I closed out 2019 by fulfilling a longtime ambition: attending the Association for Jewish Studies (AJS) conference as an invited member of a conference panel.
Alllll the excited emojis.
I was the sole journalist in an otherwise all-star lineup of young academics. We came together to talk about the modern meaning(s) of the Bund. I joined David Slucki (Monash), Josh Meyers (Harvard), Jacob Labendz (Youngstown State), Caroline Luce (UCLA), and Mindl Cohen (Yiddish Book Center) for what turned out to be a truly fascinating and productive conversation. It was a pleasure to meet so many great folks whom I had previously only known virtually.
I read Mindl's doctoral thesis on doikayt in preparation for our discussion and I highly recommend it if you want to go deeper into the pre-war Bundist zeitgeist. Of course I've read David Slucki's The International Labor Bund After 1945: Toward a Global History. And both Josh and Caroline have books coming out soon about very different moments in Bund history. I have a feeling they will be 'must reads' on the subject and I'm eagerly awaiting both of them.
As I said during our panel, I was there as a humble polemicist among serious scholars. My paper, on doikayt (hereness) and decolonization, was expanded and translated into Hebrew for the latest issue of Haaretz's Judaism supplement magazine. It was then published in English as 'Why Modern Anti-Zionists Love the Bund.' If my goal were to piss off every possible corner of the Jewish Left I'd be making solid progress on that one. I guess you have to take your wins where you find them.
As a bonus to those of you who read to the bottom, here's the video from Itzik Gottesman's recent YIVO talk about Yiddish Christmas. Enjoy!
Rootless Cosmopolitan
Showing posts with label Bund. Show all posts
Showing posts with label Bund. Show all posts
Thursday, January 16, 2020
Monday, October 14, 2013
From the Back Wall - Yiddish Songs of Work and Struggle
Welcome to another installment of my series on out of print Jewish records. I'm working my way through a gorgeous stack of records gifted to me last summer. As I listen I'm going to share my favorite bits and pieces with you.
Today we have the Jewish Students' Bund Production of Yiddish Songs of Work and Struggle*, featuring the Yiddish Youth Ensemble (1971). Though you probably can't find this album (or cassette) today, many of the songs appear on In Love and In Struggle: The Musical Legacy of the Labor Bund. That CD was released in 1999 and features the incandescent vocals of Adrienne Cooper (z"l).
I picked one song to share with you today. It's listed as Vinterlid (Winter Song) on Yiddish Songs of Work and Struggle. This track features Susan Finesilver, Judy Gottlieb, Dina Schwartzman and Josh Waletsky.
[WARNING I AM ABOUT TO TALK ABOUT MUSIC THEORY AND I AM BOTH UNLICENSED AND UNQUALIFIED] I first heard this in my living room with a friend visiting from England. She happens to be both a master klezmer fiddle teacher as well as an early music professional. It was her observation about this particular recording which really struck me. She noted how the spare setting (just voice, no piano) sounded more like early church music than Eastern European Jewish folk music. The whole album, she noted, used diatonic or church modes, as opposed to what we in 2013 think of as Jewish music (freygish) mode.
I should note, though, that this is a product of late 20th century America. And, of course, Jewish music in Eastern Europe reflected both ancient Jewish liturgical traditions as well as shared Western musical traditions. My visiting friend told me of a project right now exploring the connections between Yiddish and German folksong.
Authenicity, you're soaking in it.
In any case, I am in love with this unusual setting of Vinterlid. I hope you enjoy it, too.
The liner notes for Yiddish Songs of Work and Struggle are great because they include the Yiddish lyrics (in Yiddish oysyes and YIVO standard transliteration) as well as English translation. All Yiddish music should come with such beautifully thought out materials.
Vinterlid - Avrom Reisen
hulyet, hulyet beyze vintn
fray bahersht di velt!
brekht di tsvaygn, varft di beymer
tut vos aykh gefelt
traybt di foygl fun di velder
un faryogt zey fort
di vos kenen vayt nisht flien
toyt zey oyfn ort!
Frolic, frolic, you angry winds;
Freely rule the world.
Break the branches, hurl the trees,
Do whatever you please.
Drive the birds from the woods,
And keep on chasing them away;
And those that cannot fly too far-
Kill them on the spot!
There are many, many recorded versions of Vinterlid. Some have recorded it as Beyze Vintn. One of my absolute favorites is this very different interpretation by Daniel Kahn and the Painted Bird. It appears on his CD Dos tsebrokhene loshn/The Broken Tongue. (A must-have for any Jewish music collection.)
Today we have the Jewish Students' Bund Production of Yiddish Songs of Work and Struggle*, featuring the Yiddish Youth Ensemble (1971). Though you probably can't find this album (or cassette) today, many of the songs appear on In Love and In Struggle: The Musical Legacy of the Labor Bund. That CD was released in 1999 and features the incandescent vocals of Adrienne Cooper (z"l).
I picked one song to share with you today. It's listed as Vinterlid (Winter Song) on Yiddish Songs of Work and Struggle. This track features Susan Finesilver, Judy Gottlieb, Dina Schwartzman and Josh Waletsky.
[WARNING I AM ABOUT TO TALK ABOUT MUSIC THEORY AND I AM BOTH UNLICENSED AND UNQUALIFIED] I first heard this in my living room with a friend visiting from England. She happens to be both a master klezmer fiddle teacher as well as an early music professional. It was her observation about this particular recording which really struck me. She noted how the spare setting (just voice, no piano) sounded more like early church music than Eastern European Jewish folk music. The whole album, she noted, used diatonic or church modes, as opposed to what we in 2013 think of as Jewish music (freygish) mode.
I should note, though, that this is a product of late 20th century America. And, of course, Jewish music in Eastern Europe reflected both ancient Jewish liturgical traditions as well as shared Western musical traditions. My visiting friend told me of a project right now exploring the connections between Yiddish and German folksong.
Authenicity, you're soaking in it.
In any case, I am in love with this unusual setting of Vinterlid. I hope you enjoy it, too.
(Apologies for the not great photos. If there's something you'd like to see more clearly let me know and I'll try to take a better picture.)
The liner notes for Yiddish Songs of Work and Struggle are great because they include the Yiddish lyrics (in Yiddish oysyes and YIVO standard transliteration) as well as English translation. All Yiddish music should come with such beautifully thought out materials.
Vinterlid - Avrom Reisen
hulyet, hulyet beyze vintn
fray bahersht di velt!
brekht di tsvaygn, varft di beymer
tut vos aykh gefelt
traybt di foygl fun di velder
un faryogt zey fort
di vos kenen vayt nisht flien
toyt zey oyfn ort!
Frolic, frolic, you angry winds;
Freely rule the world.
Break the branches, hurl the trees,
Do whatever you please.
Drive the birds from the woods,
And keep on chasing them away;
And those that cannot fly too far-
Kill them on the spot!
There are many, many recorded versions of Vinterlid. Some have recorded it as Beyze Vintn. One of my absolute favorites is this very different interpretation by Daniel Kahn and the Painted Bird. It appears on his CD Dos tsebrokhene loshn/The Broken Tongue. (A must-have for any Jewish music collection.)
Daniel Kahn and the Painted Bird doing Beyze Vintn.
*Many thanks to Lorin Sklamberg and the Max and Frieda Weinstein Archives of YIVO Sound Recordings for making Yiddish Songs of Work and Struggle available to share.
*Many thanks to Lorin Sklamberg and the Max and Frieda Weinstein Archives of YIVO Sound Recordings for making Yiddish Songs of Work and Struggle available to share.
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