produced in Polish in Lublin's City Theater using Mark Arnshteyn's translation.<em>The Golem</em> enjoyed most play during the interwar period in Polish in Poland. This production also played in Lodz (Municipal Theatre), Grodno, and Bialystok. In</p>
<p><span face="Arial" size="2" style="font-family: Arial; font-size: small;">1928, for instance, it played Warsaw's Circus (a venue of 2500 seats) where it was </span><span face="Arial" size="2" style="font-family: Arial; font-size: small;">performed twenty-six times.</span></p>
<p><span face="Arial" size="2" style="font-family: Arial; font-size: small;">The third Polish production was by a Marek on 27 June 1928 in Lodz's Municipal Theatre, where the play was performed a long time with great success. Later the play in Polish also was performed in the municipal theatres of Grodno and Bialystok. </span><span face="Arial" size="2" style="font-family: Arial; font-size: small;">Featured here is a photograph of an unidentified theatrical production of the play and a review of MarK Arnshteyn (1879-1943)'s production. </span></p>
RG8
YIVO Institute for Jewish Research
Box92167.jpg
<strong>Membership card to the Professional Yiddish Actors' Union of Poland</strong>
This is a membership card of Kalmen Ebel, a performer active in the Yiddish theater in the 1920s. The union was established in 1919, in the wake of the protection of minorities worked into the post-WWI Treaty of Versailles. "It was understood not simply as a guild, but as a "spiritual creative" ("gaystik sheferishn") organization. Exemplary of the creative struggles of the Jews in interwar Poland
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YIVO Institute for Jewish Research
1929
The Sanctification of the Name (<em>Kiddush Hashem</em>), Sholem Asch
In his memoirs, Michał Weichert describes his production of T<em>he Sanctification of the Name</em> thus: <br /><br /><em>The Sanctification of the Name played 250 times in Warsaw and, later, countless times in all of Poland's big cities. For the one hundredth performance, Sholem Asch came. It was the first time he saw this set design. He had not even read about it and still went ahead and authorized it. After the third act, he got onto the stage and gave a lecture. Compliments for me and the actors flowed from him. Among other things he said, "Weichert is the conscience of Jewish literature."<br /><br /></em>
RG8
YIVO Institute for Jewish Research
Program, Baruch Lumet Recitation
Recitations were an abiding aspect of Yiddish theatrical acting culture from the founding of the modern Yiddish theater by Avrom Goldfaden, a practiced declaimer of Yiddish poetry. Recitations remained popular during the interwar period with the appearance of in Poland. Recitations were also an important part of the Yiddish-language performance in America.
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YIVO Institute for Jewish Research
February 27, 1927, Sunday morning, Irving Place Theater
VYKT Turkov as Shabtai Tsvi
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YIVO Institute for Jewish Research
Program, Ester Rokhl Kaminska Memorial Service
RG8
YIVO Institute for Jewish Research
June 5, 1926
Yiddish
<strong>Guest appearance by the famous actors, Borisova , Poliakov and Rabinovitsh, program</strong>
A program for a performance of an operetta called <em>A Happy</em> Night adapted in Yiddish (source unknown). It featured the actress<em> </em>Betty (nee Borisova)Kompanyets Rabinovitsh (b.1900), Aharon Poliakov (b.1891), and Leon Rabinovitsh (1886-1960).
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YIVO Institute for Jewish Research
Yiddish and Polish
Small Performance Polish Ballet
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Shabtai Zvi Polish list
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YIVO Institute for Jewish Research
Photo, Genfer troupe Minsk
This is a photo of the theatrical troupe of Solomon Genfer (1874-1913) . He was one of the most popular and expert impresarios of his day, attracting some of the largest crowds to his productions. He kept ticket prices low, aiming most of all, for big audiences.
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YIVO Institute for Jewish Research
1919
Photo Abelman as Shulamis
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YIVO Institute for Jewish Research
The Theater Museum Collection as a Time Capsule of Jewish Life
<span style="font-weight: 400;">YIVO grew the holdings of their Theater Museum Collection into a virtual treasure trove of historical information. It grew to include items from Yiddish-language performance that predate the establishment of the Yiddish theater as a modern form, as well as documents spanning a wide geographic range, including North America, Europe, South Africa, South America, and even Cairo, Egypt.<br /><br />Theater poster from a production of Shalom Asch's <em>Der gloybn</em> (Faith) in Argentina, 1925.<br /></span>
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YIVO Institute for Jewish Research
1925
Dovid Herman, 1876-1937
<span><span>Dovid Herman was born in Warsaw, Poland, into a well-off Hasidic family. His father was an antiques dealer. He studied in religious primary school and in synagogue study hall, but at the age of fifteen he interrupted his studies and became an activist socialist. From 1906, he was active in the realm of improving Yiddish theater which, through his work over the course of thirty years, he established at the highest artistic level. In 1903 he organized a drama circle which, in 1907, staged Peretz’s <em>It’s Burning (S'brent)</em> and <em>Sister (Shvester)</em>, Sholem Aleichem’s <em>Mazl tov</em>, and Sholem Asch’s <em>With the Current (Mitn shtrom)</em>. He was also involved with Hirshbeyn’s theater (1908) as a director and actor. For a time he lived in Vienna where he, alongside the director Egon Brekher, organized a troupe and staged the works of Dovid Pinski, Asch, and Peretz in German. <br /><br />After returning to Russia, Herman, together with Peretz and Dr. A. Mukdoni, founded the first Yiddish drama school in Poland. Over the years 1907-1917, he was a teacher of Yiddish language and literature and Jewish history in a Polish Jewish high school in Warsaw. In later years, he directed a range of fine dramatic works. Herman was instrumental in staging An-ski's The Dybbuk. His direction of it later became a standard part of the repertoire of the Yiddish and Hebrew stage. He was also the founder and, for a time, the director of the revue theater “Azazel” in Warsaw. He became especially well-known for his interpretation of Peretz's The Golden Chain (Di Goldene keyt). Herman died in 1937. His wife donated his extensive personal archive to the YIVO Institute shortly after his death. </span></span>
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YIVO Institute for Jewish Research
Recitations on the Yiddish Stage
<span style="font-weight: 400;">An accomplished actor and reciter of the Yiddish word, Baruch Lumet (1898-1992) grew up outside Warsaw where he fell in love with theater. He joined a Polish theater troupe as a child and eventually joined the <a href="http://www.yivoencyclopedia.org/article.aspx/Vilner_Trupe">Vilna Troupe</a>. After immigrating to New York City, Lumet continued his acting career with Maurice Schwartz. In the 1920s and 1930s, Lumet also performed recitations, integrating poetry, choreography, and music. Lumet went on to play roles on the English stage and in Hollywood films. His son, Sidney Lumet (1924-2011), whose career began as a child-actor on the Yiddish stage, was a legendary movie director.</span>
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YIVO Institute for Jewish Research
1922
Yiddish
Yiddishe Bande Troupe in NYC, advertisement
Songs
This is an English-language program from a visit from Yiddish Band Company, a cabaret group based in Warsaw. The troupe visited New York in 1938. The detailed program, one of the only surviving of its kind, gives us insight into its performances, including skits that lamented and challenged the current political climate. A skit called “Two Nazis Smell a Plot” satirizes Nazi Germany while “VIENNA -Then-Now-???” laments the Anschluss or annexation of Austria by Hitler that took place the same year.
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VYKT letter from workers
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YIVO Institute for Jewish Research
1927
Yiddish
<em>An American Tragedy</em>, Theodore Dreiser
<span style="font-weight: 400;">This Yiddish stage version of Dreiser's novel <em>An American Tragedy</em> was directed by Jakub Rotman (1901–1994). It might have been inspired by the 1931 American film version of the novel. The film is based on Dreiser's 1925 novel <em>An American Tragedy</em>, which itself alludes to the real-life 1906 murder of Grace Brown by Chester Gillette. Before this film was made, a play version debuted on Broadway in 1926.</span>
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Stamp photo Ida Kaminska
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Shabtai tsvi list in Polish
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Photo Robert Van Rosen set design
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Director and Impresario Nahum Lipovski (1874-1928)
Studio photograph of Lipovski surrounded by a group of actors. Lipovski was the founder of Vilna's The People's Theater that staged a variety of works and was sought to make their productions accessible to the working-class.
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YIVO Institute of Jewish Research
Photo Ester Rokhl Kaminska and Holzer in Al Cheth
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YIVO Institute for Jewish Research
Program Ola Lilith and Willy Odik
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YIVO Institute for Jewish Research
Recovery of remnants of the Theater Museum Collection
<p><span style="font-weight: 400;">After discovering them in Offenbach, Germany, The American Army returned remnants of YIVO's looted archival collections. Among them were thousands of pages and other artifacts from the Esther-Rachel Kaminska Theater Museum. They were shipped to YIVO in New York in 1947.</span></p>
<p><span style="font-weight: 400;">As the granddaughter of Esther-Rachel Kaminska, Ruth Turkow Kaminska (1919-2005), recalls in her memoirs, </span><i><span style="font-weight: 400;">I Don’t Want to be Brave Anymore</span></i><span style="font-weight: 400;">: </span></p>
<p><em><span style="font-weight: 400;">It was in Vilna, too, that I had emotional experience of a different kind. I happened to be on hand when the buried treasures of YIVO, the Yiddish Institute of Research, were dug up. Just before the Germans had moved into Vilna, people had taken the trouble to hide documents, books, and artifacts of their cultural heritage, so that it would survive even though they would not. As I watched the excavation I was handed carefully wrapped documents and mementoes of my own family; the Institute had had a collection devoted to my grandmother and some of it had been among the things buried.</span></em></p>
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YIVO Institute for Jewish Research
Kleines Theater, Judisches Kunstlertheater
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YIVO Institute for Jewish Research
Dovid Herman, director
Dovid Herman was born in Warsaw, Poland, into a well-off Hasidic family. His father was an antiques dealer. He studied in religious primary school and in synagogue study hall, but at the age of fifteen he interrupted his studies and became an activist socialist. From 1906, he was active in the realm of improving Yiddish theater which, through his work over the course of thirty years, he established at the highest artistic level. In 1903 he organized a drama circle which, in 1907, staged Peretz’s It’s Burning (S'brent) and Sister (Shvester), Sholem Aleichem’s Mazl tov, and Sholem Asch’s With the Current (Mitn shtrom). He was also involved with Hirshbeyn’s theater (1908) as a director and actor. For a time he lived in Vienna where he, alongside the director Egon Brekher, organized a troupe and staged the works of Dovid Pinski, Asch, and Peretz in German.
After returning to Russia, Herman, together with Peretz and Dr. A. Mukdoni, founded the first Yiddish drama school in Poland. Over the years 1907-1917, he was a teacher of Yiddish language and literature and Jewish history in a Polish Jewish high school in Warsaw. In later years, he directed a range of fine dramatic works. Herman was instrumental in staging An-ski's The Dybbuk. His direction of it later became a standard part of the repertoire of the Yiddish and Hebrew stage. He was also the founder and, for a time, the director of the revue theater “Azazel” in Warsaw. He became especially well-known for his interpretation of Peretz's The Golden Chain (Di Goldene keyt). Herman died in 1937. His wife donated his extensive personal archive to the YIVO Institute shortly after his death.
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YIVO Institute for Jewish Research
Program, Teatr Ludowy, Balalaika
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YIVO Institute for Jewish Research
Art Theater from Abroad
The energy of the art theater was sustained, in part, by troupes from abroad. Financial motivation was due to the fact that they could a captive audience since there was little native art theater <br /><br /><br />This is a program from a production created and performed by the Polish-based avant-garde Yiddish theater Troupe that was known as The Jewish Gang (in Yiddish, <em>Di Yidishe Bande). </em><br /><em></em>
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<em>The Tempest</em>, William Shakespeare
<span style="font-weight: 400;">This production of Shakespeare's <em>The Tempest</em> brought together a number of visionary artists including: Aaron Zeitlin (1898-1973), who translated the play; Clara Segalovitsh, who is listed as the show's producer; and Avrom Morevski (1886-1964) and Moyshe Lipman (1893-), who were prominent actors of the time. Besides noting the participation of Maximilian Viskind (1908-1941) and Mordechai Mazo (1889–1943) as directors, the program lists the dramaturg (</span><i><span style="font-weight: 400;">insenizatsya</span></i><span style="font-weight: 400;">) as Leon Schiller (1887-1954), a prominent Polish (non-Jewish) director. After the premier of the production in 1938, the noted Yiddish writer Rokhl Oyerbakh (1903-1976) interviewed Schiller and penned an article for the Yiddish newspaper </span><i><span style="font-weight: 400;">Der Moment</span></i><span style="font-weight: 400;"> about his participation in this production. Schiller describes his substantial artistic contact with the Yiddish theater well before collaborating on this production. Auerbach writes that Schiller and [the Yiddish director Dovid] Herman would visit one another's studios and engage in heated debates on questions of theater. Schiller also followed the development of Mikhl Weichert's Young Theater "with great interest and sympathy."</span>
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Shabtai Tsvi makeup and costumes
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Woodcut of Yiddish cultural pioneer and playwright, Y.L. Peretz. Peretz dies in 1915.
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YIVO Institute for Jewish Research
The Green Fields, <em>Di Grine Felder</em> by Perets Hirshbeyn (Riga)
These are photos and a program associated with a production of <em>Green Fields</em>, one of the most celebrated works of the twentieth-century Yiddish stage. It was written by Perets Hirshbeyn, who pioneered his own naturalist and lyrical theatrical language. Like many Yiddish writers of his generation, he had been nurtured by Y. L. Peretz, who had introduced him to Ḥayim Naḥman Bialik. During the early 1900s, Hirshbeyn wrote naturalist dramas in Hebrew, including Miryam (which he later translated into Yiddish), Carcass, which, in Yiddish, became one of Hirshbeyn’s most successful works. Lonely Worlds (1906) marked a new symbolist phase in his career, as well as the end of his practice of writing originally in Hebrew. His symbolist Yiddish plays of this period include the one-act Grave Blossoms, The Earth, In the Dark, and The Handshake. Green Fields was an exception to his more understated and atmospheric works. Instead, Hirshbein's signature rural setting served as the backdrop of a happy pastoral love story.
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Opening of the Esther-Rachel Kaminska Museum
<span style="font-weight: 400;">During the <em>shloshim</em> following the death of Esther-Rachel Kaminska, her daughter Ida and her Ida's husband Zygmunt Turkov worked to create a museum in the apartment of the late actress. The <em>shloshim</em><em> (literally, </em>thirty) are days of mourning reserved for the living to accomplish study and good deeds for the sake of the safe journey of the recently deceased. According to an article published in the Yiddish daily <em>Der moment</em>, besides the photographs, costumes, and other ephemera that was part of Esther-Rachel's personal collection, Ida and Zygmunt also collected additional items from fellow actors. The article also notes that in the middle of the room stood the bed on which Esther-Rachel had died. Placed on it was the bronze death mask that was made of her face before she was buried.</span><br /><br />Above is the notice Ida and Zygmunt published in newspapers to attract visitors to the museum.
The Duke (Der Dukus) or Righteous Convert, 1925
The extraoridnary talent, Alter-Sholem Kacyzne (Yiddish, Katsizne, 1885-1941) is best known for his photographs. As a photographer working in Poland for the New York-based Forward newspaper, he became one of the most important documentarians of pre-war Jewish. Born in Vilna to a working class family, Kacyzne attended <i>heder</i> and also Russian-language Jewish elementary school. In 1910, attracted to the work and figure of Y.L. Peretz, Kacyzne moved to Warsaw where he opened a photography studio and wrote and published in Yiddish. K. began writing for the Yiddish stage after he completed An-ski’s unfinished play <i>Tog un Nakht</i> (Day and Night)Kacyzne was also a writer of prose and drama. He explained that he was drawn to an aristocratic gentile who converts to Judaism in his play <em>Dukus or Righteous Convert (</em>recently translated into English)<em> </em>, not so much as a personal story but as a social story that could illuminate the background of the Jewish community. Other plays of his include <i></i><i>Shvartsbard</i> about Sholem Schwartzbard who assassinated the Ukrainian nationalist Symon Petliura in 1926, and <i>Ester</i>, about a young Jewish woman revolutionary. He also contributed to a Yiddish adaptation of Ben Jonson’s <i>Volpone</i>, that enjoyed particular success in the early twenties in an adaption by Stefan Zweig.
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YIVO Institute for Jewish Research
<em>The Seven Who Were Hanged</em>, Leonid Andreyev
<span style="font-weight: 400;">Pictured here is director Zygmunt Turkow’s translated and adapted version of </span><i><span style="font-weight: 400;">The Seven Who Were Hanged</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Di Zibn Gehongene</span></i><span style="font-weight: 400;">, 1929). The short story by the Russian writer Leonid Andreyev, originally published in 1908, is believed to have influenced the assassin of Archduke Ferdinand II. The play tells of the fate of five leftist revolutionaries and two common peasants who have received death sentences. As they await their execution, the play depicts how each prisoner deals with and contemplates his (or her) fate.</span>
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Letterhead of Yiddish Theatrical Museum, NY
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Photo of set White Russia State Theater
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YIVO Institute for Jewish Research
Innovative Set Design on the Yiddish Art Stage
For this drama, rather than recreating a realistic looking Eastern European shtetl onstage, Aronson created what he described as an “atmospheric set, architecturally framing the action of a classical Yiddish tragedy.” Rather than replicating the descriptions of the rabbi’s home, Aronson used his sets to physically embody the Rabbi’s conceptions of evil. Aronson’s sets contain no books, no ark, no real furniture. Instead, the use of small steps and benches and abstract shapes painted on the curved wall of the house suggest these things II also opens in Reb Dan’s house, but in contrast to the angular sets of opening scene, Aronson created tense, curved forms that were meant to mimic the moral struggles of the tzaddik, who has become increasingly obsessed with and frightened by the notion that sin and evil are what has brought about the plague. Mimicking his mental and physical state, the forms of his house threaten to collapse at any moment. In this scene, Khananye, Reb Dan’s helper, has reported to him that he has seen what is happening inside the mill. The air is thick with the smell of sulfur, the inside is adorned with gold and diamonds, and tables are setup with the most decadent food and alcohol. Devils and demons, hairy and hooved with tails and horns, fly and jump and dance.Aronson also replicated elements of the stage design in the costumes of the characters, and it is through his costume design that Aronson made his strongest statement about tradition and old-world Hasidic folklore on the one hand, and modernity and America on the other. Though the costumes of the Hasidic characters were rendered in relatively traditional style, the costumes of the devils deviated greatly from conventional renderings of red devils with pronged tails and horns. Instead, Aronson conceived the demonic elements in terms of modern dress, costuming these characters in contemporary suits, dress shirts, and derby hats. Some he even clothed in tuxedos, bowties, and top hats.. In designing the costumes in this way, Aronson drew a direct comparison between sin and the latest trends in American fashion and culture, all of which he called “modern appurtenances which disintegrate Orthodox Judaism.”
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Photo Faynman grave
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YIVO Institute for Jewish Research
<strong>War Years by Yitskhak Dov Berkovitsh,</strong> program
This is a program of a performance of <em>War Years </em>by the Hebrew and Yiddish writer Yitskhak Dov Berkovitsh (1885-1967). The performance was sponsored by the left-wing group African Gezerd (Society for Settling the Jews on the Land in the USSR) that supported a Jewish homeland in Birobizhan.
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Azalel miniature theater
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The Yiddish Gang
<span><em>Di Yidishe Bande</em> (The Yiddish Gang) began in Kalisz </span><span>in 1932, then moved to Łódź and Warsaw and toured Poland until World War II. Its name was an allusion to a popular Polish cabaret known as Banda (The Gang). Consisting exclusively of professional performers, Di Yidishe Bande aspired primarily to entertainment. Its directors were the actors Dovid Lederman and Zishe Kats (1892–194?); other performers included Khane Grosberg and Ayzik Rotman.</span>
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YIVO Institute for Jewish Research
<strong>THE VILNA TROUPE,</strong> newspaper coverage and program
The Vilna Troupe was a network of theater troupes (of 250 actors) that grew from a single troupe (of 15 actors) that formed in German-occupied Vilna during World War One. It was one of a number of troupes during this period that sought to produce literary Yiddish theater instead of the melodramatic and commercial fare that drove the industry. The Vilna Troupe claimed the attention of some of the most important theater figures of its day including George Bernard Shaw, David Belasco, and Sarah Bernhardt. They were the first to perform S.Y. Ansky's The Dybbuk, and toured as many as sixty cities a year throughout the world.
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YIVO Institute for Jewish Research
<em>Tosca, </em>Giacomo Puccini
Pictured here is a program from a production of Giacomo Puccini's opera <em>Tosca</em> by the Vilna Yiddish Opera in Yiddish accompanied by Vilna's Symphony Orchestra. <em>Tosca</em>, which premiered in Rome in 1900, is based on Victorien Sardou's 1887 French-language dramatic play. The story is a melodrama set in Rome in 1800 with the Kingdom of Naples' control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder and suicide, as well as some of Puccini's best-known lyrical arias.
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YIVO Institute for Jewish Research
Interwar
Small performance Poland poetry
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Shabtai Tsvi Historical timeline
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Photo Meshugenerbatlan
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American-Yiddish Dramatic Literature II: H. Leivik, Osip Dymov, and Leon Kobrin
Later heirs of Jacob Gordin's realism was the poet-playwright H. Leivik and the playwright Leon Kobrin.<br /><br />
<p><strong>H.</strong> <b>Leivik</b><span> (1888-1962)</span></p>
<p><span style="font-weight: 400;">Leivik Halpern was born near Minsk in present-day Belarus on December 25, 1888. He received a traditional education and became politically radicalized at the time of the <a href="http://www.yivoencyclopedia.org/article.aspx/Russian_Revolution_of_1905">1905 Revolution</a>. Leivik was arrested for Bundist activity in 1906 at the age of 18, he was sentenced to hard labor in a Moscow prison, then exiled to Siberia. After three years, Leivik escaped. He then headed to the United States in 1913. Leivik identified with the American-Yiddish literary group </span><i><span style="font-weight: 400;">The Young (Di yunge)</span></i><span style="font-weight: 400;"> and established himself as a poet before turning to the stage. His first performed play was </span><i><span style="font-weight: 400;">Rags (Shmates)</span></i><span style="font-weight: 400;">, a four-act drama, which was staged in 1921 by Maurice Schwartz. Since then, it remained in the repertoire of the Yiddish Art Theatre. His other best known plays include </span><i><span style="font-weight: 400;">Shop</span></i><span style="font-weight: 400;"> and </span><i><span style="font-weight: 400;">The Golem.</span></i></p>
<p><b>Osip Dymov</b><span style="font-weight: 400;"> (1878-1959)</span></p>
<p><span style="font-weight: 400;">Not unlike Jacob Gordin whose close ties with Russia and Russian literature defined his work, <a href="http://www.yivoencyclopedia.org/article.aspx/Dymov_Osip">Osip Dymov</a> wrote his first plays for the stage in his native Russian. His first play </span><i><span style="font-weight: 400;">Golos krovi (The Voice of Blood)</span></i><span style="font-weight: 400;"> was staged in 1903 at the Maly Theatre in Saint Petersburg. Three years later, his play </span><i><span style="font-weight: 400;">Slushay, Izrail! / Shema‘ Yisra’el (Hear O Israel) </span></i><span style="font-weight: 400;">was dedicated to the victims of the <a href="http://www.yivoencyclopedia.org/article.aspx/Bia%C5%82ystok">Białystok</a> pogrom of 1906, and represented his first involvement with Jewish themes. The latter work opened at the Sovremenii Theater in 1907 and was praised by <a href="http://www.yivoencyclopedia.org/article.aspx/Jabotinsky_Vladimir">Vladimir Jabotinsky</a>. Dymov’s drama </span><i><span style="font-weight: 400;">Vechnyi strannik (The Eternal Wanderer;</span></i><span style="font-weight: 400;"> 1913), concerning problems of Jewish emigration, was translated into Hebrew and performed in 1913 for delegates to the World Zionist Congress in Vienna. The production was directed by Naḥum Tsemaḥ, the eventual founder of the <a href="http://www.yivoencyclopedia.org/article.aspx/Habimah">Habimah</a>.</span></p>
<p><span style="font-weight: 400;">In 1913, at the invitation of the Yiddish actor and theater impresario Boris Thomashefsky (1866-1939), Dymov moved to the United States. Once in the United States, Dymov wrote exclusively in Yiddish and his plays were often produced by Thomashefsky and David Kessler. Among the more popular of his plays from this time were </span><i><span style="font-weight: 400;">Yoshke muzikant (Yoshke the Musician</span></i><span style="font-weight: 400;">; known also as </span><i><span style="font-weight: 400;">Der zinger fun zayn troyer</span></i><span style="font-weight: 400;"> [The Singer of His Sorrow]; 1914) and </span><i><span style="font-weight: 400;">Bronks Ekspres </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Bronx Express</span></i><span style="font-weight: 400;">; 1919). The latter play was translated into English and produced on Broadway in 1922.</span></p>
<p><span style="font-weight: 400;">Dymov sought to improve the artistic quality of Yiddish theater, collaborating with Maurice Schwartz and Rudolf Schildkraut (1862-1930). From 1927 to 1932, Dymov worked in Germany where his plays formed part of the repertoire of the renowned Deutsches Theater which was directed by his long-time colleague and friend, Max Reinhardt. When Dymov returned to the United States, he continued to write plays and publish in the Yiddish press. Dymov was also a screenwriter, creating</span><i><span style="font-weight: 400;"> Der Vilner shtot khazn (Cantor of Vilna</span></i><span style="font-weight: 400;"> [also known as </span><i><span style="font-weight: 400;">Overture to Glory</span></i><span style="font-weight: 400;">]; 1940) with Yankev Glatshteyn (1896-1971). In 1948, the founder and editor in chief of the </span><i><span style="font-weight: 400;">Forverts</span></i><span style="font-weight: 400;">, Abraham Cahan (1860-1951), formed a committee to publish Dymov’s collected works, but the project was not ultimately pursued.<br /><br /></span></p>
<p><b>Leon Kobrin</b> (1872-1946)</p>
<p>A Yiddish playwright, novelist, and pioneer of Yiddish literature in America, Leon Kobrin (1872-1946) was born in Vitebsk, Belarus. He immigrated to the United States in 1892, where he worked in sweatshops in New York, Philadelphia, and Hoboken, and he later sold newspapers in New York. Initially a journalist, Kobrin later gained fame as a playwright as a disciple of Jacob Gordin. Among one of the most famous Yiddish playwrights of his time, Kobrin was noted for his character-driven works and his dramas were frequently staged in Yiddish theaters. Some of his most popular include Yankl Boyle, Mina (Minnah), and East Side Ghetto. With his wife, Pauline, Kobrin also translated many plays from other languages into Yiddish, including works by Anton Chekhov, Ivan Turgenev, and Guy de Maupassant.</p>
<p><span style="font-weight: 400;"> </span></p>
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Ida Kaminska, 1899-1980
Program from Teater "Metropolitain"
<p><span style="font-weight: 400;">Although acting since she was a child, Ida Kaminska came of age as a director in interwar Poland. In 1918, she married the actor and director Zygmunt Turkow, a product of Polish theater schools.Together, they founded the VYKT (Varshever Yidisher Kunst Teater, Warsaw Yiddish Art Theater), which functioned on and off primarily during the 1920s. After her divorce from Turkow in 1932, she founded her own companies with which she continued to tour. The VYKT and its successors staged plays rooted in Jewish folk life, such as works by Sholem Aleichem (1859-1916) and Sholem Asch (1880-1957), but their central mission was to bring world theater to their Jewish audiences. </span></p>
<p dir="ltr"><span style="font-weight: 400;">Kaminska played Esmeralda in </span><i><span style="font-weight: 400;">The Hunchback of Notre Dame</span></i><span style="font-weight: 400;">, Grushenka in </span><i><span style="font-weight: 400;">The Brothers Karamazov</span></i><span style="font-weight: 400;">, and scores of roles in the works of writers such as Eliza Orzeszkowa (1841-1910), Romain Rolland (1866-1944), Nikolai Gogol (1809-1852), Eugene O’Neill (1888-1953), and Bertolt Brecht (1898-1956). As a young man, familiar only with Yiddish operettas, the Polish Jewish novelist Julian Strijkowski (1905-1996) saw Kaminska perform the role of an unrepentant revolutionary on her way to the gallows in Leonid Andreyev’s (1871-1919) </span><i><span style="font-weight: 400;">The Seven Who Were Hanged</span></i><span style="font-weight: 400;">. “For the first time,” he writes, “I saw a real actress in a real theater.” </span></p>
<div><span id="docs-internal-guid-97ef8820-22c7-22dc-91e8-6334aac1aa86"><span><span id="docs-internal-guid-97ef8820-22c7-de7a-c85c-8c1860ad6a50"><span><br /><br /></span></span></span></span></div>
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1937
<em>Danton's Death</em>, George Büchner
<span style="font-weight: 400;">Written by Büchner in 1835 but not staged until 1902, <i>Danton's Death </i>follows the story of Georges Danton, a leader of the French Revolution, during the lull between the first and second terrors. The play depicts Georges Danton who created the office of the Revolutionary Tribunal as a strong arm for the Revolutionary Government. With this, to be accused of anything real or imagined was to be condemned to death without trial, proofs, evidence or witnesses. Within months he knew this power was a terrible mistake and fought to have it ended. Robespierre stopped him and used the Tribunal to have Danton and all opposition killed, consolidate his power and slaughter uncounted thousands of French men, women, and children. Ultimately he followed Danton to the guillotine. Witnesses describe Danton as dying bravely comforting other innocents executed with him.</span>
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Photo, Zilbercweig
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Program, Leksikon from Yidishen Teater
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YIVO Institute for Jewish Research
<em>The Jazz Singer, </em>Samson Raphaelson
<span style="font-weight: 400;">Ida Kaminska’s Yiddish rendition of <i>The Jazz Singer </i>was presumably based on the movie or play of the same name by Samson Raphaelson, adapted from one of his short stories, "The Day of Atonement" (1925). Kaminska adapted the source for the Yiddish stage and directed the first production in Warsaw. According to press reviews discovered in the theater museum's archive, Kaminska's Yiddish <em>Jazz Singer</em> was a success. One reviewer wrote the following enthusiastic review:<br /><br /></span><i><span style="font-weight: 400;">Ida Kaminska, with her multi-dimensional artistic talent in her role as the jazz singer really entranced the audience. The modern play, in which the action is very suspenseful, and also so Jewish, and with [Kaminska's] insightful direction, it pulls the audience in a delivers it such spiritual pleasure. It is therefore no surprise that the next two performances have already attracted a large audience. An indication of Kaminska's recognition as an artist and far her success with this production, the editors of the Kalisher Express presented her with a bouquet of flowers at her Saturday performance.</span></i>
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YIVO Institute for Jewish Research
The Collection: a Wealth of Jewish History
<em> </em>
The Museum Collection is distinctive for its vast quantity of newspaper clippings of reviews and interviews, and programs and playbills that provide detailed information about the social and cultural life of Polish Jewry from the late 19th century to the eve of World War II.
YIVO Institute for Jewish Research
1925
Program, Teater Popular Israelita, Argentina
<em>Der Selbstmorder</em>
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YIVO Institute for Jewish Research
Photo Yakov Waxman composer
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YIVO Institute for Jewish Research
Art Theater in Big American Cities
Program for The Vilna Troupe in Los Angeles 1924/1925
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YIVO Institute for Jewish Research
Handwritten program for <em>Tog un Nakht</em>
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YIVO Institute for Jewish Research
Newspaper article regarding <em>Shabtai Tsvi</em>
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YIVO Institute for Jewish Research
The Death of Esther Rachel Kaminska
In <em>My Life, My Theater, </em>Ida Kaminska writes movingly about her mother's failing health and their final performance together shortly before Esther-Rachel died. In the play, Jacob Gordin's <em>Mirele Efros</em>, Esther-Rachel played Mirele and Ida, her daughter-in-law Sheyndele:<br /><br /><strong>During the second act I had to say to Mirele (that is, to my mother), "Do you think a person can live forever?" but I could not utter the final part of the question. I got as far as "Do you think..." but the rest of the line remained stuck in my throat, Seeing this, my mother did not let me finish and replied, "I know what you mean. Don't worry. I know that a person cannot live forever." At the end of the act my mother embraced me: "My poor sweetheart, you couldn't say those words. But don't worry. Everything is all right, and I feel well."</strong><br /><br />This was Esther-Rachel's final performance: she died from cancer at the age 56 in December 1925. The news of her death brought forth a flood of emotions in Poland, as expressed in this particularly elaborate hand-written and illuminated note of sympathy: <br /><br />
<div style="text-align: center;"><strong><span style="text-decoration: underline;">The Vlatslavek Handworkers' Union<br /></span>Presented in commemoration of Esther-Rachel Kaminska, as arranged by the Vlatslavek Dramatic Union</strong></div>
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<p style="text-align: left;"><strong>No more is Esther-Rachel Kaminska, Mother of the Yiddish Theater. She fought for the people, She created (art) for the people and She died for the people. <br /><br />Your monument is the love of Yiddish theater that you planted in the productive Jewish masses.<br /><br /></strong>After she died, a death mask was made of her face, as was the fashion among celebrities. Her body was buried in Warsaw's Jewish cemetery with an elaborate monument created by the accomplished Jewish sculptor Joseph Rubinlicht. Only the gravestone of the great Yiddish writer Y.L. Peretz was bigger.</p>
Zygmunt Turkow, 1896-1970
<p><span style="font-weight: 400;"><em>"In contrast to the old ensemble Kaminski Theater, where most of the people had been old and had a primitive education, our new ensemble consisted of young, intelligent people. One of them was the twenty-year-old Sigmund Turkow, a graduate of the Polish School of Theater, directed by the famous Alexander Zelverovitch. I knew Turkow and had even gone to see him in a small Polish theater where he performed with a group from his school. He was playing leading roles there and even then had demonstrated his maturity as an actor."</em> -Ida Kaminska, </span><i><span style="font-weight: 400;">My Life, My Theater</span></i></p>
<p><span style="font-weight: 400;">The theater and film director and actor Zygmunt Turkow was one of three brothers along with Jonas and Marek Turkow who pursued their shared passion for the stage and for communal activism. The Turkow brothers were born into a comfortable middle-class Warsaw family. Zygmunt received a traditional Jewish education and attended secular schools as well as Russian and Polish drama schools. He also displayed a talent for painting and sculpture. Zygmunt performed briefly on the Polish stage, including the famed Teatr Polski in Warsaw. He also performed in Yiddish, under the aegis of Hazomir, the cultural society founded by Y. L. Peretz, and in Hebrew under a troupe directed by Naḥum Tsemakh, the future founder of Habimah, a Hebrew repertory company. In 1916, Turkow was one of the organizers of the Artistic Corner (</span><i><span style="font-weight: 400;">Artistishe Vinkele</span></i><span style="font-weight: 400;">), an amateur company that staged a literary repertoire of one-act plays. In 1917, he began to work with the Kaminski troupe, and married Ida Kaminska the following year.</span></p>
<p><span style="font-weight: 400;">After briefly working in Russian theater in Kharkov, Turkow returned to Warsaw in 1920. It was at Warsaw’s Tsentral Theater that he staged a series of critically acclaimed productions of European works. </span><i><span style="font-weight: 400;">Der karger</span></i><span style="font-weight: 400;">, Arn Aynhorn’s (1884-1942) Yiddish translation of Molière’s </span><i><span style="font-weight: 400;">The Miser</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">L'Avare</span></i><span style="font-weight: 400;">, 1921), was directed by and starred Turkow, establishing his reputation as a prodigy and defining the direction of his theatrical efforts during this period. Yiddish theater, Turkow insisted, must not confine itself to the “Jewish street” but should bring the entire world to its audiences. Subsequent productions (performed roughly between 1920 and 1923) included translations of Gogol’s </span><i><span style="font-weight: 400;">The Inspector General</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Der revizor</span></i><span style="font-weight: 400;">),Molière’s </span><i><span style="font-weight: 400;">The Love Doctor </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">L’amour médecin</span></i><span style="font-weight: 400;">), and an adaptation of Leonid Andreyev’s </span><i><span style="font-weight: 400;">The Seven Who Were Hanged </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">Rasskaz o semi poveshenykh</span></i><span style="font-weight: 400;">), the latter of which became part of the Yiddish theater repertoire. Turkow produced Yiddish plays in innovative ways. He codirected Sholem Asch's </span><i><span style="font-weight: 400;">Motke the Thief</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Motke ganev</span></i><span style="font-weight: 400;">), which attained a wild popularity second only to that of </span><i><span style="font-weight: 400;">The Dybbuk,</span></i><span style="font-weight: 400;"> and he produced Shloyme Ettinger’s (1803-1856) maskilic comedy </span><i><span style="font-weight: 400;">Serkele</span></i><span style="font-weight: 400;">, as well as Mendele Moykher Sforim’s (1835-1917) </span><i><span style="font-weight: 400;">The Conscription</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Der priziv</span></i><span style="font-weight: 400;">).</span></p>
<p><span style="font-weight: 400;">From 1924 to 1928, with Ida Kaminska, Turkow directed the Warsaw Yiddish Art Theater, continuing to bring the themes and styles of contemporary European theater to the Yiddish stage. As a director, he sought to subject the elements of every production—scenery, costumes, music, choreography, lighting, and acting—to a single conception appropriate to each work. He was one of the finest Yiddish actors of his time, capable of superb character interpretation. As a director, however, he strove to lead actors away from grandstanding and toward ensemble play.</span></p>
<p><span style="font-weight: 400;">From 1929 to 1938, Turkow collaborated with various theatrical companies in Poland, including the Vilner Troupe, as well as with Yiddish companies abroad. In 1938 in Lwow, he reestablished the VYKT, but this time Yiddish plays dominated his repertoire, staged in innovative ways, but with the explicit goal of developing a theatrical style rooted in Jewish tradition. Particularly in three new productions—Goldfaden's (1840-1908) classic operettas </span><i><span style="font-weight: 400;">Shulamis </span></i><span style="font-weight: 400;">and </span><i><span style="font-weight: 400;">Bar Kokhba</span></i><span style="font-weight: 400;">, and Yisroel Ashendorf’s (1909-1956)</span><i><span style="font-weight: 400;"> Di broder zinger</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">The Broder Singers</span></i><span style="font-weight: 400;">)—Turkow sought to create a kind of contemporary </span><i><span style="font-weight: 400;">folksshpil </span></i><span style="font-weight: 400;">(folk play)—a synthesis of drama, comedy, and operetta, interweaving serious and comic elements, music, singing, and dance. Such theater required highly skilled, multi-talented performers, whom Turkow recruited from both theater and opera. The VYKT’s </span><i><span style="font-weight: 400;">Shulamis </span></i><span style="font-weight: 400;">played in Warsaw under German attack; its final performance was on 5 September 1939 when a bomb hit the theater.</span></p>
<p><span style="font-weight: 400;">Turkow also worked in film. He directed </span><i><span style="font-weight: 400;">The Vow</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Tkies kaf</span></i><span style="font-weight: 400;">), whose theme of frustrated love resembles that of </span><i><span style="font-weight: 400;">Der dibek</span></i><span style="font-weight: 400;">, and played the role of Elijah. In 1937, the film was remade in a sound version directed by Henryk Szaro (1900-1942) with Turkow as artistic director; Turkow again took the role of Elijah. In 1937, Turkow also codirected </span><i><span style="font-weight: 400;">Jolly Beggars</span></i><span style="font-weight: 400;"> (</span><i><span style="font-weight: 400;">Freylekhe kabtsonim</span></i><span style="font-weight: 400;">) with comedian team Shimen Dzigan (1905-1980) and Yisroel Schumacher (1908-1961), and starred in Joseph Green’s (1900-1996) </span><i><span style="font-weight: 400;">Der purim-shpiler</span></i><span style="font-weight: 400;"> (1937).</span></p>
<br /><span style="font-weight: 400;">Information pulled from Miroslawa Bulat’s “Turkow Brothers” </span><i><span style="font-weight: 400;">YIVO Encyclopedia </span></i>
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YIVO Institute for Jewish Research
Photo, Politics
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YIVO Institute for Jewish Research
Photo historical operetta
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YIVO Institute for Jewish Research
Moyshe Broderzon, 1890-1956
Moshe Broderzon was born in Moscow the grandson of the Hasidic master, Rebbe Itsikl Raskin. When his family was exiled from Moscow, Broderzon settled with his grandfather in Łódź and was brought up going to kheyder and became a bookkeeper. He spent WWI and the Revolution in Moscow. Broderson sought to create a new vocabulary for the expression of modern Jewish art that was multi-faceted. He sought to integrate decorative arts, performance, music, word, and text. He insisted that Yiddish culture have a relationship with culture beyond Yiddish while at the same time he advocated the cultivation of Yiddish culture’s “internal cultural impulses.” Along with Weichert, he was one of the founders of the modernist Yiddish group Young Yidish and published Expressionistic "dramaletn" or small dramas:<em> A Snow Dance</em> (<em>A shney-tants</em>) and <em>Tsungalungn, a</em> marionette performance, and wrote and directed for the experimental marionette theater <em>Ararat.</em>
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YIVO Institute for Jewish Research
Photo, set design
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YIVO Institute for Jewish Research
<em>Race</em> (<em>Rasa</em>), Jan Fabricius
Jan Fabricius
<i><span style="font-weight: 400;">Rasa </span></i><span style="font-weight: 400;">by Jan Fabricius belongs to a genre called “Indie dramas,” that was comprised of Dutch-language realist dramas set in colonial Indonesia and the Netherlands between 1900 and 1925. Indie dramas typically dealt with issues that confronted Europeans who were living in the Dutch Indies and, therefore, largely appealed to Dutch audiences. Indie dramas explored leftist causes including class strife, prejudice towards men of mixed race, the </span><i><span style="font-weight: 400;">nyai</span></i><span style="font-weight: 400;"> or unofficial wife of the European man, social isolation, and generational conflict. Some were translated into English and German, and this program is evidence that </span><i><span style="font-weight: 400;">Race</span></i><span style="font-weight: 400;"> was translated into Yiddish.</span><span style="font-weight: 400;"><br /></span>
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YIVO Institute for Jewish Research
Yiddish and Polish
Program, <em>Mirele Efros</em>, from Ester Rokhl and Ida Kaminska Program, <em>Serkele</em> or <em>Di Yortseyt Nokh a Brider</em>
Also starring Zigmund Turkov and Yonas Turkov
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YIVO Institute for Jewish Research
1923
Program from Love is Stronger than the Law, <em>Libe iz Starker fun Gezets, El amor es mas fuerte que la ley</em>
Teater Excelsior, Argentina
Advertisement
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YIVO Institute for Jewish Research
World Charity OLA and Willy
Program, Appearance of Ola Lilith and Willy Godik, stars of the Azalel Art Theatre
Recital of Jewish Folk Songs, accompanied by Medvedeff's Russian Balalaika Players
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YIVO Institute for Jewish Research
November 23, 1930
<div style="text-align: left;">MATERIALS RELATED TO VARIOUS PRODUCTIONS OF <strong>SHABTAI TSVI </strong></div>
Various items relating to a play about the historical figure Shabtai Tsvi who lived in the seventeenth century.
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YIVO Institute for Jewish Research
Mississippi
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YIVO Institute for Jewish Research
An-ski and Yiddish Actors
<p>While An-ski had every intention of seeing <em>The Dybbuk</em> on the boards during his lifetime, history and politics interrupted. During World War I (1914-1919), An-ski spent a significant amount of time collecting funds for the relief effort and distributing food and relief to Jewish victims of the war. During these years, he continued to hone his play and test it on private audiences. He secured government permission from the Russian censor, and communicated with directors at the Moscow Art Theater about its production.</p>
<p>He also had close ties with actors of the Vilna Troupe pictured here with An-ski not long before he died. (An-ski is standing, fourth from left, among the actors of the Troupe including Dovid Herman, standing left, Alter Kacyzne, directly to An-ski's right, Sonia Alomis, middle in white shirt near An-ski, Leyb Kadison, seated right, and Mazo, seated middle). The Vilna Troupe, formed in Vilna during the last days of World War I, would be the first to perform the play. </p>
<p><br /> But An-ski himself would not see it in a professional and public production. An-ski died on November 8, 1920 and was buried next to his spiritual partner, the Yiddish writer Y.L. Peretz, in Warsaw's Jewish Cemetery. </p>
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YIVO Institute for Jewish Research
Alyssa Quint
Poverty and Work
To America
Ghetto songs
"Most of the songs were created in the ghettos set up by the Germans in 1940 in Warsaw, Kovno, Vilna, Lodz, Bialystok, Riga, Cracow, and other centers. The songs described the crowded quarters, the food scarcities, the backbreaking toil, the irritations, abnormalities, humiliations, degradations heaped upon Jews from all over Europe, who had been driven into the ghettos together. The ghetto songs reveal the capacity for suffering and the elemental will to survive--the natural urge to create, to sing and even laugh." (From <em>Voices of a People</em>, p. 424).
Folktales
Underworld
"The folksongs created in and around the environment of the Jewish underworld communicate the sentiments and experiences of its members and their world. Their songs tell us about uncertainties, hazards and risks involved, apprehensions and fears of arrests and jail terms. They also reflect bravado and cockiness, humour and mischievousness, the nostalgia for a childhood that was once safe with God-fearing, caring parents. They also reveal the deeper sentiments of love for a woman."<br /><br />(From <em>Yiddish Folksongs from the Ruth Rubin Archive</em>, p. 262).
Lullabies
"The older Yiddish lullabies usually expressed the basic aspiration of the Jewish mother in the Pale, who functioned as wife, parent, and often as provider for the family. In the role of provider lay the deeper meaning of her commitment, which was to help the male members of the family achieve a position of status in the community through their application to the study of the Torah. (...) <br /><br />The majority of lullabies, however, as the century progressed, were tender and soothing, rendering various motifs in soft, crooning melodies. The most tender cradle songs were created by the mother as she rocked her precious baby to sleep, often calling upon the good angels above to watch over her child and guard it from all evil and misfortunes. <br /><br />But the working mother, preoccupied and overworked, was not always able to sit quietly at the cradleside. So, others, in the roles of babysitters--a grandmother, an older sister, a neighbor--took her place. On the one hand, they performed the basic function of rocking the baby to sleep, and on the other, they became an outlet for sentiments and experiences of the given babysitter. One chanted a tale, another mourned the loss of an unworthy lover, a third, wearily crooning the cradle rocked to and fro, raised the bogeyman to make the baby fall asleep more quickly. (...) <br /><br />During the final decade of the nineteenth century, several lullabies of social significance were popular among working men and women." <br /><br />(From <em>Yiddish Folksongs from the Ruth Rubin Archive</em>, p. 65).
Social Significance
"During the last quarter of the nineteenth century, the songs of the craftsmen and apprentices were but a distant echo. New sounds and rhythms, under the pressure of economical and political struggles against tsarist oppression, were surfacing in a different type of Yiddish folksong, created by working men and women. These new struggle songs were heard at clandestine political meetings and street encounters with the tsarist police. Often set to a brisk marching tempo, some of the songs seem to have been created in the very heat of struggle." (Yiddish Folksongs from the Ruth Rubin Archive, p. 227).
Love Songs
"In Eastern Europe in the nineteenth century, of all the categories of Yiddish folk songs, love songs were the most numerous, popular, melodious and poetic. This fact for a time challenged a number of writers on Jewish literature and folklore, who were not able to justify this rich body of song within a community which was essentially patriarchal in structure and restrictive in its religious observance. Regardless of the constant struggle against secularity by the rabbinate, love songs were current among the people and, within their genre, were excellent reflectors of prevailing customs of mating prior to marriage, of the struggle to break away from the rigid rules imposed upon the young generation by the community and parents, as well as of sentiments of great tenderness and beauty." (Ruth Rubin, <em>Voices of a People</em>, 1963, pp. 70-71).
Solo Interview
Children's World
"From earliest infancy the Jewish child in the Pale heard singing and chanting, humming and intoning. In the home, in the back yard, in the narrow village street, in the cheder, in the synagogue, at the Shabbath table, during holidays, the children created rhymes, play songs, ditties, riddles, nonsense songs, even satirical rhymes. Despite the difficult surroundings and the multiple restrictions imposed upon the child by his adult environment, these songs are very numerous and reflect the many facets of its own brief, intense life in the children's world of fantasy and play, as well as some of the aspects of the grown-up world around him." (Ruth Rubin, Voices of a People, 1974, 1979, 2000, p. 45).
Hasidic
See "Yiddish Folksongs from the Ruth Rubin Archive" p. 214
Anti-Hasidic
"The Haskalah movement attempted to transmit to the Yiddish-speaking, Hebrew-reading Jews the thought and literature of the non-Jewish world through articles, essays, plays, poems, and songs. Although it did not attack religion, it did satirize the <em>tsadikim</em> for their fanatic behavior and blind attention to outlandish rituals and customs. Among the satirical Haskalah song writers who recognize the power of melody in dealing with Chasidism were the popular folk bards, Wolf Ehrenkrants-Zbarzher, Berl Broder, Michl Gordon, and Avrom Goldfaden, who proceeded to expose what they considered to be the worst evil of the Jewish environment. These satirists utilized Chasidic song patterns as they scoffed at the <em>tsadikim</em>, who feared the bright sun of secular knowledge, and at their blind followers, who extolled the powers of their miracle-working <em>rebeyim</em>. Te satirical song thus became one of the most effective weapons employed by the Haskalah movement in its struggle with Chasidism." (Ruth Rubin, <em>Voices of a People</em>, 1974, 1979, 2000, p. 240).
Costume sketch
Salon Circolo Napolitano concert 1909
Sunday August 8, 1909, Brazil
Program, Shlomile Milner
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Gertsedek
Photo
Yiddish plays
Golem
Photo
<em><strong>The Wolves</strong></em> (<em>Di velf</em>)
French play <em><strong>The Wolves</strong> </em>by Romain Rolland (1866-1944)
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The Life of Esther-Rachel Kaminska
<p><span style="font-weight: 400;">This theater museum collection’s namesake is Esther-Rachel (Ester-Rokhl) Kaminska. Esther-Rachel’s reputation was marked by her far-reaching talent as a preeminent Yiddish actor, the maternal presence she projected to her fellow actors and admirers, and the hurdles she overcame in putting on Yiddish theater in the Russian Empire. Esther-Rachel was born in 1870 in a </span><i><span style="font-weight: 400;">shtetl</span></i><span style="font-weight: 400;"> called Porozovo, Grodno Province, the seventh and final child of an aging cantor and ritual slaughterer and his wife. According to her memoirs, Esther-Rachel always had an ear for song--from those sung by yeshiva students to those of the peasants. She dreamed of life in the big city, where some of her siblings had already gone. </span></p>
<p><span style="font-weight: 400;">In 1885, at the age of fifteen, she reached Warsaw. There, her older brother introduced her to Yiddish theater's foremost pioneer, Avrom Goldfaden (1840-1908). Goldfaden, a Russian-Jewish intellectual, theater impresario, and composer, had negotiated permission to stage Yiddish theater--mostly operettas--with the Russian government in 1878. Most of these performances by Goldfaden and, eventually, competing impresarios, were staged in Odessa, now in the Ukraine, as well as in Moscow and St. Petersburg. <br /><br />By 1883, however, the Russian government banned the Yiddish theater once again. The effect of the ban was to push Yiddish theatrical activity westward into Polish lands, away from the city and into towns, with some activity in Warsaw. Soon after Goldfaden and Kaminska’s fateful meeting, Goldfaden gave up on Yiddish theater in the Russian Empire. Kaminska, however, did not. Over the following eight years, Kaminska performed intermittently in Warsaw and in small towns while supporting herself with a range of small jobs, such as cigarette-rolling, umbrella-making, and shoe-shining. </span></p>
<p><span style="font-weight: 400;">In 1893, she joined a troupe that performed regularly in Warsaw's El Dorado Theater. It was here that she quickly moved her way from chorister to lead, the first of which was the character of Mirele in Goldfaden's play </span><i><span style="font-weight: 400;">The Sorceress</span></i><span style="font-weight: 400;">. Those around her immediately recognized her stage presence and vocal talent. For the following ten years, Kaminska played three Goldfaden characters again and again: Mirele in </span><i><span style="font-weight: 400;">The Sorceress,</span></i><span style="font-weight: 400;"> Dinah in </span><i><span style="font-weight: 400;">Bar-kokhve</span></i><span style="font-weight: 400;">, and Esther in </span><i><span style="font-weight: 400;">Ahashverus</span></i><span style="font-weight: 400;">. By the turn of the century, Kaminska and her husband and troupe manager, Avrom-Yitskhok Kaminska (1867-1918), broadened the Yiddish theatrical repertoire with dramatic offerings from the American Yiddish playwright Jacob Gordin (1853-1909) and materials they themselves translated into Yiddish. For instance, in 1903, they produced Maxim Gorky's best-known play </span><i><span style="font-weight: 400;">The Lower Depths </span></i><span style="font-weight: 400;">(1901).</span></p>
<p><span style="font-weight: 400;">While a range of legal obstacles and government prohibitions to the production of Yiddish-language performance were in place until World War I, Esther-Rachel, in collaboration with other persevering pioneers of Yiddish theater, continued to perform. She, alongside others, worked to reform Yiddish theater according to the highest standards of European drama. As Esther-Rachel grew more ambitious, her renown grew beyond Yiddish-speaking audiences. Her fame unlocked opportunities to perform in more prestigious venues within the Russian Empire, as well as even an invitation to perform in America, where she traveled in 1909. At this point, she was the most acclaimed Yiddish actress in the world.</span></p>
Writing the history of the Yiddish theater
Stamps Photo Scholars Work
The founding of the Theater Museum coincided with the fiftieth anniversary or jubilee of modern Yiddish theater, founded in 1876 by the Russian-Jewish intellectual and impresario, Avrom Goldfadn. In 1926, efforts were well underway to write the history of the theater. This effort included the work of the editor of the <em>Encyclopedia of the Modern Yiddish Theater,</em> Zalmen Zylbercweig (center).
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Yiddish
Program from a play with Lidya Pototska (?-?) called "Romance" (Romans)
Lidya Pototska first performed in a Russian adaption of <em>Romance</em> in Kovno in 1921 and she performed in a Yiddish version of the play in 1928 in Galicia.
<p><em>Romance </em>was written by Edward Sheldon (1886-1946) in 1913 and was legendary on the stage and on the screen. It is no wonder it captured the attention of actors in Eastern Europe.<br /><br />The drama was made into a 1920 silent film and 1930 motion picture with Greta Garbo.</p>
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People's Theater of Nachum Lipovski
Yiddish
A review of the performance of Klara Yung in "The Evil Inclination in Pants"
A review by Moyshe Litvakov
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YIVO Institute for Jewish Research
Yiddish
<strong><em>Our Beliefs </em></strong>(<em>Unzer Gloyben</em>) 1925.
Program for a production of Sholem Asch's 1915 play <em><strong>Our Beliefs</strong></em> (<em>Unzer gloyben</em>), directed by S. Toltchinsky.
A playbill of a Yiddish theater production at the Liga Cultural Israelita, Porto Alegre
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YIVO Institute for Jewish Research
1925 Porto Alegre, Brazil.
Portuguese and Yiddish
<em>The Wolves</em>, Romain Rolland
<span style="font-weight: 400;">Zygmunt Turkow translated, staged, and acted in a Yiddish version of <em>The Wolves</em> by French writer and Nobel Prize winner, Romain Rolland (1866-1944). Rolland was a significant influence on participants of the Interwar Yiddish Art Theater. He was an outspoken pacifist, a Communist, and also an important force in the democratization of the theater. </span><br />
<p><span style="font-weight: 400;">With <em>The Wolves</em>, Turkow sought to create epic effects with his staging by layering simultaneous action in the foreground and background. He deployed lighting and shadow to create the effect of crowds on the stage and the unfolding of history. </span></p>
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2017
Photo operetta troupe Vaksman
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YIVO Institute for Jewish Research
At Night at the Old Marketplace
Although written before World War I, Y.L. Peretz's <br /><em>At Night in the Old Marketplace </em>rose to become a symbol of the creative ambition of interwar Yiddish theater directors. Adhering closely to the form and even the content of Staniślav Wyśpianski's <em>The Wedding (1901)</em>, itself a defining work of Poiish drama, <em>At Night in the Old Marketplace </em>calls for a cast of over 100 people and relates a dreamscape of <em>shtetl</em> characters where the dead mingle with the living. The play was not mounted during Peretz's lifetime due to both political obstacles and lack of a sufficiently developed Yiddish-language theater company. With sufficient talent and resources in place, directors after revived it several times after 1919. A work that spoke to a symbiotic relationship between Yiddish and Polish culture, as well as the avant-garde aspirations of the Yiddish theater, <em>At Night in the Old Marketplace </em>reveals how important Peretz was in laying the groundwork for Yiddish theater during this period. <br /><br />This theater program (undated) documents a performance of <em>At Night </em>that was directed by Dovid Herman, music by Joseph Kaminska (the son of Esther-Rokhl Kaminska); set design by Władysław Zew Wajntraub (Chaim Wolf Wajntrojb) c.a. 1891-1943) and choreography by Leah Rotboym, the sister of the director Jakub Rotboym.
RG8, Box 93182
YIVO Institute for Jewish Research
The Vilna Troupe, 1919
The Vilner Troupe coalesced during World War I--in 1915-- in the wake of Germany's conquest of Vilna. It began with the petition by Leyb Kadison and Alexander Azra (b.1892), both painters by training and amateur actors, OF the German military for permission to stage Yiddish theater. The German commander of Vilna granted their request. The German military presence in Vilna created hospitable conditions for Yiddish theater, in part because German soldiers discovered how much they were able to understand of Yiddish. Moreover, its Jewish audience was also uncommonly large due to the large numbers of and Jewish refugees evacuated by the Russian military from other areas of Lithuania who had streamed into Vilna. Kadison himself was one such refugee.<br /><br /> It was not long before the Vilner Troupe's productions were reviewed reguarly by German-Jewish critics in Germany, who considered them as part of the European theatrical landscape. In November of 1916, the Germany army offered the Vilner Troupe the ornate Vilna Municipal Theater, and not long after this, the troupe began touring in Germany and other cities in Western Europe. By 1918, several Vilner Troupes operated simultaneously in multiple locales. In 1919, the Polish military took command over Vilna and the theatrical society that regulated the Vilner Troupe from Vilna submitted to the Union of Yiddish Actors (the farayn), founded after Polish Independence. The Vilner Troupe was responsible for furnishing the union with many of its first members.
RG8, Box 41
YIVO Institute for Jewish Research
Review of Klara Yung
Klara Yung Soviet
Klara Yung with Picture
RG8, Boxes 49108, 49110 and 49112
YIVO Institute for Jewish Research
An inventory of items in the Ester-Rokhl Kaminska Theater Museum Collection
This inventory was likely written by one of six staff members assigned to work with the Ester-Rokhl Kaminska Theter Museum Collection at YIVO.
RG8
YIVO Institute for Jewish Research
c. 1930
Bay Nakht program
RG8, Box 41
YIVO Institute for Jewish Research
Ararat letter to Zalmen 1918
RG8, Box 19188
YIVO Institute for Jewish Research
Photo Argentina Theater
RG8
YIVO Institute for Jewish Research
A review of the performance of Yiddish actress Klara Yung in the Soviet Union
A review entitled "The Evil Inclination in Pants" by Moyshe Litvakov
RG8
YIVO Institute for Jewish Research
Newspaper format
Yiddish
<div style="text-align: center;">Programs for two separate productions of <strong><em>The Green Fields</em> <br /></strong>(<em>Di Grine Felder</em>)</div>
Two programs of productions of Peretz Hirshbein's pastoral drama The Green Fields, both directed by Dovid Herman.
RG8
YIVO Institute for Jewish Research
Playbill of Dramatic Recital by Baruch Lumet NYC
RG8, Box 36198
YIVO Institute for Jewish Research
April 3, 1931
Yiddish and English
actors no work soviet letter from unemployed soviet Yiddish actors
RG8
YIVO Institute for Jewish Research
<em>Day and Night</em> (T<em>og un nakht</em>), <em><br /></em>
The original Yiddish play <em>Day and Night</em> continued Ansky's legacy of ensemble Yiddish theater. Ansky only put fragments of it down on paper which were published in his Collected Works. But he had fully realized it in his imagination and relayed his vision to Sofia Sorkin-Binshteyn soon before his death. The photographer and playwright Alter Kacyzne took it upon himself to complete a draft of the play so it could be produced on stage. It was staged in Warsaw in 1925 and was also put on in New York City in a different version (see the gallery on literary Yiddish theater in the Americas).
RG8
YIVO Institute for Jewish Research
Studio photograph of the Warsaw Yiddish Art Theater (Varshever Yidisher Kunst Teater, VYKT).
Included in the photograph are Esther Rachel Kaminska (seated) her daughter, the actress Ida Kaminska, and her son-in-law Zygmunt Turkov
RG8
YIVO Institute for Jewish Research
1925
photograph
Ida Kaminska
Ida Kaminska was the creator of the Esther Rokhl Kaminska Theater Museum Archive
JK
RG8
YIVO Institute for Jewish Research
Tape 72 - Songs about Soldiers and Wars
Ballads
"A typical ballad is a plot-driven song, with one or more characters hurriedly unfurling events leading to a dramatic conclusion. At best, a ballad does not tell the reader what’s happening, but rather shows the reader what’s happening, describing each crucial moment in the trail of events." (from Poets.org)
Yudin, Feygl
Born Shatsky in Visoko-Litovsk, White Russia, approx. 1905. <br />Occupation: Needle-trades worker.<br />[From blue index, RG 620, box 30]<br /><br />See comment about Feygl Yudin by Ethel Raim on the blog <a title="Yiddish Song of the Week - Feygl Yudin" href="https://yiddishsong.wordpress.com/2015/10/21/bay-a-taykhele-performed-by-feigl-yudin/" target="_blank" rel="noopener">"Yiddish Song of the Week"</a>
<a title="Yiddish Song of the Week - Feygl Yudin" href="https://yiddishsong.wordpress.com/2015/10/21/bay-a-taykhele-performed-by-feigl-yudin/" target="_blank" rel="noopener"></a>
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