The Yiddish Tango: From Argentina to Eastern Europe and Back

The Yiddish Tango: From Argentina to Eastern Europe and Back


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

a presentation by

Joan O. Epstein, Prof. of Music, Eckerd College, St. Petersburg, FL

Jun. 19, 2013 – College Music Soc. Int. Mtg., Buenos Aires, Argentina & Feb. 22, 2015 – Sunday Morning University, CBI St Petersburg, FL

Landmarks in Argentinian Jewish History

16th – 18th Century: Significant numbers of marranos, secret Jews, most of them Sephardic, settled in Argentina in response to the
Inquisition. Many assimilate.

1813: Argentina, now independent of Spain, declares end of Inquisition. Jewish immigration from Central and Eastern Europe
begins.

1860: First Jewish wedding recorded in Buenos Aires; first congregation founded soon afterward.
1880s: Pogroms in Eastern Europe attract thousands of Jews barred from entering North America.
1889: Moiseville established by 824 newly arrived Jewish gauchos. Residents appeal to Baron Maurice de Hirsch

who founds the Jewish Colonization Association. Eventually, over 100,00 Jews settle the Pampas.
1906-1912: 13,000 per year Jews leave Eastern Europe, Morocco & Ottoman Empire for urban Argentina. Many

with musical ability join tango orchestras; many of their children become major tango performers,
composers & orchestra conductors.
1920: 150,000 Jews live in Argentina, the newest arrivals, nearly all in Buenos Aires.
1930s: Continued immigration to Buenos Aires & Rosario from countryside and Europe as the Holocaust unfolds.
Numerous noted Jewish classical and film music composers settle in Argentina to escape the Nazis.
1946-55: Some Jews leave for Israel and North America under Peron. Nonetheless, 310,000 Jews live in Argentina in 1960s.
1976-83: Terrible period of “the disappeared” under a military regime causes more Jews to leave.
1992 & 1994: Bombings of Israeli Embassy & AMIA Community Center caused further emigration.
2013: Still considerable anti-semitism in Argentina, yet 150,000 Jews remain; 7th largest Jewish community in the world.

Yiddish Tangos on Commercial Recordings

Pre-WW II Tango Songs & Dance Tunes

Beygelman, Dovid & Moshe Broderson. “Ikh ganve in der nakht” musical Der katerinshtshik [The Organ Grinder].
(“I Steal in the Night”). (Popularized at Ararat Yiddish Revue Sandler, Jacob. “Main erster Tango” (“My First Tango”). (Sandler, a

Company of Lodz.) singer and choral conductor, worked both in Yiddish theater and

Beygelman, Dovid & Moshe Broderson. (TZ 8124) “Tsi darf es azoy liturgical jobs in New York and Philadelphia after emigrating from
zayn?” (“Does it Have to Be This Way?”). (Popularized at Ararat Russia. Recorded several of his tango songs before 1931 death.)
Yiddish Revue Company of Lodz.)
http://www.youtube.com/watch?v=nuIE1JUWwz0
Ciganeri, Jeremia & Abraham Szewach. “Far Mentshn bin Ikh freylekh”
(“People See Me Happy”) (TZ 8124) (Yiddish theater tango, Bs. As.) Sandler, Jacob. “Tango Margarita.” (RGS 1261-2)
Sandler, Jacob & L. Cibutaru. “Ich hob dich Lieb” (“I Have Your Love”).
Ciganeri, Jeremia & Abraham Szewach. “Ikh vel laydn in der Shtl”
(RGS 1261-2) (This is one of many songs created by this pair for the
(“I Will Suffer in Silence”) (TZ 8124) (Yiddish theater, Buenos Aires.)
Ciganeri, Jeremia & Abraham Szewach. “Vu iz dayn Shmeykhl?” New York Yiddish theater.)
Sandler, Jacob & L. Cibutaru. “Tate, Mame” (“My Father, My Mother”).
(“Where Is Your Smile?”) (TZ 8124) (Yiddish theaters, Buenos Aires.)
(RGS 1261-2) (This was a staple in the New York Yiddish Theater
Ellstein, Abraham & Jacob Jacobs. “Farges Mikh Nisht” (“Forget Me
Not”). (TZ 8124) (From the New York Yiddish operetta Mayn Malkele and was often performed in tango style.)
[My Little Malke]). Sandler, Jacob & L. Cibutaru. “Zwei Schwartze Oygn” (“Two Black

Ellstein, Abraham & Molly Picon. “Mazl” (“Luck”). (TC 4297) (Created Eyes”). (RGS 1261-2) Another song from the New York Yiddish
for Yiddish film Mamale.)
theater rendered by Sandler as a tango.)
Ellstein, Abraham & Molly Picon. “Oygn” (“Eyes”). (From Jacob Strock, Oskar & Isroel Sabeschinski. “Farges mikh nisht” (“Do Not

Kalich’s Yiddish stage production Eyn mol In lebn [Once in a Forget Me”). (TZ 8124) (Popularized by Russian gypsy singer Pjotr
Lifetime]).
Gold, Artur. “Gdy w ogrodzie botanicznym” (“In the Botanical Garden”). Leschenko.)
Strock, Oskar & S. Krontayer. “Vu ahin zol ikh gehn?” (“Where Shall I
(In Polish, composed by noted Warsaw musician Gold who perished
in the Treblinka concentration camp in 1943.) Go?”). (Popularized by Leo Fuld and Menasha Oppenheim in
Matos-Rodriguez, Gerardo. “La Cumparsita.” (“The Little Parade”).
Europe, Israel and U.S.) (youtube.com/watch?v=paCyqYX-SC8)
(RGS 1261-2) (First performance, 1917, at café La Giralda, Witler, Benzion. “Ales farloyrn” (“Everything is Lost”). (TZ 8124) (Tune
Montevideo, Uruguay. Later recorded in Yiddish by José Derasner
Maud, Zuni. “Di Grine Katshke” (“The Green Duck”). (Living Traditions) taken from pre-war Polish tango; used in Yiddish stage productions
(Quirky autobiographical song by the leading Yiddish puppeteer of
the 20th century; tune is in tango rhythm.) in both Buenos Aires & New York during the war.)
Meyerovsky & Benzion Witler. “Ikh hob Tsayt, Ikh vel vartn” (“I Have Witler, Benzion. “Gedenk” (“Thought”). (RGS 1261-2) (Adapted from a
Time, I Will Wait”) (TZ 8124) (Popularized in the Yiddish theaters of
folk tune for use on the Yiddish stages in Buenos Aires & New York.)
both Buenos Aires & New York.) Witler, Benzion. “Libste” (“Beloved”). (RGS 1261-2)
Olshanetsky, Alexander & Chaim Tauber. “Ikh hob dikh tsufil Lib” (“I
Yablokoff, Haiman. “Papirosen” (“Cigarettes”). (RGS 1261-2) (Yiddish
Love YouToo Much”). (TZ 8124) (From the New York Yiddish words added to a popular Polish tune in 1932 by this lyricist,
musician, Yiddish theater director. A starving orphan boy tries to sell

hand-rolled cigarettes on the streets. In Buenos Aires, papirosen
was also a name for prostitutes, which may explain its adoption as a
tango song and musical theater number there and elsewhere.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Poster Yiddish Tango Gold & Peterburski A Ghetto Orchestra Ghetto Yiddish Auschwitz Camp Musicians Camp Orchestra
Dancer Band Theater Orchestra

Original Songs from the Nazi-Era Ghettos and Campa

Beygelman, Dovid. “Kinder Yorn” (“Childhood Years”). (TZ 8124) Kaczerginski, Shmerke. “Yid du Partizaner” (“Jew, Partisan”).
(Written in Lodz Ghetto.) (TC 4297) (Song from Vilna Ghetto celebrating Jewish partisans.)

Beygelman, Dovid & Isaiah Shpigl. “Makh tsu di eygelekh” (“Close Petersburski, Jerzy & Ramon Collazo. “Pato.” (Serena-Electro 1929)

Your Little Eyes”). (TC 4297) (Written in Lodz Ghetto.) Petersburski, Jerzy & Zenon Friedwald. “Ta ostatnia niedziela” (“Our
Beygelman, Dovid & Isaiah Shpigl. “Nit kayn rozhinkes” (“No Almonds Last Sunday”) (Serena-Electro 1936) (Also Serena-Electro 8708 in
Hebrew - youtube.com/watch?v=5ha92yBAB-c) (Also Gidon Kremer
& Raisins”). (TC 4297) (Written in Lodz Ghetto addressing Yiddish
& company - youtube.com/watch?v=C071-M1e5Vk)
drama on the nostalgic Yiddish almonds & raisins theme.) Rosental, Leyb. “Mir Lebn Eybik” (“Love Me Forever”) (RGS 1261-2)
Brodno, Avrom & Shmerke Kaczerginski. “Friling” (“Springtime”). Rozental, Leyb with Misha Veksler. “Peshe fun Reshe” (“Peshe, the

(TC 4297) (TZ 8124) (Written by Kaczerginski after wife Barbara died Girl from Reshe”) (TC 4297) (Written for revue of the same name in
Vilna Ghetto, starring Rozental’s sister Chayele, shortly before Leyb
in the Vilna Ghetto.) was taken to German camp in Estonia and ultimately shot there.)
Broydo, Kasriel. “Moyshe halt zikh” (“Moses, Hold On”). (TC 4297)
“Dos Lid fun bialystoker Geto” (“Song of the Bialystok Ghetto”). Scheider, Klemens. “Ich hab’ kein Heimatland” (“I Have No
Homeland”). Marek Weber Orch. (Electrola 3072, 1933)
(TZ 8124) (Unknown author)
Gebirtig, Mordkhe. “Minutn fun Bitokn” (“Moments of Certainty”). Veksler, Misha & Leyb Rozental. “Yisrolik” (“Ghetto Kid”).(TC 4297)

(TC 4297) (Krakow Ghetto.) (Vilna Ghetto)
Weill, Kurt & Bertolt Brecht. “Song of the Nazi Soldier’s Wife.”
Hershkovitz, Yankele. “Amerike hot erklert” (“America Has Declared”).
(TC 4297) (Re creation of a Jewish state in Palestine; Lodz Ghetto.) (TC 4297) (Written after these famous artists escaped from

Hershkovitz, Yankele. “Vayl ikh bin a yidele” (“Because I Am a Jew”). Germany, then broadcast in Europe to bolster morale.)

(TC 4297) (One of many of Hershkovitz’s Lodz Ghetto songs)

Transformed Songs from the Nazi-Era Ghettos and Camps

Broydo, Kasriel. “Dos Transport Yingl” (“The Boy from the Transport”). “Mues” (“Money”). (TC 4297) (Transformation of American jazz tune
(TZ 8124) (Tune by unknown composer; written in Vilna Ghetto.) “Jada, Jada” to reflect degradations of living in Warsaw Ghetto.)

Broydo, Kasriel. “Tsi darf es azoy zayn?” (“Does it Have to Be This “On a Heym” (“Homeless”). (TZ 8124) (Sosnow Ghetto transformation

Way?”). (TZ 8124) (Transformation of original by Dovid Beygelman & of Yiddish film song “Mazl” [“Luck”] by Abraham Ellstein & Molly
Moyshe Broderzon; Vilna Ghetto.) Picon.)
Glezer, Rikle. “Es iz geven a zumertog” (It was a summer day”) Pickett, Frederick. “The Bar Mitzve Speech.” (TC 4297) (Set to short

(TZ 8124) (based on Yiddish theater hit “Papirosn” [“Cigarettes”). text discovered in archives of German Displaced Persons Camp
(Adapted by this 12 year-old girl to describe mass murders at Ponar authored by 13 year-old survivor.)
and the establishment of the Vilna Ghetto.} Tsarfat, Ruven. “Yidish Tango” (“Yiddish/Jewish Tango”). (TZ 8124)

Goldberg & Sh. Sheynkinder. “Coolies.” (TC 4297) (Rewritten Oriental (Based on“Shpil zhe mir a lidele oyf yidish” [Sing for me a little song
kitsch song to reflect life in Warsaw Ghetto.) in Yiddish], original melody by Henech Kon, original lyrics by Yosef
Kotliar). (Reworked as a resistance song in Kovno Ghetto.)
Kaczerginski, Shmerke. “Der Tango fun Oshvientshim” (“The Tango of
“Ver klapt es?” (“Who’s Knocking?“). (TC 4297) (Lodz Ghetto
Auschwitz”). (TZ 8124) (Based on Polish song entitled “Niewolnicze transformation of a popular folk song.)
tango” [“Tango of slaves”]).
“Moorsoldaten” (“The Peat Bog Soldiers). (TC 4297) (First known Warshawsky, Mark & Avrom Akselrod. “Fun der Arbet” (“Slave Labor”).

song written in a German concentration camp - Börgermoor (TC 4297) (Transformation of Yiddish song “Oyfn Pripetchik” [“On
Concentration Camp in 1933; later transformed by Resistance.) the Hearth”] in Kovno Ghetto.)

Some Post-war Yiddish Tangos

Gerro, Henri. “A Bisale Glik” (“A Little Luck”). (RGS 1261-2) (Gerro arrived in Argentina either during or shortly after WW II, married the singer Rosita
Londner, then moved her to Paris, their base for a career as Yiddish theater performers and singers.)

Gerro, Henri. “Skripka.” (RGS 1261-2) (Another popular Yiddish tango by Gerro.)
Meyerovsky & Benzion Witler. “Ikh hob tsayt, Ikh vel vartn” (“I have time, I will wait”). (TZ 8124) (Popular Yiddish theater tango in New York & Bs. As.).
Potock, Bernard. “Rivka Ben Zabes.” (RGS 1261-2) (Yiddish version of “Duelo Criollo” by Juan Batista Rezzano recorded In 1949. Potock regularly led

a band at Dave Cash’s cabaret in Paris.)

Noted Argentine Jewish Tango Musicians

Isaco Abitbol (1917-1994) Born in Alvear, Corrientes & moved to Buenos Aires in 1930. Highly regarded bandoneonist; founded Cuarteto Santa
Ana with an extended discography.

Mordechai David “Max” Glücksmann (1875-1946) Arrived 1890. Became importation agent for Odeon Records, 1904. Founded Discos

Glücksmann which had cornered the tango market in Argentina by 1914. Also had movie theaters that showed tango.
Moisés Smolarchik Brenner AKA Ben Molar (b. 1915) Instituted National Day of Tango as Dec. 11, the shared birthdays of tango greats Carlos

Gardel and Julio de Caro.

Josef Nezow AKA José Nieso Violinist & composer. Debuted in 1927 with the orchestra of Roberto Firpo.
Oscar Rubens (1914-1984) Younger brother of Luis Rubistein. Also known as a poet and composer of tango songs. Dozens of important songs

including "Mientras duerme la ciudad" and “Es en vano llorar" (with Alberto Suárez Villanueva), "Los muñequitos” (Francisco Pracanico), "Calla

bandoneón" (Carlos Lazzari), "Dejame en paz" (Américo Actis), "Corazón qué has hecho" (Antonio Ríos) and "Domingo a la noche."
Luis Rubistein (1908-1954) Family sailed from Odessa in 1902. Best know as a composer of tango songs. Famous tunes include “Charlemos”

(Let's Talk), “Cuatro palabras” (Four words), “Tu perro pekinés” (Your Pekinese dog), “Inspiración” (inspiration), “Ya sale el tren” (The train

leaves), “Cadenas” (Chains), “Animal,” “ Nada más” (Nothing more), “Tarde gris” (Grey afternoon) -recorded with Carlos Gardel- and “Marion.”
Abraham Moisés “Alberto” Soifer (1907-1977) Family sailed from Odessa in 1902. Established as a pianist & composer by 1920. Established

partnerships with many top tango performers in the 1930s. Had several important tango orchestras in Buenos Aires and provided music for many films.

Bernardo Mendel Sucher AKA Manuel Sucher or “Manola” (1913-1971) Bourgeois parents came from Odessa in 1901. Established as a violinist &
pianist in Rosario by 1920. Formed partnership with bandeleonist Felix Liesker in 1930. Went on to establish important tango orchestra in Buenos
Aires and to compose and arrange tango music.

Noted Jewish Musicians who Emigrated to Argentina in the 1930s

George Andreani (Joseph Kumok): Composer and conductor for 38 film scores in Prague and Berlin before arrival in ’37; composed and conducted
another 70 film scores in Argentina.

Dajos Béla: Violinist and conductor with dance orchestras in Europe. Continued these roles in Argentina after arrival in ‘36.
Teodoro Fuchs: Born in Germany; arrived from Istanbul in ’37. Esteemed classical composer and conductor of Symphony Orchestra of Córdoba.
Jean Gilbert (Max Winterfield): Composed 50 operettas in Berlin; engaged as conductor of orchestra for Radio Del Mundo on arrival in ‘39; composed

film scores till death in 1942.
Guillermo Graetzer: Modernist who studied with Hindemith and others before leaving Europe in ‘39. Composed in many modern styles into the ‘60s.

Guillermo Graetzer Composition Competition named in his honor posthumously.
Victor Schlichter: Prolific film composer and conductor in Vienna & Berlin; also founded and played violin in the Viennese Bohemians quartet. Arrived

in Buenos Aires in ‘36. Lived to ‘86, leaving huge body of film and television scores, children’s songs, carols and children’s theater pieces.
Alexander Senkar: Budapest-born composer of symphonies, suites, lieder, chamber music and theater music; also notable conductor. Arrived in ’38.

Conducted orchestra of Teatro Colón; founded and directed Camerata Academica de Buenos Aires. Later conducted Radio Symphony Orchestra of
Uruguay.
István Weishaus: Conductor and violinist, arrived in ‘34. Conducted several radio orchestras and composed many famous waltzes.

Prominent Living Jewish Musicians of Argentine Birth

David Barenboim (b. 1942) Born in Buenos Aires to Russian Jewish parents and taught piano exclusively by them, he moved in 1954 to Israel to begin
his highly successful career as a pianist and conductor. Currently, he is general music director of La Scala in Milan, the Berlin State Opera and the
Staatskapelle, Berlin. Previously he was Music Director of the Chicago Symphony Orchestra and the Orchestre de Paris. Also known for his work
with the West-Eastern Divan Orchestra in Seville that brings together Israeli and Palestinian musicians.

Mario Davidosky (b. 1934) Born in Médanos, Argentina, near Bahia Blanca, of Lithuanian Jewish parents. Studied violin and composition at U. of
Buenos Aires, then composition with Aaron Copland and Milton Babbitt at Tanglewood in 1958. He moved permanently to the U.S. in 1960, eventually
assuming the directorship of the Columbia-Princeton Electronic Music Center. Famous for his Synchronism series for live performers and electronics as
well as his acoustic compositions, he has taught at Columbia U., Harvard U. and many other schools. He now teaches at the Mannes School of Music.

Giora Feidman (b. 1936) Exceptional klezmer clarinetist now based in israel. Began career in Teatro Colón Symphony Orchestra, then moved to Israel
where he played with the Israel Philharmonic for 20 years before moving on to solo career. On soundtrack of Schindler’s List. One of many recordings
is 1990 release Clarinetango.

Osvaldo Golojov (b. 1960) Born and raised in La Plata into a family of Romanian and Russian Jews, he studied music first with his mother and
teachers of the local conservatory, then went to Israel where he studied at the Jerusalem Rubin Academy, then moved to the U.S. to earn a doctorate
at U. Penn under George Crumb. A highly sought-out composer and creative collaborator, he has taught at College of the Holy Cross in Worcester,
MA since 1991.

Alejandro Lerner (b. 1957) Buenos Aires-born popular song writer and singer, Lerner ultimately developed a prominent solo career but is well-known
for his collaborations with Luis Miguel, Paul Anka, Celine Dion and Carlos Santana.

Oscar Strasnoy (b. 1970) Born in Buenos Aires and initially trained at the Conservatorio Nacional Superior de Música as a composer, conductor and
pianist, Strasnoy has gone on to a prominent career as a composer of opera and choral works in France, Italy and Germany.
Ramón Tasat (b. 1960) Born in Buenos Aires of Sephardic parents, Tasat studied in 5 countries including the U.S. where he received a Ph.D. from
the U. of Texas at Austin. Now a cantor near Washington, DC, Tasat has produced numerous recordings of Ladino secular and liturgical music and
tours widely.

Some Sources on the Yiddish Tango

Burke, Russ. “Artur Gold & Wladyslaw Szpilman: The Conductor & The Pianist.” Poland. Holocaust Education & Archive Research Team, 2008.
Web. 5 Jun. 2013 <http://www.holocaustresearchproject.org/nazioccupation/gold&szpilman.html>

Cohen, Donald. Tango Voices: Songs from the Soul of Buenos Aires and Beyond. New York: Wise, 2007. Print with CD.

Cooper, Adrienne & Zalmen Mlotek. Ghetto Tango: Wartime Yiddish Theater. Traditional Crossroads, 2000. CD. (TC 4297)

Czackis, Loica, 2004. El tango en idish y su contexto histórico. Recreando la Cultura Judeoargentina/2 – Literatura y Artes Plásticas, 2, 29-40. Print.

Czackis, Lloica, 2003. Tangele: The History of the Yiddish Tango. The Jewish Quarterly, 50(1 (189)), 44-52. Print.

Czackis, Loica. Tangele: The Pulse of Yiddish Tango. Tzadik, 2008. CD. (TZ 8124)

Czackis, Lloica. “Yiddish Tango During the Holocaust.” Music and the Holocaust. ORT, n.d. Web. 3 Jun. 2013.
<http://holocaustmusic.ort.org/music/yiddish-tango/>

Fackler, Guido. “Music in Concentration Camps: 1933-1945.” Music & Politics. UCSB Press, 2007-1. Web. 6 Jun. 2013.
<http://www.music.ucsb.edu/projects/musicandpolitics/archive/2007-1/fackler.html>

Flam, Gila. Singing for Survival. Bloomington: Indiana U. Press, 1992. Print.

Glocer, Silvia. “Jewish Composers Exiled in Argentina During the Nazi Period (1933-1945).” Articles & Essays. Orel Foundation, n.d. Web. 3 Jun. 2013.
<http://orelfoundation.org/index.php/journal/journalArticle/jewish_composers_exiled_in_argentina_during_the_nazi_period_1933-1945/>

Judkovski, José. El Tango: Una Historia con Judios (Tango: A Story with Jews). Buenos Aires: Fundadacion IWO, 2003. Print.

Judkovski, José. El Tango: Una Historia con Judios (Tango: A Story with Jews). Gabriel Pomeraniec, Dir. , 2011. Documentary Film.

Kalisch, Shoshana. Yes We Sang. New York: Harper & Row, 1985. Print.

Katsherginski Shmereke & H. Leivick. Lider fun di getos und lagern (Songs from the ghettos and camps). New York: AYKK, 1948. Print.

Mlotek, Eleanor Chana. We Are Here. New York: Workmen’s Circle, 1983. Print.

Parker, Ron. “A Brief History of the African Roots of the Tango.” SwinginginTheHood Channel. YouTube, 29 Mar. 2011. Web 2 Jun. 2013.
<http://www.youtube.com/watch?v=4vRF_hGR_yU>

www.todotango.com/english/Home.aspx (Extensive website devoted to all things tango-related.)

Yiddish Tango. Andres Galante, Compiler. RGS Music, 2003. CD. (RGS 1261-2)

  “Luck” / “Homeless” “Di Grine Katshke” “The Green Duck”

“Mazl” / “On a heym” Geyt a grine katshke There goes a green duck
Mit a royter noz; With a red nose;
Mazl du shaynst amol far yedn Luck, you shine on everyone, Vil zi shmekn tabak – She wants a pinch of snuff,
Hot zi nit mit vos. But she has none.
Far yedn nor nit far mir Everyone but me. (Chorus)
Mazl du brengst a yedn freydn Luck, you bring them happiness. Grine katshke, royte noz, (Chorus)
Far vos farzoymtu mayn tir Why do you shun my doorway? Un ikh veys nit, un ikh veys nit,
Vos iz dos. Green duck, red nose,
Akh vi es tut bang a yeder sho There’s pain in every luckless hour; What this is,
Dos lebn fargeyt, un keyn Life passes without hope. Geyt di grine katshke, I don’t know.
Geyt arum un kayt;
hofenung iz altz nishto Vil zi brokn lokshn – There goes the green duck,
Hot zi ni keyn tsayt… She walks about and chews,
On a heym un on a dakh, gevandert Homeless, no roof overhead, (Chorus) She wants to make some noodles,
hobn mir a gantse nakht Dreyt zikh um di katshke, But she has no time.
Dreyt zikh on a zin.
Nit gevust ahin, vos vet zany undzer tsil We wandered through the night Vil zi geyn shpatsirn – (Chorus)
Hot zi nit vuhin…
On a heym, on a dakh, The duck bustles about,
(Chorus) She bustles about without a thought.
Gevandert hobn mir a gantse nakht. Not knowing where we were headed. Geyt di grine katshke, She wants to take a stroll,
Geyt arum un trakht; But has no place to go.
Ellstein & Picon / Sosnow Ghetto Vil zi davnen minkhe –
Falt shoyn tsu di nakht. (Chorus)

 
  (Chorus)
There goes the green duck.
Boys Selling Cigarettes in the Lodz Ghetto Self Portrait: Zuni Maud
  She walks around and thinks.
She wants to say evening prayers,
But it’s already getting dark.
(Chorus)

Zuni Maud


 

“Papirosn” (“Cigarettes”) “Ich hab kein Heimatland”

A kalte nakht a nepldike finster umetum, A cold night, foggy, and darkness everywhere Ich hab kein Heimatland
shteyt a yingele fartroyert un kukt zikh arum. A boy stands sadly and looks around. Ich habe nichts auf dieser Welt
Fun regn shitst im nor a vant, Only a wall protects him from the rain Ich zieh von Land zu Land
a koshikl halt er in hant, He holds a basket in his hand Und bleibe da, wo’s mir gefällt
un zayne oygn betn yedn shtum. and his eyes beg everyone silently: Ich darf nicht glücklich sein
Ich kenne keinen Sonnenschein
Ikh hob shoyn nit keyn koyekh mer I don't have any strength left to walk the streets Warum bin ich so ganz allein
arumtsugeyn in gaz, hungerig un Hungry and ragged, wet from the rain, Auf dieser Erde?
opgerizn fun dem regn naz. I shlep around from dawn. Ich hab kein Heimatland
Ikh shlep arum zikh fun baginen, Nobody gives me any earnings, Ich hab ja nichts auf dieser Welt
keyner git nisht tsu fardinen, everyone laughs and makes fun of me Mein Ziel ist unbekannt
ale lakhn, makhn fun mir shpaz. Der blaue Himmel ist mein Zelt
Buy my cigarettes! Und wenn ich denk, dass ich nun
Kupitye koyft she, koyft she papirosn, Dry ones, not wet from the rain
trukene fun regn nisht fargozn. Buy real cheap, endlich Frieden fand
Koyft she bilik benemones, Buy and have pity on me. Dann muss ich weiterziehen
koyft un hot oyf mir rakhmones, Save me from hunger now Ich hab kein Heimatland
ratevet fun hunger mikh atsind.. Buy my matches, wonderful ones, the best,
Kupitye koyft she shvebelakh antikn, and with that you will uplift an orphan.
 
dermit verd ir a yosiml derkvikn. My screaming and my running will be for naught.
Umzizt mayn shrayen un mayn loyfn, Nobody wants to buy from me- “I Have No Homeland”
keyner vil bay mir nit koyfn, I will have to perish like a dog.
oysgeyn vel ikh muzn vi a hunt. I have no homeland
My father lost his hands in the war I have nothing in this world
Mayn tate in milkhome hot farloyrn zayne hent, My mother couldn't bear her troubles anymore I'm moving from country to country
mayn mame hot di tsores mer oyshaltn nisht gekent. And was driven to her grave at a young age And stay there where I please
Yung in keyver zi getribn, I was left on this earth unhappy and alone like a stone I may not be happy
bin ikh oyf der velt farblibn, I gather crumbs to eat in the *c*old market I know of no sunshine
ungliklekh un elnt vi a shteyn. A hard bench in the cold park is my bed Why am I so alone
Breklekh klayb ikh oyf tsum ezn and on top of that, the police On this earth?
beat me with the edges of their swords and sticks I have no homeland
oyf dem kaltn mark, my pleas and my cries are of no use. I have nothing in this world
a harte bank iz mayn geleger in dem kaltn park. My goal is unknown
In dertsu di politziantn, shlog mikh shvern kantn, I had a little sister, a child of nature The blue sky is my tent
z'helft nit mayn betn, mayn geveyn. Together we shlepped around for an entire year. And when I think that I finally
When with her, it was much easier for me.
Ikh hob gehat a shvesterl, a kind fun der natur, My hunger would become lighter when I glanced at her found peace
mit mir tsusamen zikh geshlept hot zi a gants yor. Suddenly she became weak and sick Then I have to move on
Mit ir geven iz mir fil gringer, laykhter vern flegt died in my arms on a street bench I have no homeland
der hunger, ven ikh fleg a kuk ton nor oyf ir. And when I lost her I lost everything
Mit amol gevorn iz zi shvakh un zeyer krank, Let death come already for me, too. Klemens Schneider
oyf mayne hent iz zi geshtorbn oyf a gazn-bank.
Un az ikh hob zi farloyrn, hob ikh alts ongevoyrn,
 
zol der toyt shoyn kumen oykh tsu mir.
Herman Yablokoff

 

“La Cumparsita” “The Little Parade” Carlos Gardel
Si supieras que aun dentro de mi alma, If you knew, that still deep in my soul Vilna Ghetto – World War II
conservo aquel cariño I keep that affection
que tuve para ti... that I had for you...
Quien sabe si supieras Who knows if you could know
que nunca te he olvidado, that I have never forgotten you,
volviendo a tu pasado going back into your past,
te acordaras de mi... you will remember me...

Mis amigos ya no vienen My friends no longer come
ni siquiera a visitarme, not even to visit me,
nadie viene consolarme nobody wants to console me
en mi afliccion... in my afliction...
Desde el dia que te fuiste Since the day that you left,
siento angustias en mi pecho, I feel anguish in my chest,
deci, percanta, que has hecho say, woman, what have you done
de mi pobre corazon? with my poor heart?

Sin embargo, yo siempre te recuerdo However, I always remember you
con el cariño santo with the saintly affection
que tuve para ti. that I had for you.
Y estas en todas partes, And you are everywhere,
pedazo de mi vida, piece of my life,
y aquellos ojos que fueron mi alegria and those eyes that were my joy
los busco por todas partes I look for them everywhere
y no los puedo hallar. and I can't find them.

Al cotorro abandonado To the abandoned pad
ya ni el sol de la mañana not even the morning sun
asoma por la ventana peeks through the window
como cuando estabas vos, like when you were here,
y aquel perrito compañero and that friendly puppy
que por tu ausencia no comia, who because of your absence did not eat,
al verme solo, el otro dia, when it saw me all alone, the other day
tambien me dejo. it also left me.

“Es iz geven a Sumertog” (“It Was a Summer’s Day”)

Es iz geven a zumer-tog It was a summer’s day.
Vi shtendik zunik-sheyn, As always beautifully sunny.
Un di natur hot dan gehat And nature had within it
In zikh azoyfil kheyn, So much charm.
Es hobn feygelekh gezungen, Birds were singing
Freylekh zikh arumgeshprungen, Cheerfully hopping around,
In geto hot men undz geheysn geyn. As we were ordered into the ghetto.

Okh shtelt zikh far vos s’iz fun undz gevorn! Oh, imagine what became of us!
Farshtanen hobn mir: s’iz alts farloyrn. We understood all is lost.
Nisht geholfn undzer betn, Our pleas were of no help
Az s’zol emitser undz retn- Asking for someone to rescue us,
Farlozn hobn mir dokh undzer heym. We had deserted our home.

[...] Gevezn zaynen mir tsufil – […] We were too many –
Bafoyln hot der har The master ordered
Tsu brengen yidn fun arum Jews to be brought into the vicinity,
Un shisn oyf Ponar. And he shot at Ponar.
Pust zaynen gevorn shtiber, The houses were emptied,
Ober ful derfar di griber. But the ditches were filled.
Der soyne hot dergreykht zayn groysn tsil. The enemy had attained his desired goal.

Oyf Ponar itst zet men oyf di vegn Now at Ponar one can see on the roads
Zakhn, hitlen durkhgenetst fun regn, Things, hats soaked by the rain
Dos zaynen zakhn fun karbones, These are the belongings of the victims,
Fun di heylike neshomes, Of the holy souls,
Di erd hot zey oyf eybik tsugedrekt. Which the earth has covered forever.

Un itst iz vider zunik-sheyn, And now, once more, it is beautifully sunny,
Shmekt prakhtful alts arum, A wonderful smell all around,
Un mir zaynen farpaynikte And we are full of grief,
Un laydn ale shtum. And we all suffer in silence,
Opgeshnitn fun der velt, Cut off from the world.
Mit hoykhe moyern farshtelt, Hidden behind high walls,
A shtral fun hofnung dervekt zikh koym. A ray of hope barely stirs.


  Lyrics by Rikle Glezer
Music from Herman Yablokoff’s
“Papirosn” Vilna Ghetto


 

“To Ostatnia Niedziela” “The Last Sunday” “Der Tango fun Oshvietshim” (“The Tango from
Auschwitz”)
Teraz nie pora szukać wymówek Now is not the time to look for excuses
fakt, że skończyło się, the fact that it ended up, Even before the war, we sang and we danced
dziś przyszedł inny, bogatszy i lepszy ode mnie Today came another, richer and better than me tangos,
i wraz z Tobą skradł szczęście me. and together with you stole my happiness.
Jedną mam prośbę, może ostatnią I have one request, can last foxtrots and melodies.
pierwszą od wielu lat, the first many years, These tender songs, resonant and filled with
daj mi tę jedną niedzielę, Give me this one Sunday, longing,
ostatnia niedzielę, Last Sunday, Used to make our heads sway with love.
a potem niech wali się świat. and then let the world collapses. And now, in wartime, no one creates any songs
About those youthful years in the city.
To ostatnia niedziela This is the last Sunday Sing, oh girl, another little song
dzisiaj się rozstaniemy, Today we part, About days and nights in the camp behind the
dzisiaj się rozejdziemy Today we are absent wires.
na wieczny czas. the eternal time.
To ostatnia niedziela, This last Sunday, Our slave tango – under the whip of the beater.
więc nie żałuj jej dla mnie, so I do not regret it for me, Our slave tango from the Auschwitz camp.
spojrzyj czule dziś na mnie look down lovingly at me now Spears of steel from the guards, those animals,
ostatni raz. the last time. Oh, freedom and liberty call!

Będziesz jeszcze dość tych niedziel miała, You will have had enough of these Sundays, The black man soon takes up his mandolin,
a co ze mną będzie - któż to wie... and what will become of me - who knows ... And will soon start to strum his little tune here.
And the Englishman and Frenchman sing a
To ostatnia niedziela, It’s the last Sunday. melody,
moje sny wymarzone, Today we break up, So a trio will arise out of this sadness.
szczęście tak upragnione today we part And also the Pole soon takes up his whistle
skończyło się. forever. And he will emote to the world –
The song will light up the hearts
Pytasz co zrobię i dokąd pójdę, You ask what I do and where I go, Who are longing for the freedom they miss.
dokąd mam iść, ja wiem... No matter where I go, I know ...
dziś dla mnie jedno jest wyjście, Today for me is one output Our slave tango – under the whip of the beater…
ja nie znam innego, I do not know any other,
tym wyjściem jest, no, mniejsza z tem. This option is, well, less of tem. P.M. & Shmerke Kaczerginsky, trans.
Jedno jest ważne - masz być szczęśliwa One thing is important - you have to be happy Original Polish words and melody from
o mnie już nie troszcz się, for I am no longer take care, “Slave Tango,” author unknown.
lecz zanim wszystko się skończy, but before it's all over,
nim los nas rozłączy, the fate of us disconnects
 
tę jedną niedzielę daj mi. This give me one Sunday.

To ostatnia niedziela This is the last Sunday
dzisiaj się rozstaniemy, Today we part,
dzisiaj się rozejdziemy Today we are absent
na wieczny czas. the eternal time.
To ostatnia niedziela, This last Sunday,
więc nie żałuj jej dla mnie, so I do not regret it for me,
spojrzyj czule dziś na mnie look down lovingly at me now
ostatni raz. the last time.

Będziesz jeszcze dość tych niedziel miała, You will have had enough of these Sundays,
a co ze mną będzie - któż to wie... and what will become of me - who knows ...

To ostatnia niedziela, It’s the last Sunday. Auschwitz Orchestra
moje sny wymarzone, Today we break up,
szczęście tak upragnione today we part
skończyło się. forever..


  Zenon Friedwald & Jerzy Petersburski,
 


 
 
 
 

Sculpture Commemorating Joan O. Epstein: [email protected]
Arturo Gold Trio
Treblinka