The main personage of this collection is the Jewish folklore having attracted its researcher Dmitri Zolotnitsky for a long time. It began in far 1960ies, when Zolotnitsky, the student of the music college of the Trans-Carpathian city Uzhgorod was carried away once and forever by the most captivating and unique traditional melodies. His practice as the concertmaster at the vocal and dancing ensembles, the repertoire of which consisted of the folk (Trans-Carpathian, Hungarian, Czech, Romanian) music evoked the spirit of traditional music-making in the young musician. The researcher understood that benevolent influence of the folklore studying. The essay dedicated to the Russian folklore was included to his educational text-book “Music History” published by the Compozitor Publishing House • Saint-Petersburg in 2001. The Russian folk musical turns were elaborated in the piece “Music Picture”, the eighth miniature of his album “When I Grow Up” (Compozitor Publishing House • Saint-Petersburg, 2007).
Zolotnitsky’s scientific activity in the sphere of the Jewish folklore continues already for twenty years. Being an experienced teacher and concertmaster Zolotnitsky composes brilliant folk arrangements himself. He is making for the Jewish folklore to be interesting for all kinds of musicians and listeners.
All the pieces entering this collection are composed on the base of the Jewish folk songs, taken from the “Anthology of the Jewish Folk Songs” published by the Compozitor Publishing House • Saint-Petersburg in 1994. These songs were written down on the vast territory of the Western Europe. Of course, they were fed by the neighbouring cultures (the Ukrainian, Moldavian, Romanian etc.). Generally most of them are represented unchanged. Zolotnitsky resorts to variation and variant principles of the material evolution, peculiar for folklore. Polyphonic methods are also the significant stimuli for such a facture. Original modal turns, strokes and ornamentation reveal the national nature in the melodies supposedly belonging to the bordering peoples.
The songs are partially given translations from the Yiddish, close to the underline ones (realized mainly by A. L. Kaplan), the majority are accounted in poetical form, adjusted for to be sung simultaneously with the melody (created by Ye. Ya. Hazdan on the base of A. L. Kaplan’s word for word translations).
The author’s zealous inquisitive passion for the Jewish music shall undoubtedly penetrate into the hearts of both performers and listeners, filling their hearts with supreme luck.
NOR A MAME (ONLY MUMMY)
ALELULE, ŠLOF ŽE AJN, MAJN GDULE (SLEEP, MY BABY)
UNTER DEM KINDS VIGELE (UNDER THE BABY’S CRADLE)
DEM KEJSERS OJCRES (FOR ALL THE KING’S TREASURES)
ŠLOF, MAJN KIND (SLEEP, MY CHILD)
PAČE, PAČE, KIXELEX (CLAP YOUR HANDS, MY BOY)
KINDER, KUMT, DER FRILING RUFT (COME OUT, CHILDREN, SPRING IS CALLING)
DI MEZINKE OJSGEGEBN (THE YOUNGEST DAUGHTER’S WEDDING)
MEXUTENESTE (MY DEAR IN-LAW)
FAR VEMEN ZOL IX ŠRAJEN (HOW CAN I HELP NOT CRYING?)
DU MEJDELE, DU FAJNS (PRETTY LITTLE MAIDEN)
DI MAME HOT MIX GEŠIKT (MOTHER SENT ME)
Supplement. The Yiddish and Russian lyrics