Judeo-Spanish
The medieval Castilian Spanish spoken by the Jews of Spain at the time
of the expulsion is
called Judeo-Spanish, Judeo-español, Djudezmo, Spanyolit, Spaniol
de mosotros, and
Sephardí; in Morocco it was called Haketía, and in Yugoslavia,
Djidyó. The language was
spoken and written, first in Hebrew characters (Rashi script) and recently,
in the Latin
alphabet. It was preserved in exile largely by the women, whose insulated
life protected the
language and maintained its vitality. The language, which uses many Hebrew
words and
roots, is enriched by the environments which became new homes, with words
from the
Arabic, Greek, Turkish, French, and Italian languages, among others. It
is often called Ladino
which, historically, was the language, emerging from Latin, into which liturgical
Hebrew texts
were translated.
Orthography
The spelling of the texts in Judeo-Spanish used in these notes is not
meant to be Castilian, but
rather reflects the Judeo-Spanish pronunciation used by our informants.
Our system, for
English speakers, is similar to that of Aki Yerushalayim. (POB 8175, Jerusalem
91080, Israel)
Key To Pronunciation
A = ah....B = boy....Ch = check....D = day....(close to th)....Dj =
jumbo....E = error.... G = grand....I =eek....J = French jour....K = can....O
= occasion....S = sage.... S at end of words = Z....Sh = shave....U = move....V
= very....Y = yes....Z = zero
About This Collection
Full Circle presents secular musical traditions preserved by the community
of Spanish Jews in
Jerusalem. The collection was chosen from the repertoire belonging to people
who identify
themselves as 'Yerushalmi'--i.e., of Jerusalem--a community of people whose
families have
lived in the city for many generations. The selections represent a variety
of musical and poetic
expressions preserved and inspired by ordinary experiences such as oppression,
poverty, war
and expulsion. Off to war, a young man consoles his mother (A la gerra me
vo ir); a man
regrets the errors of his youth (Yo era un leoniko). A mother suffers (tongue-in-cheek)
the
public shame of her disheveled child (Moshon). A young wife vilifies her
mother-in-law in
good humor (Mi suegra), bearing in mind that often the young couple lived
with the mother
of the groom. A community of listeners to the 'Ladino' radio program on
Kol Yisrael are
moved to compose a Ladino text to a popular song from the War of Independence
(Madres
amargadas*). Ladino words are composed to an Arabic folk song, popular in
Jerusalem (Intri
las huertas). A mother counsels a son on choosing a wife (Bastuniko), and
the community
wishes the poor bride mazal bueno, good luck, even if she has no dinero
(Skalerika de oro).
These ordinary experiences are reflective of the community's determination
to maintain a
normalcy woven out of passion, humor, wayward youth, parental concern and
love--at the
same time as it struggled for survival amid volatile realities.
Musical Arrangements
Informed by field recordings, the musical arrangements are composed
collaboratively by the
members of Voice of the Turtle. Each arrangement is an attempt to reflect
the spirit and art of
the song. These presentations add to a growing body of interpretations of
this compelling
repertoire.
A Brief History Of the Spanish Jews of Jerusalem*
The precarious existence of the Judeo-Spanish community of Jerusalem
owes much to a
unique combination of persistence and adversity--both of which contributed
to a discrete
Jewish presence in the city. This was an impressive achievement, very different
from the
other communities of Spanish Jews who had managed to create relatively stable
bases for
community life throughout Western Europe, the Balkans and the Near and Middle
East. The
Spanish Jews of Jerusalem were perpetually destabilized by the local rulers'
shifting strategies
and the resulting unpredictable economic cycles. Consequently, ancestors
of the Judeo-
Spanish community in the Jerusalem of today did not arrive at the time of
the Spanish
Expulsion, but rather came over the past 400 years via other Judeo-Spanish
communities.
Their persistence was part of a legacy from Biblical times. Adversity, suffered
under many
rulers, galvanized a return, mostly from the Ottoman Empire--and especially
from Turkey,
Bosnia, Italy, Salonika--despite a chain of ups and downs of political and
economic hardships.
The current Judeo-Spanish presence in residence in Jerusalem dates back
to the 13 th century,
when the Ramban, Rabbi Moses ben Nachman (Nachmanides) established a synagogue
which
still exists in the Old City. This presence is visible in synagogues, street
names, schools, music,
art, language and in political and religious life, one can see, hear and
feel the imprint of the
Judeo-Spanish community on the life of Jerusalem.
Between the 10 th and 15 th centuries, the city experienced the rule of
the Crusaders, the
Mamlukes, and the Ottomans. In 1236, Benjamin of Tudela traveled from Spain
to survey
Jews of many lands; he documented a small number of dyers working in Jerusalem.
In 1267,
the prominent Spanish Rabbi, Nachmanides of Gerona, emigrated specifically
to stimulate the
revival of the community. In 1291, the Mamlukes ended the oppressive (to
Muslims and
Jews) reign of the Crusaders, and Jerusalem became a Muslim religious center.
Taxes were
severe, Jews and Christians were subjected to humiliating regulations and
poverty was rampant.
However, well before the Expulsion in 1492 by the Spanish Inquisition, there
were ominous
signs suggesting that Jewish residence in Christian Spain was precarious.
In 1391, the
community experienced massacres, mass conversions and persecutions. Spanish
Jewish
leaders encouraged an Aliyah--a return to the Land of Israel under Moslem
rule.
Archival correspondence between Jewish leaders in Spain and Jerusalem reveals
that in the
1470's Spanish Conversos (Jews who had either chosen, or were forced to
convert to
Catholicism) were crafting plans to find a safe haven in Jerusalem.
In 1492 the Ottoman ruler, Bayazid, hearing of the Expulsion of the Jews
from Spain, actively
welcomed the Jews to the Ottoman Empire, astonished that the Monarchs of
Spain wouldgive up such a valuable community. Consequently, the impoverished
Jewish population of
Jerusalem doubled and rose to 150 Jewish families.
In the early 16 th century, a Catholic priest wrote of "despicable
infidels" in Jerusalem,
(Muslims and Jews) and detailed the poverty of the city. But by 1516, when
Ottoman ruler
Selim I added the old Islamic provinces of the Middle East--Palestine, Egypt
and Syria--to his
empire, noted Spanish Jewish religious sages and intellectuals were much
in evidence in
Jerusalem. The Jewish communities of Egypt and Syria, and the city of Safed,
aided the
Jerusalem community, and by 1521, as a result of continuing Spanish immigration,
the
population grew to 300 families. The Spanish Jews were the majority of the
Jewish community, which also included Ashkenazim, (among whom were counted
Italians), Magrebis (North Africans) and Musta'rabs (Moriscos), descendants
of the local inhabitants who had never left the 'Holy Land.'
Between 1525-1553, Jews who lived in the Jewish Quarter numbered 1000-1500,
including
prominent Sephardic rabbis. In 1540, Suleiman the Magnificent rebuilt the
wall around
Jerusalem. In 1567, 237 Jewish familie were recorded. But in 1598, a firman
(edict) confirmed
the confiscation of the Nachmanides Synagogue as a result of the complaint:
"Muslim
residents of the quarter (next to the Mosque of Omar) ... charge ... that
the noisy ceremonies of
the Jews in accordance with their false rites hinder our pious devotion
and divine worship.
Therefore the door of the synagogue has been locked and sealed." But
population continued
to increase; an early 17th century census showed 2000 Jews in residence
in Jerusalem.
By 1625, the population had again declined, driven out by unduly harsh taxes;
a further blow
to community cohesion came in the form of the false Messiah, Shabbetai Tzvi,
who took
advantage of the despair, and distorted the spiritual understanding of the
Kabbalah. In
Jerusalem, in 1662, he proclaimed himself Messiah; some residents of the
city accepted this
claim, but not the Rabbis. The children, bribed by distribution of candy,
rewarded him with
the Judeo-Spanish title of Padre Santo, (holy father). (Shabbetai Tzvi was
ultimately
denounced and arrested for causing unrest; he took refuge by converting
to Islam).
There are records of only a skeletal community by the mid 1700's, Sephardim
from Turkey,
and the Balkans, and but a few direct descendants of the original Spanish
and Portuguese
exiles. By the end of the century, the population declined again, due to
political and economic
instability and the concurrent decline of Jewish influence in the Ottoman
Empire.
A report in 1814 from an English traveler (Henry Light) noted in wonder
that "the Jews still
flock to it" (Jerusalem) despite poverty, synagogues in disrepair,
and high taxes; the situation
had not improved by 1833 when Rabbi Joseph Schwartz from Bavaria reported:
"[Of ] five
large synagogues [which have] existed for several centuries...four belong
to Sephardim...miserable repair..." There was, however, evidence of
Judeo-Spanish press, a significant sign of life; and in 1835, restoration
of the five synagogues was documented.
In 1840 a firman was issued for the protection of the Jews and for the appointment
of the position of Sephardic Haham Bashi (a Chief Rabbi) of Palestine to
a seat in Jerusalem. The first, Abraham Hayyim Gagin, achieved unprecedented
protection for the community. By 1843, there were 7000 Jews in Jerusalem.
In 1855, Sir Moses Montefiore (an English philanthropist with Italian Sephardic
roots) continued his support for development, including that of the modern
city, along with funds from the American Sephardi philanthropist, Judah
Touro.
An interesting 'slice of life,' a report from the city toward the end of
the 19th century revealed:
"The Ashkenazi Jews of Palestine establish separate butchers...the
slaughter and sale of meat
to the Israelites has hitherto been monopolized by the Rabbis of the Sephardim,
or native Jews
..." A significant and highly regarded Judeo-Spanish press began to
appear, covering politics
and literature.
From the early years of Zionism, (late 19th century), as Hebrew became the
spoken language,
the outward distinction between the Spanish Jews and the rest of the population
began to
blur. The Judeo-Spanish songs, proverbs and folktales that had been preserved
throughout
centuries of famine, poverty and war, now became of interest mostly to the
elder generation.
In Jerusalem today, however, there is a revival of interest in the Judeo-Spanish
heritage
supported by periodicals such as Aki Yerushalayim, (judeospa@trendline.co.il)
the Sephardic
Education Center in Jerusalem, radio programs on Kol Yisrael, clubs of 'Ladino'
speakers,
classes in Judeo-Spanish language and folklore classes at the university
level, concerts, as well
as a growing interest in the Sephardic heritage in the arts and humanities.
We hope that this collection will enrich the Judeo-Spanish cultural heritage
and add to its
historical perspective.
Intri las huertas(Ester Levy, informant)
Derek Burrows, Jay Rosenberg, vocalists
guitar, violin, derbouka, tambourine
Intri las huertas pasiando,
Intri'il yasmin;
Vidi una ija muy ermoza,
Asentada al lado de mi.
Vistia manto, pam bokes blancos,
Las fashas mavis.
Yo m'aserki al lado d'eya,
La vidi yurando.
Las lagrimas sovre los ojos,
Komo perlas briyando.
Le dishi ki tienes,
Ki ti consientes,
Ken t'izo sufrir.
Sufru di un manseviko,
Ke por el me muero.
Noche i dia vo yorando,
Al Dio esklamando.
Rogo al Dio
Ke no me mate
Sin alkansaldo.To top |
I passed among the gardens,
Among the jasmin;
I saw a beautiful young woman,
Seated beside me.
She wore a coat of white cotton,
Dark blue skirts.
I came close to her,
I saw her crying.
The tears from her eyes,
Like shining pearls.
I asked her what was the matter,
What do you feel,
That makes you suffer so.
I suffer for a young man,
For him I am dying.
Night and day I cry,
Exclaiming to God.
I pray to God
Not to take me
Without making him mine. |
A la gerra me vo ir(Ester Levy, informant)
Jay Rosenberg, vocalist
violin, soprano chalumeau, guitar, nay
A la gerra me vo ir;
Y no se si vo a venir.
La trompeta va sonar,
A la me kerida vo abrasar.
No me 'spanto la mi mama,
No me 'spanto por mi.
Me 'spanto por la mi kerida
Ke la vo deshar sufrir.
Embeneado al kavayo,
Kon el tiro en la mano;
Amanyana a la tomba arrastando,
Poveretiko de mi.To top |
I go off to war;
I don't know if I will return.
The trumpet will sound,
I go to embrace my beloved.
I am not afraid mother,
I do not fear for myself.
I fear for my beloved
Whom I leave suffering.
Mounted on the horse,
A gun in my hand;
Tomorrow the tomb will surround me,
Alas, poor me. |
Asentada a la ventana(Ester Levy, informant)
Derek Burrows, Lisle Kulbach, vocalists
kamanja, flute, saz, 'ud
Asentada a la ventana kara de luzio i papel;
Me dejate sufriendo komo el peshe en la sarten.
Asta kuando oyes esti echo, 'sta aziendo grande
dispecho,
Paras no kedo en el pecho, me gasto yo sobre ti.
Dame dame un poko d'agua kon un vaso farfori,
Ke se venga a las estreyas i el cielo achick mavi.
Dame, dame un poko d'agua ke ya me muero di sed;
La leche ke me dio me madre ma 'margo mas ka la fiel.
L'agua ke me dio m'esposa ma(s) dulso mas ke la miel,
L'agua ke me dio m'esposa, 'ma' dulso mas ka la miel.
|
Seated in the window, a face of light and paper;
You left me suffering like a fish in a pan.
Until when will you hear this story, making this great
discomfort,
Coins do not remain in my heart, I spend them for you,
Give me, give me a bit of water in a glass vase,
Let the stars and the clear blue heaven come.
Give me, give me a bit of water, I already die of thirst;
The milk my mother gave me embittered me more than bile.
The water my wife has given me is sweeter than honey,
The water my wife has given me is sweeter than honey. |
Montanyas altas(Ester Levy, informant)
Lisle Kulbach, vocalist
clarinet
Montanyas altas i mares ondas:
Yevame onde el mi kerido,
Yevame onde el mi amante,
Ke me de consolasion.
Amame a sigun te amo,
Estimame de corason.
Ya va tiempo, viene tiempo,
Ke te vas arrepintir.To top |
High mountains, deep seas:
Carry me to my beloved,
Carry me to my lover,
Who will console me.
Love me as I love you,
Value me in the heart.
The time is passing,
And you will come to regret it. |
Madres amargadas(From Yitzhak Levy, Chants
Judeo-Espagnol, Vol. III)
Jay Rosenberg, vocalist
guitar, flutes, mandolin, viola da gamba
Madres amargadas,
Non sospiresh mas;
Non seran pedridas
Vuestras lagrimas.
Si kon nuestra sangre
Nasio Israel.
Tanto ke bivimos,
Bivira i el.
Patria kerida,
Del puevlo Djudio:
Por ver tu bandiera
De nuevo briyar.
Dimos a la tierra,
Almas sin gozar,
Nuestra manseves, nuestra manseves.
From the melody of B'arvot Hanegev from the War of Independence.To top |
Embittered mothers,
Sigh no more;
Your tears
Are not lost.
If with our blood
Israel was born.
As long as we lived,
So that 'it' will live. (the State of Israel)
Beloved country,
Of the Jewish people:
To see your flag
Shining again.
We gave to the land,
Our joyless souls,
Our youth, our youth.
From the radio listeners to Ladino
radio, on Kol Yisrael appeared in 1960. |
Yo era un leoniko(Ester Levy, informant)
Derek Burrows, vocalist
guitar, violin, chalumeau, riqq, dumbek
Yo era un leoniko,
Y el amor me trusho aki.
Si se muere manseviko,
Ki sepash k'es del amor.
Dia d'alhat la de manyana,
Dos djandarmes veo venir;
Me djuzgaron un djuzgo fuerte,
Enderecho a'nforkar.
Mama mia mi kerida,
No maldigo sin saver
Esto fue lo mi taksado
Ke me takso el Kriador.
Ijo mio mi kerido,
Kualo ke te rijga yo?
Ya maldigo noche i dia,
Ken te trusho en este hal.To top |
I was a young lion,
And love brought me to this.
If a man dies young,
May he know of love.
On the first day (Sunday) in the morning,
Two policemen came to me;
Dealt me a harsh sentence,
To be hanged.
My beloved mother,
I don't curse without knowing
This was my destiny
That the Creator ordained for me.
My beloved son,
What can I risk for you?
I curse night and day,
To find you in this condition. |
Adio(Ester Levy, informant)
Judith Wachs, vocalist
guitar, violin, dumbek
Adio,
Tomate l'aniyo.
Tu no sos mas mio,
Ke keres de mi?
Tu korason mi korason,
Tu alma es mi alma.
No t'aretires del amor,
Si tienes esperanza.
Anoche
A la ora dodje,
'Spues de la media noche,
Un bezo te di.
Moreno tu, morena yo.
Ven mos adjuntaremos.
Un poko tu un poko yo,
L'amor ven venseremos.
T'aspero,
A las eskaleras.
La mi vida entera
Te la do a ti.
Vizina tuya kero ser,
Bivir en una kaza,
Komer kero en un chini,
Echar en una kama.To top |
Goodbye,
Take back the ring.
You are no longer mine,
What do you wish of me?
Your heart is my heart,
Your soul is my soul.
Don't hold back love,
If you have hope.
Last night
At the hour of twelve,
After midnight,
I gave you a kiss.
You are handsome, I am beautiful.
Come, let us be together.
Little by little,
Love will conquer.
I wait for you,
On the staircase.
My whole life
I give to you.
I want to be your 'neighbor,'
To live in one house,
To eat from one pot,
To sleep in one bed. |
No me des kon revolver(Sol Maymaran, informant)
Derek Burrows, vocalist
mandolin
No me des kon revolver,
Kuando mi ves d'enfrente.
I ni mi serres el bajur,
Kuando mi ves kon djente.
M'arripinti k'izi l'amor,
Kon una kriatura;
Eya me desho kon la dolor,
Por mi negra ventura.
Partir kero d'esta sivdad,
Mas arriva di Sofia.
Ayi vo ir a espozar,
Ke ay ninyas ermozas.To top |
Don't leave me with a revolver,
When you see me in front of you.
And don't close the shutter,
When you see me with people.
I regret that I fell in love,
With a child;
She left me with pain,
My terrible luck.
I want to leave this city,
Even beyond Sofia.
There I will marry,
There are beautiful women there. |
Delgadina(Ester Levy, informant)
Lisle Kulbach, vocalist
El rey tenia tres ijas,
Laz tres eran muy 'ermozas.
La ma' chikitika d'eyas
Delgadina se yemava.
Un dia de los dias,
A por ayi paso su ermana.
Ermana mia mi kerida,
Dame un poko de agua;
Di sed i no di ambri,
Al Dio vo dar mi alma.
Kayada Delgadina,
Delgadina no ables nada.
Si il baba save esto,
De los kaveyos sos matada.
Un dia de los dias,
A por ayi paso su ermano.
Ermano mio mi kerido,
Dame un poko de agua;
Di sed i no di ambri,
Al Dio vo dar mi alma.
Kayada Delgadina,
Delgadina no ables nada.
Si il baba save esto,
De los kaveyos sos enkolgada.
Un dia de los dias,
A por ayi paso su madre.
Mama mia mi kerida,
Dame un poko d'agua;
Ke de sed i no de ambri,
Al Dio vo dar l'alma.
Kayada Delgadina,
Ija mia state kayada.
Si tu padre save esto,
Por la espada sos pasada.
A romansa well known in Spain, and as far away as
Mexico. The story tells of an attempt by the King to
have an incestuous relationship with his daughter,
whom he locks away without water. The version we
heard omitted the beginning of the tale, but reflected
the horror of the situation, nonetheless.To top |
The king had three daughters,
All three were very beautiful.
The youngest
Was called Delgadina.
One day,
Her sister passed by.
Sister, my beloved sister,
Give me a bit of water;
From thirst and not from hunger,
I will give up my soul to God.
Hush, Delgadina,
Don't speak a word.
If Father hears you,
By hanging you will be killed.
One day,
Her brother passed by.
Brother, my beloved brother,
Give me a bit of water;
From thirst and not from hunger,
I will give up my soul to God.
Be quiet, Delgadina,
Delgadina, do not speak a word.
If your father knows of this,
By your hair you will hang.
One day,
Her mother passed by.
Beloved Mother,
Give me a bit of water;
From thirst and not from hunger,
I will give up my soul to God.
Be quiet, Delgadina,
My daugher, do not speak.
If your father knows of this,
You will die by the sword.
|
Molinero (Yisrael Peretz, informant)
Judith Wachs, vocalist
chalumeau, cornetto, guitar, harp
Molinero, molinero!
Ah! bijou molinero.
Molinero, molinero,
Mueleme este trigo.
Chorus: No puedo mi alma,
No puedo yo.
No puede molerte lo.
El agua dize: no korro yo,
La piedra dize: no muelgo yo,
Y mis kompaneros no se aunaron.
Toma este trigo,
Y vate d'aki! La la la la lay
Ah! molinero,
Ah! bijou molinero!
Yo a ti molinero,
Grande paga te pagare.
Chorus: No puedo...To top |
Miller, miller!
Ah! you jewel miller.
Miller, miller,
Grind this wheat for me.
Chorus: I cannot my soul,
I cannot.
I cannot grind it.
The water says: I will not run,
The stone says: I will not grind,
And my friends will not come together.
Take this wheat,
And go from here!
Ah! Miller,
Ah! You jewel, Miller!
I am yours, miller,
I will pay you handsomely.
Chorus: I cannot my soul... |
No te lo kontengas(Sol Maymaran, informant)
Derek Burrows, vocalist
flute, kamanja, 'ud, finger cymbals
No te lo kontengas tu Rashelika,
Ki sos blanka komo il yasmin.
Munchas morenas ay en el mundo,
Ke kemaron Selanik.
No me meresh ki esto kantando,
Ma ke kero yo yorar.
Chorus: Por una ninya d'ojos pretos,
L'alma la vo dar al Dio.
Por una ninya d'ojos pretos,
Ke por eya me muero yo.
Un kuchiyo de dos kortes,
En mi korason entro... Chorus
Una fuente en frente de otra,
Bivi agua i no m'arti... ChorusTo top |
Don't hold back, you Rachelika,
Who are fair (lovely) like jasmine.
Many dark beauties are in this world,
That burned Salonica.
Don't believe it when you see me singing,
For I want to cry.
Chorus: For a girl with black eyes,
I would give my soul to God.
For a girl with black eyes,
For whom I am dying.
A knife with two sides,
In my heart I plunge... Chorus
One fountain opposite the other,
I drank but could not fill up... Chorus |
Bastuniko de djevezli(Sol Maymaran, informant)
Judith Wachs, vocalist
mandolin, 'ud, rebec, flute
Bastuniko de djevezli, el potin delgado.
La del ojiko mavi, se l'asenta al lado.
El dezmazalado
No save lo ke ara,
No save lo ke dira.
Chorus: Vate a tu echo,
Y veras privecho.
De mintiras i falsidad, mira d'alesharte.To
top |
Bastuniko made of wood, in skinny shoes.
The one with black eyes sits beside him.
The unfortunate one
Doesn't know what to make of this,
He doesn't know what to say.
Chorus: Attend to your affairs,
And you will see success.
Stay far away from lies and falsehoods. |
Moshon (Rivka Peretz, informant)
Derek Burrows, vocalist
percussion
Moshon tomi, Moshon deshi,
Moshon tengo'n la mano.
Yo a Moshon lo vo tomar
De pieses i de manos.
Chorus: Ah! Moshon,
Ke no nasiera yo!
Sos muy deshenado,
Te kayo el pantalon!
Kazim Pasha se duzdeo
De kolas de kavayo,
Ke va pasar el mi Moshon
Kon la braga en la mano!
ChorusTo top |
I held Moshon, I lost Moshon,
I have him in my hand.
I'm going to get him
And hold him by his feet and hands.
Chorus: Oh, Moshon,
That I was ever born!
You are such a mess,
Your pants are falling down!
Kazim Pasha was arranging
The tail of the horse,
When my Moshon passed by
With his underwear in his hand!
Chorus |
Mi suegra(Ester Levy, informant)
Derek Burrows, vocalist
saz, 'ud, kamanja, shawm, percussion
Mi suegra,
Kon mi se dakileya.
Yo ya no puedo mas vivir kon eya;
Eya 's muy fuerte,
Mas ke la muerte,
Un dia mi vire sin eya.
Un dia mi vidu arrimada
Kon mi maridu abrazada.
Mi dyo un pilishku,
Y un mordrisku,
Asta ki vidi las estreyas.
Mi suegra,
Kon mi si dakileya.
Yo ya no puedo mas vivir con eya;
Eya es muy fuerte,
Mas ke la muerte,
Un dia mi vire sin eya.
Un dia mi vidu riendo,
Mi dishu gursuza, aleshate de el!
Ya me lo'aflakates,
Ya lo'atemates,
Ya me lo trushites en ilo
Di tikia!To top |
My mother-in-law,
Teases me.
Already I cannot live with her;
She is so strong,
More than death,
One day I'll be without her.
One day she saw me leaning
With my husband, embracing.
She gave me a pinch,
And a bite,
Until I saw stars.
My mother-in-law,
She makes fun of me.
I already cannot live with her;
She is so strong,
More than death,
One day I'll be without her.
One day she saw me laughing.
She said: "Unprincipled one--away from him!"
You already made me lose weight,
Already made me afraid,
Already you find me
With 'tuberculosis,' (very aggravated!) |
La kumida de la manyana(Ester Levy, informant)
Jay Rosenberg, vocalist
kamanja, baglama, bagpipe, dumbek
La kumida de la manyana,
La tadre la torna atras;
Ki lo sepa la mi mama,
Ki yo kero dispozar!
Mama mia la me kerida,
No me avle kon anchor;
Eya era muchachika
Ya save lo ke's l'amor.To top |
The food of the morning,
I send back in the afternoon;
That my mother would know,
That I want to marry!
My beloved mother,
Don't speak to me so lightly;
She was once young
And already knows of love. |
Skalerika de oro (from Algazi, Chants Sephardis)
Lisle Kulbach, vocalist
guitar, dumbek, tambourine
Skalerika de oro, de oro y de marfil,
para ke subia la novia, a dar kidushin.
Venimos a ver, venimos a ver,
Y gozen, i logren, i tengan muncho bien.
La novia no tiene dinero,
Ke mos tenga 'n mazal bueno.
La novia no tiene dinero,
Ke mos tenga 'n mazal alto.
Refrain heard in other versions from Jerusalem, e.g.,Ayi, ayi, a los
campos vedres. The Algazi
version was the first Judeo-Spanish song in the
repertoire of Voice of the Turtle.To top |
Ladder of gold, of gold and of ivory,
For the bride to ascend, to give kidushin.
We came to see,
To enjoy, to prosper, and have much goodness.
The bride has no money,
May she have the best of signs (best of luck).
The bride has no money,
May she have the most good fortune. |
Credits
Thanks to: Matilda Koen-Sarano for sharing her collection from her Chug--a
club of women from Jerusalem with whom she met to gather folk tales and
songs; Gershon Ben-Ami who generously donated his time and art for the cover
of this album; Dr. Susana Weich-Shahak for her generosity in sharing her
collections and her insights; Leah Shalem for continuing collaboration,
and help in organizing and envisioning the artwork; the Jewish Music Research
Center at Hebrew University in Jerusalem for permission to use the National
Sound Archives; Ruti Freed and Avi Nahmias at the National Sound Archives
and Zelda Ovadiah at KOL YISRAEL, for generous assistance technically and
lingustically; Michael Tidhar, for international production coordination;
Gilda Bruckman for constant generosity and facilitation; Joshua Wachs and
Alan Groupe for technological assistance; Noam Tidhar for assistance with
Hebrew translations; and Johanna Kulbach, Patricia French and Katja Esser
for personal and concert support.
Notes: Judith Wachs
Musical Arrangements: Voice of the Turtle
Translations: Judith Wachs
Linguistic Consultant: Rita Arditti
Copy Editing: Gilda Bruckman, Cynthia Enloe, Nomi Hirschberg
Production: Derek Burrows, Lisle Kulbach, Jay Rosenberg, Judith Wachs
Recording Engineers: Mark Wessel, Blue Jay Studio, Bedford, MA.
Mastering: Dr. Toby Mountain, North Eastern Digital, Southborough, MA
Design and Layout: Derek Burrows, Alison Tolman-Rogers
Photograph: Susan Wilson
Cover Art: Gershon Ben-Ami
THE COVER
An original oil painting by Gershon Ben-Ami, born in Tetuan, and a resident
of Judeo-Spanish community of Jerusalem since 1956. The view is of R'chov
Rashi (Rashi Street) in new Jerusalem, as seen through grill work typical
of the homes of the old Sephardic neighborhoods. The perspective is that
of a community located within, yet separate--which was how many of the Jerusalem
Sephardim viewed themselves.
Online Resource: "Pagina-Djudeo-espanyola" (http://www.trendline.co.il/Judeospa)
Voice of the Turtle has issued two series of recordings and begun a third.
First Series: SONGS OF THE SEPHARDIM. Five volumes. N.B., only Volume V,
"Circle of Fire" is available on CD. All are available on Cassette.
Second Series: PATHS OF EXILE. All five volumes on Cassette and CD. Third
Series: HOLIDAY TRADITIONS: "A Different Night: A Passover Musical
Anthology" Catalogue available from:
Voice of the Turtle, 31 Lockeland Ave., Arlington, MA 02174
Tel.& Fax: 617-491-3465; e-mail: VOTurtle@aol.com
Website: http//:www.VoiceoftheTurtle.com
t & © 1997 Voice of the Turtle, Inc. All rights reserved. Back to top |
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