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time, on the second public
evening of the Vilna Ghetto Theatre), "I have not
been here for long," (written in the Vilna Ghetto for the
revue production of "Peshe fun reshe," where it was
portrayed the time when the yellow shades [?] were
distributed in the ghetto. To the beauty of the Jews of the Vilna Ghetto had to
carry on its neck and keychain with an impressed
number), "Peshe from Reshe," music by M. Veksler. In a
tarf-camp by the village Reshe, thirty kilometers
from Vilna, several hundred Jews from Vilna. In August
1943 they had the Jews from Reshe sent over to the Vilna
Ghetto. Under the name, "Peshe and Reshe," came a revue
production in the Vilna Ghetto Theatre, "Zi??" (the
couplet, sung by Khayele Rozental, announced in the
inner camp in the ghetto, for example, at the gateway
the police skhkhd far lazn areyntragn produktn,
pratezshirn andere a.d.g. --as Kaczerginski tells
it-- was sung at various times with other words, adapted
for the camp, "that a love played" (portrayed due to the
privileges, which the Jewish police had in the ghetto,
looking for the friendship of certain people. The song
was sung by a friend's sister, Khayele, and was from the
first ghetto themes, which the actors in the ghetto
theatre had performed), "Tsu eyns, tsvey, dray" (sung in
the summer of 1943 in the Vilna Ghetto through the actor
Yakov Bergolski. The song later was sung for the
liberation of the concentration camps and generally in
concerts through Emma Sheiver (sp), and through her
recordings), "Fak zikh eyn" (the song is--as Sender
Vaysman had told Sh. Kaczerginski--written during a
brutal time for the Vilna Ghetto, when the Gestapo had
begun to send the remaining Jews of Vilna into the
Estonia camps (Riga, Narva, Kivali, et al.) In that
time, August 1943, the Red Army withdrew so far ahead,
that the Vilna Jews were aroused by new hopes that they would
soon be liberated. When the actors in the theatre
used to sing out "Dosmol vet zay nit gelingen, mirn
zay (d.h.di German), this little song, pakht zikh eyn, pakht zikh eyn, used to evoke a
stormy ovation. The song was performed by Khayele Rozental), and "Mir lebn eybik!"
The notes to the songs:
"Ikh benk aheym," "Yisroelik," "Peshe," "Az a lib
shpiln," "Tsu eyns, tsvey, dray," "Pak zikh eyn,"
"Mir lebn eybik," were published in a book, "Songs
from the Ghetto and Camps."
Herman Kruk in his
"Chronicles from the Vilna Ghetto and the Camps"
remarks that, according to the ghetto news of 11 October
1942, "the theatre life the ghetto that was staged here had
a great role. ... it may have been cited ... Leyb Rozental, the author of three interesting numbers."
From among all who had
composed songs in the ghetto, also the name of L.
Rozental-- H. Leivick quoted his "Tsu eyns, tsvey,
dray" and remarked: "Also the whole of the fateful
are used in the text with hollowed tears of a thin
and idle day of awful sensation," and trembling
another song by R., remarks H. Leivick:
"Jews laughed at
and laughed at their own bitter happiness by a
sleigh of art-created humorous and satirical songs.
Understand that about sorry humor, no speech could
be known, but someone to note what Jews really did
have to create humorous humor, made their hearts
harder, and their price was paid in order to find a
little comfort, the difficult suffering."
Sh. E. from Chayele Rosenthal and David Rogoff.
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Sh. Kaczerginski --
"The Destruction of Vilna," New York, 1947, p. 212.
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Sh. Kaczerginski --
"Songs of the Ghetto," New York, 1948, p. 35, 200,
343-44, 346-47, 357, 383-4, 389, 399, 404, 424, 426,
431.
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Herman Kruk -- "Daily
Book of the Vilna Ghetto," New York, 1961, pp. 83,
369.
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